Music, Sound, and Voice in Somaesthetics: Overview of the Literature
(Read︎︎︎)
AUTHOR
Anne Tarvainen
PUBLICATION
The Journal of Somaesthetics Volume 5, Number 2 (2019)
DATE OF PUBLICATION
December 31, 2019
DECRIPTION
During the last ten years, somaesthetics has been increasingly applied in studies of music, sound, and the voice. In this overview, I will map out the most interesting articles and books in this field after briefly introducing somaesthetics and considering how its various dimensions could be utilized in issues related to sound and music. In addition, I will discuss the role of the body in previous academic approaches to music. In the first main section of the article, I will introduce some texts by Richard Shusterman, the developer of somaesthetics, in which he deals with music, sound, and the voice. After that, I will present the writings of other scholars who apply somaesthetics in their music-, sound-, and voice-related approaches. T his article is intended to give an overview, not to comprehensively deal with the content of these texts, and to offer some entry points for readers interested in applying somaesthetics to research and/or artistic practices involving music, sound, and the voice.
A HISTORY AND
PERFORMANCE GUIDE
OF A CONCERTO FOR
TRUMPET AND CHAMBER
ENSEMBLE: FANFARES
FOR THE APOCALYPSE
BY KEN UENO
Available through
Scholarship@Miami
(Read︎︎︎)
AUTHOR
Philippe Pierre Brunet
PUBLICATION
Doctor of Musical Arts Dissertation,
University of Miami
DATE OF PUBLICATION
April 25, 2016
DECRIPTION
Music for trumpet has seen a great expansion over the past fifty years. The importance of this development to the trumpet and music world cannot be overstated. The purpose of this study is to explain the process of commissioning, collaborating, preparation, and performance of Fanfares for the Apocalypse by Ken Ueno. Fanfares for the Apocalypse, a concerto for trumpet and chamber ensemble was commissioned and premiered by the University of Miami’s Henry Mancini Institute at the Frost School of Music featuring Philippe Brunet as soloist. This essay will address the history of Fanfares for the Apocalypse including the process of commissioning, history of the composer, practice techniques and application of various extended trumpet techniques found in the concerto as well as a performance guide. It will also address the ways that this concerto is person specific in that it was composed with the specific skills and musical aura of the soloist in mind.
On Commissioning New Music for Baroque Cello
(Read︎︎︎)
AUTHOR
Elinor Frey
PUBLICATION
Circuit Musiques contemporaines
DATE OF PUBLICATION
12 September 2018
DECRIPTION
In 2014, cellist Elinor Frey began commissioning new music for the five-string Baroque cello as a way to contribute to and expand the repertoire for the instrument. Her project grew to three new works for five-string cello, two works for the four-string cello, and one for cello and harpsichord. This article documents Frey’s close collaborations with six composers—Scott Godin, Isaiah Ceccarelli, Linda Catlin Smith, Maxime McKinley, Ken Ueno, and Lisa Streich—and reflects upon the ways in which her approaches to style and performance practice played a role in interpreting the new works. Frey also explores how she drew inspiration from Baroque stylistic qualities such as concealment and illusion.
THE SOUND OF
SOMAESTHETICS:
KEN UENO’S
JERICHO MOUTH
(Read︎︎︎)
AUTHOR
Martin Jay
PUBLICATION
The Journal of Somaesthetics
Volume 4, Number 1
DATE OF PUBLICATION
2018
DECRIPTION
A sound installation titled Jericho Mouth was mounted at the Beijing Inside-Out Museum in 2013 by the American avant-garde composer and performer Ken Ueno. Drawing on the work of Richard Shusterman and Roland Barthes, this essay presents it as powerful example of acoustic somaesthetics in which the material body—in particular the voice emanating from the throat and guts rather than the lungs and breath—resists cultural sublimation.
AUTHOR
Michael Maizels
PUBLICATION
In and Out of Phase: An Episodic History of Art and Music in the 1960s (University of Michigan Press)
DATE OF PUBLICATION
2020
DESCRIPTION
In and Out of Phase is the first sustained look at the creative interactions between artists and musicians of [the 1960s], looking at four pairs of creators who used process-oriented ideas and techniques in their music and art: Dan Flavin and La Monte Young; Sol LeWitt and Milton Babbitt; Richard Serra and Steve Reich; and Bruce Nauman and Meredith Monk. Maizels uncovers not just the social and intellectual connections between these two groups of creators, but illuminates how the focus on repetitive actions, pattern and process, and an emphasis on “surface” created mutual influence—and stylistic change—between music and art during this period. The book’s concluding chapter briefly addresses the enduring influence of the innovations of the 1960s on more recent works.
THE VOICE OF
EMERGING SPACE:
ON KEN UENO’S
SOUND INSTALLATIONS
(Read︎︎︎)
AUTHOR
Marita Tatari
DATE OF PUBLICATION
2019
DESCRIPTION
Philosopher Marita Tatari (PD Ruhr University Bochum) discusses two sound installations by Ken Ueno: Jericho Mouth (Beijing Inside-Out Museum, 2013) and Jepson Satellite (Telfair Museums, 2018).
AUTHOR
Zhou Yi
DATE OF PUBLICATION
2017
DESCRIPTION
Curator Zhou Yi discusses the early history of the Inside-out Art Museum and the Miniature Museum (a hollow wall feature designed by architect, Thomas Tsang), as well as the first piece to make use of the Miniature Museum, Jericho Mouth, an installation/performance by Ken Ueno.
AUTHOR
Marco Morales Villalobos
DATE OF PUBLICATION
2013
DESCRIPTION
Curator Marco Morales Villalobos presents an introduction to Ken Ueno’s sound installation, Liquid Lucretius, installed under his curatorship at the Museo Universitario Arte Contemporáneo in Mexico City (MUAC).
AUTHOR
Shira Lee Katz
DATE OF PUBLICATION
2012
DESCRIPTION
Knowledge about the creative process has increased dramatically over the last century, with a burgeoning literature on creativity together with a growing amount of research on the composing process. Despite this, Shira Lee Katz argues in her chapter that there is still a gap in understanding the prototypical ways in which musical compositions come to fruition. What rolde do non-musical factors play? Are composers even aware of the factors that influence their work? If composer do employ non-musical models as they compose, what is the role of this material in their work? In other words, ther has been little investigation around the factors that inspire composers or about how initial ideas are synthesised as compositions develop. Katz observes three composers [*including Ken Ueno] drawing inspiration from content domains characterised by strong visual elements which are identified as providing a structural roadmap for their compositions.
AUTHOR
Ken Haley
DATE OF PUBLICATION
2011
DESCRIPTION
An excerpt from Ken Haley’s novel, wherein he meets Ken Ueno and attends a premiere of Ueno’s work.