Your search for keyword 'identity' returned 3 results in 'Projects'.
The principal aim of this research is to explore the confrontation between voice and electronics. This confrontation will fundamentally examine emergent relationships between voice and electronics, especially pertaining to constituting the voice’s identity in music, the use of extended vocal techniques, augmenting the voice with electronics, and relating concepts of embodiment and disembodiment within this context. Additionally, this approach to artistic research will aim at examining how confrontations between voice and electronics can create new perspectives for both of the voice and contemporary practices utilizing electronics.
The focus of the research lies in the approach of reducing, denying, or taking away essential elements of music making in order to let the musician become theatrical.
Though they are generally regarded as invaluable traces of late-Romantic style, early twentieth-century recordings make for uncomfortable bedfellows with modern norms for the performance of certain nineteenth-century repertoires and the canonic identities protected by those norms. Nowhere is this truer than in Brahmsian spheres, where the version of Johannes Brahms communicated by the recordings of the Schumann-Brahms circle of pianists stands in stark contrast to constructions of his 'Classical' identity and its underlying aesthetic ideology of control.