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Spring Term Essay Titles

Length: 3000 words

Hand-in date: 12 May (Wednesday Week 3)

Submission: Esubmission. ID only on the paper please

1. With reference to a contemporary music performance consider the usefulness of Auslander’s tripartite division of performer, performance persona and character.


Reading

Auslander, Philip "Performance Analysis and Popular Music: A Manifesto" Contemporary Theatre Review, Vol14 No.1 2004 pp1-14


Cook, Nicholas "Between Process and Product: Music and/as Performance" Music Theory Online Vol.7 No.2 April 2001 - http://www.societymusictheory.org/mto/issues/mto.01.7.2/mto.01.7.2.cook_frames.html


Frith, Simon, Performing Rites: Evaluating Popular Music Oxford University Press Oxford 1988 [esp Chapter 10 "Performance" pp203-225]


Kelly, Jem “Pop Music, Multimedia and Live Performance” in Sexton, Jamie (ed.) Music, Sound and Multimedia: from the Live to the Virtual Edinburgh University Press, Edinburgh, 2007 pp105-120


Artists/Notes

It seems redundant to provide a list of artists as the range is extensive though a few pointers are probably useful.

1. Focus on a live stage performance rather than a music video

2. Bear in mind that Auslander and Frith in particular are writing about rock and pop music - you may wish to write aout a performer from a different tradition (eg jazz, folk etc) but you should then consider whether the tripartite division has currency in this genre

3. Obviously you do not have to find Auslander's schema useful but if it has limitations then expand on these. Also you may also wish to refelct on whether your example is idiosyncratic or whether it exemplifies the performance strategies of other artists and whether Auslander's model only applies to a narrow body of work or is a good working model for the basis of study music as performance.


2. "The integration of the human body into the performance of music in which the sound is generated by machines thus remains quite problematic. This should come as no surprise. It is a fundamentally new problem. Before the advent of machines that could automate sophisticated processes, there was no performance without the body. Since the body could not be removed, no one had to worry about how to put it back in."


With reference to one or more performances of electronic music consider the way(s) in which the performer is’ ‘put back in’.


Reading

Byrne, David. "Machines of Joy: I Have Seen the Future and It Is Squiggly." Leonardo Music Journal 12 (2002): 7-10.


Chadabe, Joel. "The History of Electronic Music as a Reflection of Structural Paradigms." Leonardo Music Journal 6 (1996): 41-44.


---. "Remarks on Computer Music Culture." Computer Music Journal 24 4 (2000): 9-11.


Ferreira, Pedro Peixoto, et al. "When Sound Meets Movement: Performance in Electronic Dance Music." Leonardo Music Journal 18 (2008): 17-20.


Kelly, Jem “Pop Music, Multimedia and Live Performance” in Sexton, Jamie (ed.) Music, Sound and Multimedia: from the Live to the Virtual Edinburgh University Press, Edinburgh, 2007 pp105-120


Neill, Ben. "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music." Leonardo Music Journal 12 (2002): 3-6


Ostertag, Bob. "Human Bodies, Computer Music." Leonardo Music Journal 12 (2002): 11-14


Pareles, Jon. "The Rhythm Century: The Unstoppable Beat." The New York Times (1998).


Rosenboom, David. "A Program for the Development of Performance-Oriented Electronic Music Instrumentation in the Coming Decades: "What You Conceive Is What You Get"." Perspectives of New Music 25 1/2 (1987): 569-83.


Schloss,W.Andrew "Using Contemporary Technology in Live Performance: The Dilemma of the Performer" Journal of New Music Research Vol.32, No.3 2003 pp239-242


Witts, Dick, and Rob Young. "Advice to Clever Children." The Wire 141 (1995)



3. “Both aleatory and indeterminism are words which have been coined to bypass the word improvisation and as such the influence of non-white sensibility.”


Argue for or against this statement with reference to two or more composers/perfomers.


Reading

Bailey, Derek "Free Improvisation" in Cox, Christoph and Warner, Daniel Audio Culture: readings in Modern Music Continuum International Publishing, New York 2007 pp255-265



Lewis, George E. "Improvised Music after 1950: Afrological and Eurological Perspectives" in Cox, Christoph and Warner, Daniel Audio Culture: readings in Modern Music Continuum International Publishing, New York 2007 pp272-284



4. “The relationships between text and music are no longer simple or straightforward, but their interaction is fundamental”


Discuss this statement with reference to one or more examples of new music-theatre.


Reading

Astute observers will have notes that the presentations in week 8 covered much of this ground, so I'm uploading the handout to the website here - http://www2.warwick.ac.uk/fac/arts/theatre_s/ug/intro/year_three/composing_listening_performing/syllabus/spring_week_8