Musical Source as Part of a Performative Ritual: Crossing borders through Explorative Strategies (last edited: 2018)

Elisabeth Belgrano, Johannes Boer (co-author), Assi Karttunen (co-author), Catalina Vicens (co-author), Dinko Fabris (co-author), Björn Ross (co-author)
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open exposition

About this exposition

Proposal peer-reviewed and accepted as ”Themed Session”, 18th Biennial conference on Baroque Music, Cremona 10-15 July 2018 In the light of the conference main theme ’Crossing borders’ the aim of this round table / themed session is to develop an experimental discourse departing from a musical source from the period 1550-1750, as part of a performative ritual for crossing borders and strict dichotomies. The objective is to search from new chiasmatic crossings between a musician’s gaze, a musical source from the Baroque era and musicological findings. Following the discourse of letting go of the perceived strict dichotomy between musical text and music performance (Schulze 2015:3) this session proposes a radical move towards a borderless entangled reading of musical sources based on performative methodologies. This approach may allow for new relations to develop between traditional distinctions pronounced through musicological findings and artistic performance methods; it might also allow for closer collaborations between musicologists and artistic researchers in music. Artistic research in music is a fast growing experimental academic field, with a strong link to musicology. Highly significant to this new field is the desire to find ways of merging sensuous (subjective) knowledge with a variety of other research methodologies. The artistic research purpose is often to follow the performing process of understanding a musical score and the active performance practice calling for praxical strategies such as ritual thinking, musicking through texts and theories (ex. hermeneutics, feminist new materalism), reflective/diffractive methodologies, meaning-making through translation studies, essayistic writing, and speculative performance philosophy. For this session four short (5 min.) presentation will be performed with one common point of departure: ‘musical source a part of a performative ritual for crossing borders and strict dichotomies’. With reference to these four presentations the stage will open up for an intra-active and explorative dialogue between all participant in the session.
typeresearch exposition
keywordsMusical source, artistic research, music, musicology, intra-action, crossing borders
last modified25/10/2018
affiliationNordic Network for Early Opera/Inter Arts Center Malmö, Lund University
external linkhttps://baroquemusicconferencecremona.wordpress.com/home/cfp/

comments: 2 (last entry by Elisabeth Belgrano - 02/05/2018 at 17:49)
Assi Karttunen 02/05/2018 at 15:24

Would it be okay to divide the session into 3–4 parts, each of them dealing with a specific theme?

My suggestion would be to discuss some of these themes embedded in Eli's abstract. For example...

1) Bodily turn in historically informed performance? What does this mean for us? What are the most inspirational sources or books related to this topic?

2) Does the idea of embodiment change the working processes of our artistic work?

3) What kind of performative methodologies do we have or use in order to approach the 'work' or composition in a more corporeal, rooted or embodied way?


Feel free to suggest something else. This is not at all the only way to plan our session.

4) How does the actual performing context affect our performance?


Eli, do you plan to proceed with this session into an article? Or do you want us to comment only in order to anticipate the discussion?


Let's continue, Cool


Elisabeth Belgrano 02/05/2018 at 17:49

Ah ;-) now I see what you did. Isuggest that you enter the command " edit workspace". When in the actual exposition you can add textboxes or any media you like. We can also use sticker.... let me try show...  will add a mssage to you as a yellow sticker....

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