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Projects
Your search for keyword 'authenticity' returned 3 results in 'Projects'.
Performing in the 21st century Salon
Ivana Jelača
Performing in the 21st century Salon project is focused on historically informed performance practices with the aim to explore and test new creative techniques and performative concepts- where much more effort has to be done to communicate with present audiences.
Fare Musica Antica (Ebraica) reinventing a usable past
Avery Gosfield
Very little Jewish music in notation from before 1620 has come down to us. Next to this, however, a kind of “shadow repertoire” exists – the hundreds of poems by Jewish authors that we know were sung (at least upon occasion) that have survived in text-only form. My proposal is for a research project centered on Jewish poems from Italian sources, and their relation to extant repertoire: both notated music from Early Modern 'Gentile' sources and orally-transmitted song. The goal would be two-fold: an edition, and a series of performances based on the research. The whole would necessarily be complimented by a discussion of the close intertwining of research and creative expression, and its role in Early Music itself, especially when working with the data-poor repertoires typical of populations living outside of the mainstream, including the moral questions involved, especially considering the questions of authenticity or reception by the modern public.
Early Music Beyond Authenticity: Interpretation and Composition outside the Work Concept
Carlo Diaz
As a fluid development form my concept of compositional practice as the either conscious or subconscious reuse and re-processing of pre-existing materials, and so from the idea that all new music is necessarily embedded with the historical, I propose a new historical mode for Early Music wherein curation, editing, and performance are identified as fundamentally creative activities. I propose the application of poststructural philosophy and contemporary historical theory by Michel Foucault, Hayden White, Roland Barthes, Keith Jenkins, and other to the practice of Early Music. My objective is both to shed the Romanticist and Modernist aesthetics and theory inherent in recent research and performance of music written before 1800 and to suggest a new aesthetic and theory where history operates outside of empiricism and narrativity.