Approaching the Liminal in the Performance of Iannis Xenakis' Instrumental Solo Works

Margarethe Maierhofer-Lischka

Resumo


In contemporary music repertoire, the solo works of Greek composer Iannis Xenakis are known to be extremely demanding. In this paper, Theraps for solo double bass is examined, combining issues of performance practice with an aesthetical and theoretical approach. Using my personal study of this piece as a starting point, questions concerning its practice and performative experience are tackled: how can musicians practise, achieve high focus and stamina and deal with physical pain? How do perceptual phenomena encoded in the score inform the experience of performing this piece? As methodology, I am applying Turner ́s theory of liminality which offers a model to describe performance situations as acts of crossing a threshold. This is combined with perspectives from the medical, cultural and psychophysical aspects of instrumental performance, resulting in a complex view that can be expanded into further consequences for music practice and musicological research.


Palavras-chave


Xenakis, performance, mind-body-relation, liminality

Texto Completo:

PDF (English)

Referências


Bader, R., & Ruschkowski, A. (2009). Differences in brain activity between blurred and unblurred versions of musical pieces. In R.

Bader (Ed.), Musical Acoustics, Neurocognition and Psychology of Music. Hamburger Jahrbuch für Musikwissenschaft (pp. 89-102). Berlin, Germany: Lang Verlag.

Bryon, E. (2013). Integrative Performance. Practice and Theory for the Interdisciplinary Performer. London, UK: Routledge.

Freedman, L.P. (2010). Performing Xenakis on Wind instruments. In S. Kanach (Ed.), performing Xenakis. The Iannis Xenakis Series (pp. 3-10), New York, NY: Pendragon Press.

Frisius, R. (1987). Konstruktion als chiffrierte Information. Zur Musik von Iannis Xenakis. In H.-K. Metzger, & R. Riehn (Ed.), Iannis Xenakis. Musik-Konzepte (pp. 91-160). Munich, Germany: Edition text+kritik.

Gibson, B. (2011). The Instrumental Music of Iannis Xenakis. Theory, Practice, Self- Borrowing. New York, NY: Pendragon Press.

Glover, R. & Harrison, B. (2013). Overcoming Form. Reflections On Immersive Listening. Huddersfield, UK: University of Huddersfield Press.

Guy, B. (1976). Introduction to Theraps. Paris, France: Salabert.

Huxley, A. (1963). The Doors of Perception and Heaven and Hell. Harmondsworth, UK:

Penguin Books.

Jovanov, E., & Maxfield, M.C. (2011). Entraining the Brain and Body. In J. Berger, & G. Turow (Eds.), Music, Science and the Rhythmic Brain. Cultural and Clinical Implications (pp. 31-48). London, UK: Routledge.

Kanach, S. (Ed.) (2010). Performing Xenakis. New York, NY: Pendragon Press.

Kuppers, P. (2004). Disability and Contemporary Performance: Bodies on the Edge. London,

UK: Routledge.

McFarland, K. (2010). Second Generation Interpretation of Xenakis' string Quartets. In S.

Kanach (Ed.). Performing Xenakis. (pp. 249-262). New York, NY: Pendragon Press.

de la Motte-Haber, H. (1995). Handbuch der Musikpsychologie. Laaber, Germany: Laaber

Verlag.

Schotzko, D., & Cesare, N.T. (2010). Pity and Fear: Iannis Xenakis' Psappha as Aristotelian Tragedy. In S. Kanach (Ed.). Performing Xenakis (pp. 203-218). New York, NY: Pendragon Press.

Sloboda, J. & Juslin, P. (2005). Affektive Prozesse: Emotionale und ästhetische Aspekte musikalischen Verhaltens. In T.H. Stoffer, & R. Oerter, Allgemeine Musikpsychologie, (pp. 767-841). Göttingen, Germany: Hogrefe.

Terrazas, W. (2010). Xenakis' Wind Glissando Writing. In Kanach, S. (Ed.), performing Xenakis. The Iannis Xenakis Series, 2 (pp. 25-52). New York, NY: Pendragon Press.

Xenakis, I. (1976). Theraps. Paris, France: Salabert.




Copyright (c) 2017 ÍMPAR: online journal for artistic research

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.