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Identity and subjectivity in musical performances
Who is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Table of Contents

  1. Cover
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  1. Title, Copyright
  2. pp. 1-4
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  1. Contents
  2. pp. 5-6
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  1. Figures
  2. pp. 7-10
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  1. Online Repository of Supplemental Files
  2. p. 11
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  1. Introduction
  2. Catherine Laws
  3. pp. 13-27
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  1. 1 Austerity Measures I: Performing the Discursive Voice
  2. David Gorton and Stefan Östersjö
  3. pp. 28-81
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  1. 2 Being a Player: Agency and Subjectivity in Player Piano
  2. Catherine Laws
  3. pp. 82-169
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  1. 3 Footnotes
  2. William Brooks, Stefan Östersjö, and Jeremy J. Wells
  3. pp. 170-233
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  1. 4 Arrival Cities: Hanoi
  2. Nguyễn Thanh Thủy and Stefan Östersjö
  3. pp. 234-295
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  1. Conclusion
  2. Catherine Laws
  3. pp. 296-299
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  1. References
  2. pp. 300-317
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  1. Index
  2. pp. 318-325
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Additional Information

ISBN
9789461663061
Related ISBN
9789462702059
MARC Record
OCLC
1199584417
Pages
280
Launched on MUSE
2020-10-11
Language
English
Open Access
No
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