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  • Voicing subjectivity: Artistic Research in the realization of new Vocal Music

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    Aszodi,Jessica_Final Exegesis_Redacted.pdf (12.91Mb)
    Author(s)
    Aszodi, Jessica
    Primary Supervisor
    Tomlinson, Vanessa
    Other Supervisors
    Harrison, Scott
    Year published
    2016-09
    Metadata
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    Abstract
    The voice and vocalizing subjects have long been a discussed in philosophical, cultural and critical studies circles as places in which meaning lives and is conveyed. In recent years, through developments in musicology, artistic research and autoethnography the bodies of performers have taken on renewed significance for knowledge production. The subjectivities involved in the realization of musical works are now being unpacked and traditional notions of objectivity and concrete meaning as conveyed by musical texts, have eroded. Voicing Subjectivity argues for vocal subjectivity as a site for exploration and experiment in ...
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    The voice and vocalizing subjects have long been a discussed in philosophical, cultural and critical studies circles as places in which meaning lives and is conveyed. In recent years, through developments in musicology, artistic research and autoethnography the bodies of performers have taken on renewed significance for knowledge production. The subjectivities involved in the realization of musical works are now being unpacked and traditional notions of objectivity and concrete meaning as conveyed by musical texts, have eroded. Voicing Subjectivity argues for vocal subjectivity as a site for exploration and experiment in practice-based, artistic research. It queries whether a conscious negotiation of performer subjectivity makes for stronger practice and realizations in new vocal music? The thesis presents two projects, realizing five new and recent notated works for voice. The researcher performs and problematizes her multiple realizations of Helmut Lachenmann’s Got Lost (2008), Jeanette Little’s Mechanical Bride (2013), Alexander Garsden’s [ja] Maser (2014), James Rushford’s The fabric of Wind (2014) and Anthony Pateras’ Prayer for Nil (2014). Informed by and situated within literature from subjectivity studies, interdisciplinary voice studies, music-history and professional vocal practice the author describes her artistic research through three stages: preparation, performance and recording. The exegesis fleshes out issues of embodiment, the indiscrete subject, technologized voice and inter-subjectivity through an active performer’s practice in a mixed-methodological framework that integrates elements from artistic research and auto-ethnography. By applying a considered methodological structure and actively focusing the lens through which problem-solving takes place, the author demonstrates how the conscious negotiation of subjectivity enables better understanding of practice and makes the site of knowledge production, the living subject of the author, a site that is fit to purpose.
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    Thesis Type
    Thesis (PhD Doctorate)
    Degree Program
    Doctor of Musical Arts (DMA)
    School
    Queensland Conservatorium
    DOI
    https://doi.org/10.25904/1912/1617
    Copyright Statement
    The author owns the copyright in this thesis, unless stated otherwise.
    Subject
    Vocal music
    Voicing subjectivity
    Publication URI
    http://hdl.handle.net/10072/371293
    Collection
    • Theses - Higher Degree by Research

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