Performing Precarity
(last edited: 2024)
author(s): Io Sivertsen, Ellen Kristine Ugelvik, Anders Førisdal, Jennifer Torrence, Laurence Crane, Lisa Streich
This exposition is in progress and its share status is: visible to all.
To be a contemporary music performer today is to have a deeply fragmented practice. The performer's role is no longer simply a matter of mastering her instrument and executing a score. Music practices are incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performance is increasingly precarious.
Performing Precarity
(last edited: 2024)
author(s): Anders Eggen, Ellen Kristine Ugelvik, Io Sivertsen, Laurence Crane, Lisa Streich, Jennifer Torrence, Anders Førisdal
This exposition is in progress and its share status is: visible to all.
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.
Performing Precarity
(2024)
author(s): Laurence Crane, Anders Førisdal, LEA Ye Gyoung, Io A. Sivertsen, Lisa Streich, Jennifer Torrence and Ellen Ugelvik
published in: Norwegian Academy of Music
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.