Stockhausen as CEO: The Executive Model of Interpretive Labour.
Building upon research on the performance practices engendered in avant-gardism of the mid-to-late twentieth century, this essay introduces a theoretical framework for the creative work of realising experimental music, here labeled interpretive labour (IL). The Executive model of IL is discussed in...
| Publicado en: | Contemporary Music Review Vol. 41; no. 2/3; pp. 155 - 172 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr-Jun2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=158177371&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 158177371 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Apr-Jun2022 vid: 41 iid: 2/3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 158177371 10.1080/07494467.2022.2080453 ppf: 155 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 588KB tig: atl: Stockhausen as CEO: The Executive Model of Interpretive Labour. aug: au: Carithers, Kirsten Speyer affil: University of Louisville su: Stockhausen, Karlheinz, 1928-2007 Avant-garde music Musical intervals & scales Chief executive officers Executives Twentieth century sug: subj: Stockhausen, Karlheinz, 1928-2007 Avant-garde music Musical intervals & scales Chief executive officers Executives Twentieth century keyword: Cardew experimentalism interpretation labour Stockhausen ab: Building upon research on the performance practices engendered in avant-gardism of the mid-to-late twentieth century, this essay introduces a theoretical framework for the creative work of realising experimental music, here labeled interpretive labour (IL). The Executive model of IL is discussed in detail, bringing together ideas about authorship, representation, and exploitation. Performances of Karlheinz Stockhausen's Plus Minus (1963) provide an ideal case study for this issue, as historical performances highlight the challenges inherent in its realisation. Drawing on these performances' sketches, archival recordings, and reception history, it becomes apparent that Stockhausen is effectively outsourcing his compositional responsibilities in this work, suggesting the usefulness of radically reframing indeterminate music performance-practice as a mode of production. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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