Art-Based Inquiry as a Method in Creating Artistic Performances Based on Historical Narratives

Eidsaa, Randi Margrethe

doi:10.1007/978-3-030-28707-8_16

“…Even if the Pluvinel's Academy artistic idea was based on historical events, the project was not intended to be documentarily correct. That would have been a naive approach to the past, a perspective that I discussed in depth earlier (Eidsaa, 2020). However, by shedding light on history through aesthetic expression, all involved in such a practice may catch a glimpse of art and music, philosophy, history, politics and education in a bygone time.…”

Section: Discussionmentioning

confidence: 99%

Introduction: Making History Through Music Performance and Education

Rolfhamre¹,

Angelo²

2022

Views on Early Music as Representation

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“…Even if the Pluvinel's Academy artistic idea was based on historical events, the project was not intended to be documentarily correct. That would have been a naive approach to the past, a perspective that I discussed in depth earlier (Eidsaa, 2020). However, by shedding light on history through aesthetic expression, all involved in such a practice may catch a glimpse of art and music, philosophy, history, politics and education in a bygone time.…”

Section: Discussionmentioning

confidence: 99%

Hearing Early Modern Music Through the Contemporary

Øvrebø¹

2022

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This chapter focuses on how contemporary music practice interacts with early modern1 aesthetics. Two projects, in which Georg Philip Telemann’s solo fantasias are interspersed with contemporary techniques and repertoire, serve as case studies. Firstly, the flutist Felix Renggli commissioned new pieces from 11 contemporary Swiss composers, to be inserted in between Telemann’s 12 Fantasias for Solo Flute. Secondly, violinist Aisha Orazbayeva performed a set of Telemann’s Solo Fantasias for Violin using extended techniques pioneered by Salvatore Sciarrino in his 6 caprices. In this text I use these two different approaches as case studies for how early modern music, exemplified by Telemann, can be communicated to a modern audience without relying upon the concept of historically informed performance, but instead communicates through the operation of semiotics in performance.

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“…Even if the Pluvinel's Academy artistic idea was based on historical events, the project was not intended to be documentarily correct. That would have been a naive approach to the past, a perspective that I discussed in depth earlier (Eidsaa, 2020). However, by shedding light on history through aesthetic expression, all involved in such a practice may catch a glimpse of art and music, philosophy, history, politics and education in a bygone time.…”

Section: Discussionmentioning

confidence: 99%

Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future

Rolfhamre¹

2022

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In this chapter, I examine early music performance, musicology and music pedagogy in order to propose moving from what I argue to be an understanding of HIP (historically informed performance) as something analogous to a learning outcome, to the idea of utilising its potential as a pedagogical and rhetorical practice, providing a different context in which to develop its potential. First, I present a canvas on which HIP is delineated. Next, I engage in a logical exercise to unlock and explore HIP’s inner workings. Expanding on John Hillis Miller’s (2009) performativity sub one and sub two, I proceed to propose four different types of performativity (i.e., performativities0–3) centred on John Langshaw Austin, Jacques Derrida and Judith Butler respectively. Providing some foundation for this exercise is a survey based on 132 music research journal articles published over the last five years in six representative, refereed journals. This leads me to a first attempt at proposing a dedicated performative musicology. Here, I introduce a rhetorical perspective on the past in the present based on the work of Antonis Liakos and Mitsos Bilalis (2017), Rivers and Weber (2011) and Rueger (2011). This ultimately leads to a final perspective of regarding HIP as a pedagogical activity providing a space for future ethical concerns. Or, more descriptively phrased: a pedagogy for the past in the present and future.

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Art-Based Inquiry as a Method in Creating Artistic Performances Based on Historical Narratives

Cited by 5 publications

References 4 publications

Introduction: Making History Through Music Performance and Education

Introduction: Making History Through Music Performance and Education

Hearing Early Modern Music Through the Contemporary

Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future

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