docARTES
Projects
Your search for keyword 'conductor' returned 3 results in 'Projects'.
Shared Leadership in New Opera Creation
Taum Karni
In traditional opera creation, roles are strictly defined: the composer and librettist create the performance “text” - the score and libretto - usually prior to the gathering of the performing forces. The composer and librettist are the primary creators, with the greatest degree of artistic freedom. The stage director and the design team have some creative liberty, while relying on the given text dictated by the primary creators. The conductor and the rest of the musicians are interpreters, their roles usually strictly defined, with limited creative freedom. However, in new opera creation, the roles of creator, interpreter and performer are often significantly more loosely defined. In my research, I shall explore the ways in which a group of artists collaborate to create a new work, and compile a suggested working method for a co-created opera production, with a focus on different types of shared leadership.
Case study Käte van Tricht (1909-1996)
Karin Gastell
In the second half of the 20th century, historical informed performance practice became the leading way in rendering “early” organ music. In advance to this development a so called modern approach had been presented, documented with “almost authentic Bach playing á la Straube” by Straube's student Käte van Tricht in her 1945 to 1992 recordings.
The Polyphonic Touch
Andrew Wright
Different performances of the same work can communicate more or less polyphonic expression through the employment of expressive divergence. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression.