|Göteborgs universitets publikationer
Författare och institution:
Maria Bania (Högskolan för scen och musik)
“Music as Art, Artefact, and Fact. Music Research in the 21st Century” (International Musicological Society), Stavanger 1-6 July ,
This paper discusses affective enactment as a technique used by instrumental performers to move listeners. In mid-eighteenth-century Berlin, influential and well-reputed practitioners and theoreticians requested instrumentalists to transport themselves into the passions of the music in order to move their audiences. This technique had been known since antiquity, and was also recommended to composers and other artists. It was considered something that could be learned, and constitutes a significant part of the German empfindsam culture. This paper contextualizes the technique in relation to the German eighteenth-century aesthetic discussions. It also gives an example of how the technique can be explored: a 'passion analysis’ was made of selected parts of mid-eighteenth-century sonatas for flute, and flute and harpsichord, and the pieces were rehearsed and recorded on period instruments. Two musicians/researchers first trained themselves to manipulate their own passions into the perceived passions of the music and then used this altered state in performing. We address discourses from different specific cultural contexts and their different artistic expectations from an Art World theoretical perspective. Drawing on Actor-Network Theory, we examine the relationships in an ensemble performance aimed at arousing passions, between the music, passions, human bodies and artefacts (focusing on the musical instruments); that is, relationships between immaterial, artistic, human and material actants. This paper suggests 1) that passion-analyses of mid-18th-century German instrumental music can provide knowledge about the pieces themselves; 2) that the sounding music in our study has agency to arouse specific passions, both in the performers and the listeners, and that these passions are embodied in the music; 3) that the recommendations to performers to arouse the passions in themselves underline the performative, subjective and corporeal element of musical rhetoric in this period in addition to the semantic or formal.
Ämne (baseras på Högskoleverkets indelning av forskningsämnen):
passions, affective enactment, musical rhetoric