Download Boccherini's Body: An Essay in Carnal Musicology by Elisabeth Le Guin PDF
By Elisabeth Le Guin
During this based research of the works of the undeservedly missed composer Luigi Boccherini, Elisabeth Le Guin makes use of wisdom gleaned from her personal taking part in of the cello because the keystone of her unique method of the connection among tune and embodiment. In reading the extraordinary characteristics of Boccherini's music—its virtuosity, repetitiveness, obsessively nuanced dynamics, gentle sonorities, and wealthy palette of depression affects—Le Guin develops a historicized serious strategy in accordance with the embodied adventure of the performer. within the procedure, she redefines the temperament of the musical Enlightenment as one characterised through pressing, unstable inquiries into the character of the self.
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From the Preface :
This publication illustrates a suite of tune manuscripts which used to be made in recent times to profit the basis for modern functionality Arts. the gathering was firm through situations instead of any technique of choice. therefore it exhibits the numerous instructions within which song notation is now going. The manuscripts are usually not prepared in keeping with sorts of track, yet alphabetically based on the composer's identify. No explanatory details is given.
The textual content for the booklet is the results of a technique making use of I-Ching likelihood operations. those decided what number phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specially written for this ebook, they're preceded by means of a paragraph signal and via the author's identify. different comments have been selected or written by means of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided unintentionally operations. This technique was once that allows you to decrease the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor suitable to it. ) A precedent for the absence of knowledge which characterizes this ebook is the modern aquarium (no longer a gloomy hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condominium with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the numerous composers and tune publishers who've made this presentation of mid-twentieth century song notation attainable.
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Additional info for Boccherini's Body: An Essay in Carnal Musicology
I have become not just his hands, but his binding agent, the continuity, the consciousness; it is only a step over from the work of maintaining my own person as some kind of unitary thing, the necessary daily ﬁction of establishing and keeping a hold on identity. The act is different perhaps in urgency and accuracy, but not, I think, in kind. As this composer’s agent in performance, I do in this wise become him, in much the same manner as I become myself. And my experience of becoming him is grounded in and expressed through the medium of the tactile.
The repetitions in the pastoral mode are introverted and calm; they invite a sound that seeks resonance without seeking much projection. This plays out as physical calmness, since making such a sound involves a greater submission to gravity, less effort by the arm and shoulder muscles. The repetitions toward 22 “cello-and-bow thinking” the end of the movement are more urgent, implying a crescendo of sound and muscular activity. Both passages in their different ways incite and encourage the performer to explore different pathways toward a frictive physical pleasure.
It can and should be a primary source of knowledge about the performed work of art. In making such a claim I can do no better than show the reader the scene of one of my own trysts with Signor Boccherini, the very sheets and the stains upon them, as it were. ) Because the performer’s relationship to the work of art must have an extensively explored bodily element, a performing identiﬁcation with a composer is based on a particular type of knowledge which could be called carnal. It is the rendering of this knowledge, which by its nature contains an extremely ﬁne grain of detail, into concepts that are usefully transferable to other works, to other points of contact with the composer, and eventually to points of contact with other composers altogether that will concern me for the remainder of this book.