what is phenomenological music, and what does it have to do with salvatore sciarrino?

Publications

STEVIE HANLEY: PSYCHIC PLUMBING , 2019

Essay in exhibition catalog, STEVIE HANLEY: PSYCHIC PLUMBING, joint exhibitions at M. LeBlanc Gal... more Essay in exhibition itemize, STEVIE HANLEY: PSYCHIC PLUMBING, joint exhibitions at M. LeBlanc Gallery and The Academy Lodge of Chicago

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Twentieth-Century Music , 2019

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Routledge Research Companion to Modernism in Music, eds. Björn Heile & Charles Wilson , 2018

This chapter considers the connection between subjectivity and the oftentimes nether-analyzed affe... more This chapter considers the connection between subjectivity and the oft under-analyzed affective qualities of advanced limerick within a late modernist tradition. It begins with an overview of some of the ways in which the variety of affective experience may be approached theoretically and assesses contributions to modernist music studies within the context of the 'affective turn' in the Humanities. The distinctions between affect, emotion and feeling are examined and considered in terms of their applicability to music assay, specially that of a late modernist tradition. Two cursory case studies are provided which examine these different states in the writings and music of Tristan Murail and Iannis Xenakis. The affiliate concludes by returning to the questions of subjectivity and proposes that one way of conceiving the focus on emotion and bear on is as a manner of productively sidestepping otherwise unresolved questions about the metaphysics of the subject in belatedly modernity.

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Opera Quarterly , 2017

The Opera Quarterly 33/ii (Jump 2017): 161–183

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Contempo, "Interplay" , 2016

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Contemporary Music Review, Volume 31, Issue 5-6, 2012, Special Result: Music and Philosophy; reprinted in Music in Contemporary Philosophy, ed. Martin Scherzinger (New York: Routledge, 2015)

Jean-François Lyotard (1924–1998) was an early on theorist of postmodernity though the waning discou... more Jean-François Lyotard (1924–1998) was an early theorist of postmodernity though the waning discourse of cultural 'postmodernism' has meant that many of his later writings have received less attention from scholars. Although music was rarely a key concern for Lyotard, it does recur with regularity every bit a topic throughout his writings. This essay considers the place of Lyotard'south conception of affect in his discussions of listening and of contemporary music. As I propose, music and bear on, for Lyotard, share a number of challenges in that both introduce types of untranslatability and miscommunication—hence, a profound uncertainty and disorientation—amongst subjects. Nevertheless, these same features join with the role of technology and the feeling of time within postmodernity in characterizing (negatively) the present and pointing (more positively) to the development of new sound possibilities, new feelings, and ultimately, new relationships that are necessary within the 'spaceless zone' of the futurity.

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Book Reviews

twentieth-century music, 8/ane (March, 2011): 15–21.

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Papers

Contemporary Music Review , 2012

Jean-François Lyotard (1924–1998) was an early on theorist of postmodernity though the waning discou... more Jean-François Lyotard (1924–1998) was an early on theorist of postmodernity though the waning soapbox of cultural 'postmodernism' has meant that many of his later writings have received less attention from scholars. Although music was rarely a central concern for Lyotard, it does recur with regularity as a topic throughout his writings. This essay considers the place of Lyotard&#39;s formulation of impact in his discussions of listening and of gimmicky music. As I suggest, music and affect, for Lyotard, share a number of challenges in that both innovate types of untranslatability and miscommunication—hence, a profound uncertainty and disorientation—amongst subjects. Nevertheless, these aforementioned features bring together with the role of technology and the feeling of fourth dimension inside postmodernity in characterizing (negatively) the present and pointing (more positively) to the development of new sound possibilities, new feelings, and ultimately, new relationships that are necessary inside the 'spaceless zone' of the future.

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Talks & Presentations

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This talk juxtaposes two scenes of contemporary music-making with technology: a performance of Lu... more This talk juxtaposes two scenes of contemporary music-making with technology: a operation of Luigi Nono's 1984 Prometeo for alive electronics at the 2016 Lucerne Festival and a digital sound workstation (Ableton Live) workshop in Chicago from 2018. These belong to seemingly afar milieus: the world of professional art music and amateur electronic music production. Although addressing them requires unlike methodologies, I hash out how both scenes of musicking with technology affect on what it means to be a human subject in the 20-showtime century. In the example of Prometeo, this involves confronting aspects of the inhuman inside mail-industrial belatedly modernity; with the Ableton workshop this involves confronting the tangle of genres and of racial, gender, and sexual identities that operate in the spheres of popular music and digital participatory civilization today. I describe the relationships between participants inside each scene, and I consider questions of access and belonging as it pertains to technologically-aided musicicking and contemporary music education.

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STEVIE HANLEY: PSYCHIC PLUMBING , 2019

Essay in exhibition catalog, STEVIE HANLEY: PSYCHIC PLUMBING, joint exhibitions at M. LeBlanc Gal... more Essay in exhibition catalog, STEVIE HANLEY: PSYCHIC PLUMBING, joint exhibitions at M. LeBlanc Gallery and The University Social club of Chicago

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Twentieth-Century Music , 2019

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Routledge Research Companion to Modernism in Music, eds. Björn Heile & Charles Wilson , 2018

This affiliate considers the connection between subjectivity and the frequently under-analyzed affe... more This affiliate considers the connection between subjectivity and the frequently under-analyzed affective qualities of advanced composition within a late modernist tradition. Information technology begins with an overview of some of the ways in which the diverseness of melancholia experience may be approached theoretically and assesses contributions to modernist music studies within the context of the 'affective turn' in the Humanities. The distinctions between touch on, emotion and feeling are examined and considered in terms of their applicability to music analysis, particularly that of a late modernist tradition. Two brief case studies are provided which examine these dissimilar states in the writings and music of Tristan Murail and Iannis Xenakis. The chapter concludes by returning to the questions of subjectivity and proposes that one way of conceiving the focus on emotion and touch on is as a way of productively sidestepping otherwise unresolved questions virtually the metaphysics of the subject in late modernity.

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Opera Quarterly , 2017

The Opera Quarterly 33/2 (Spring 2017): 161–183

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Recent, "Interplay" , 2016

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Contemporary Music Review, Volume 31, Issue 5-6, 2012, Special Result: Music and Philosophy; reprinted in Music in Gimmicky Philosophy, ed. Martin Scherzinger (New York: Routledge, 2015)

Jean-François Lyotard (1924–1998) was an early theorist of postmodernity though the waning discou... more than Jean-François Lyotard (1924–1998) was an early theorist of postmodernity though the waning discourse of cultural 'postmodernism' has meant that many of his later writings have received less attending from scholars. Although music was rarely a primal concern for Lyotard, information technology does recur with regularity as a topic throughout his writings. This essay considers the place of Lyotard's conception of affect in his discussions of listening and of contemporary music. Every bit I propose, music and impact, for Lyotard, share a number of challenges in that both introduce types of untranslatability and miscommunication—hence, a profound doubtfulness and disorientation—amid subjects. Nevertheless, these same features join with the role of technology and the feeling of time within postmodernity in characterizing (negatively) the present and pointing (more positively) to the development of new sound possibilities, new feelings, and ultimately, new relationships that are necessary within the 'spaceless zone' of the future.

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twentieth-century music, eight/ane (March, 2011): 15–21.

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Gimmicky Music Review , 2012

Jean-François Lyotard (1924–1998) was an early theorist of postmodernity though the waning discou... more Jean-François Lyotard (1924–1998) was an early theorist of postmodernity though the waning discourse of cultural 'postmodernism' has meant that many of his later writings have received less attention from scholars. Although music was rarely a fundamental business organization for Lyotard, information technology does recur with regularity every bit a topic throughout his writings. This essay considers the place of Lyotard&#39;due south conception of affect in his discussions of listening and of contemporary music. As I suggest, music and affect, for Lyotard, share a number of challenges in that both introduce types of untranslatability and miscommunication—hence, a profound dubiety and disorientation—amidst subjects. Notwithstanding, these same features join with the part of technology and the feeling of time within postmodernity in characterizing (negatively) the nowadays and pointing (more positively) to the development of new sound possibilities, new feelings, and ultimately, new relationships that are necessary within the 'spaceless zone' of the future.

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This talk juxtaposes ii scenes of contemporary music-making with engineering science: a performance of Lu... more than This talk juxtaposes two scenes of gimmicky music-making with engineering: a operation of Luigi Nono's 1984 Prometeo for alive electronics at the 2016 Lucerne Festival and a digital audio workstation (Ableton Alive) workshop in Chicago from 2018. These belong to seemingly distant milieus: the world of professional art music and apprentice electronic music product. Although addressing them requires different methodologies, I talk over how both scenes of musicking with technology touch on what it means to be a human subject area in the twenty-commencement century. In the example of Prometeo, this involves confronting aspects of the inhuman within post-industrial late modernity; with the Ableton workshop this involves confronting the tangle of genres and of racial, gender, and sexual identities that operate in the spheres of popular music and digital participatory culture today. I describe the relationships betwixt participants within each scene, and I consider questions of access and belonging as it pertains to technologically-aided musicicking and contemporary music pedagogy.

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"Subject field-object relations frequently provide the default model of listening such every bit that famously... more "Field of study-object relations oftentimes provide the default model of listening such equally that famously adumbrated by Pierre Schaeffer'south four-part schema in which the objet sonore is perceived and divers co-ordinate to its varying degrees of distinction from, or reference to, a sounding source. As Michel Chion notes, however, a persistent difficulty remains in determining the limits of merely what constitutes a "sound object," let alone a musical 1.
Despite—or perhaps due to—its textile, visual, and haptic concerns, we might therefore reconsider the subject-object relations of listening through Martin Heidegger'southward notion of the "thing" which refuses object-ification and forces the subject field into a new relation with its former object. In considering how Heidegger'due south as well as more recent Thing Theory might enrich a listening model, this paper farther examines two cases of object/matter dialectics in musical contexts. The first involves a diegetically-positioned music-reproducing object-cum-affair in Classic Hollywood motion picture (The Postman Ever Rings Twice, 1946), while the second charts a "musical object" (borrowing Deborah Mawer's term) in Ravel's String Quartet which somewhen breaks its objective bounds and forces the listener to face up the mechanistic construction of the piece and the corporeal dimension of the performers.
As I further suggest, the ways in which objectness is exceeded in these two examples entail a number of phenomenological consequences for the subject-as-listener and the interaction of touch, sight, and hearing with the things she operates, plays, and listens to. They thus anticipate aspects of post-phenomenological and de-objectified models of listening such as that more recently proposed by Jean-Luc Nancy, and allow the states to ponder how we might ascertain "musical objects" also as a "musical things" inside particular historical and technological contexts.

Select Bibliography

Brown, Neb. "Thing Theory". Critical Enquiry, Vol. 28, No. 1, Things. (Autumn, 2001), pp. 1–22.

Chion, Michel. "Comment tourner autour d'un objet sonore". In L'écoute, ed. Peter Szendy. Paris: L'Harmattan/Ircam Centre Pompidou, 2000, pp. 53–62.

Heidegger, Martin. "The Affair". Poetry, Linguistic communication, Thought, trans. Albert Hofstadter. New York: Haper and Row, 1971, pp. 174–82.

Mawer, Deborah. "Musical objects and machines" in The Cambridge Companion to Ravel, ed. Deborah Mawer. Cambridge: University of Cambridge Press, 2000, pp. 47–70.

Nancy, Jean-Luc. Listening, trans. Charlotte Mandell. New York: Fordham University Press, 2007.

Schaeffer, Pierre. Traité des objets musicaux. Paris: Éditions du Seuil, 1966.
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"Due to his large output of writings and the uniqueness of his idiom, the texts and commentaries ... more than "Due to his large output of writings and the uniqueness of his idiom, the texts and commentaries of Helmut Lachenmann take played an important role in the reception of his work. With his technique of "musique concrète instrumentale" and his uncompromising aesthetic stance, Lachenmann has become in recent years one of the most influential living composers. The emergence of his mature and unique compositional style is often traced to two early vocal works (a rare medium in his oeuvre): Consolation I (1967), which set a passage from Ernst Toller's 1919 play, Masse Mensch, and Consolation II (1968), which set the Medieval German Wessobrun Prayer.
But while the writings and commentaries of many contemporary composers may offer invaluable interpretative and analytic insight, they may also leave lingering questions equally to what is existence omitted from such statements. These two pieces were apparently intended to communicate a sincere message of spiritual and social alleviation. Nonetheless, in the commentary for the 2d piece of the series, and the subsequent Les Consolations (a work whose themes of alienation and speechlessness foreshadow his later magnum opus, the "Musik mit Bildern," Das Mädchen mit den Schwefelhölzern), Lachenmann appears suddenly less convinced of the message of existential comfort—mayhap even of its power to exist conveyed at all. What were the possible reasons and significance of this chance of position?
This paper explores the spider web of relationships that emerges from the writings and works of two older composers and the sketches, scores, and statements of another. Notes and sketches included in the Lachenmann collection at the Paul Sacher Stiftung point largely unnoticed or unremarked links between Lachenmann's Consolation I and II and important vocal works past his teachers, Stockhausen and Nono. The intertextual connections with Nono and Stockhausen, across offering sources for certain compositional procedures in the Consolation pieces, amplify in light of subsequent historical events of import shifts in the conception of the composer's "vocalism" betwixt the late 1950s and the early 1970s. The political and spiritual messages in one case offered past Nono and Stockhausen in the 1950s remain, but refracted as literal and figurative "speechless echoes" which bespeak to another social and aesthetic reality."

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This seminar focuses on the relationship between nineteenth-century music and the wider sensorium... more This seminar focuses on the human relationship betwixt nineteenth-century music and the wider sensorium. As composers engaged with the rich literary, visual, theater, and trip the light fantastic cultures of the nineteenth century, new perspectives on gesture, narrative, representation, and signification in music were developed as were new ideas about how music relates to the other arts. Through reading, listening, viewing, and grade discussion, nosotros will recall about these relationships with regards to a number of major musical works of the nineteenth century. We will ponder the questions such equally "how does music engage other senses and media?"; and "how do intermedial works necessitate detail musical settings and responses?" This seminar is divided into two halves with the first examining Romanticism in instrumental music and song and the 2nd examining music for the stage. While revisiting major aesthetic and musicological debates--such as programme music vs. accented music or the development and consequences of Wagner'southward music-drama--we will examine them afresh through the lense of intermedial theories and assess recent scholarship that emphasizes interdisciplinary approaches to nineteenth-century music. Students who fulfill the requirements of this course will: gain a detailed understanding of a number of important works of nineteenth-century music; be able to articulate the poles of primal artful debates surrounding music and the arts in the nineteenth century through source documents and secondary literature; empathize of import musicological developments as reflected in scholarship on nineteenth-century music; become familiar with recent musicological and interdisciplinary research on music and intermediality; think about (re)mediations of nineteenth century musical works in the twentieth-and 20-first century--in other words, reflect on how nineteenth-century music continues to appoint the contemporary sensorium in both like and unlike ways.

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sheppardthenrhys.blogspot.com

Source: https://chicago.academia.edu/TrentLeipert

what is phenomenological music, and what does it have to do with salvatore sciarrino?

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