Composing the discursive voice
- Submitting institution
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The Royal Academy of Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- RAM032
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Portfolio of essays and compositions
- Open access status
- Compliant
- Month
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- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- A substantial body of original work involving four articles and three compositions.
- Reserve for an output with double weighting
- No
- Additional information
- This research output is formed of several parts that together represent a single research enquiry concerning identity, subjectivity, and the fluidity of the creative process in composer—performer collaboration. The submission includes written publications situated in the field of artistic research and performance studies, and compositions which are designed to trigger various kinds of collaborative negotiation that will result in the formation of a collaborative ‘discursive voice’. The written publications provide a theoretical framework and analyse collaborative working sessions, rehearsals, and performances in order to provide empirical evidence for the manifestation of this ‘discursive voice’. The following written publications are included: Gorton D., & Östersjö, S. 2020, ‘Negotiating the Discursive Voice in Chamber Music’, in Performance, Subjectivity, and Experimentation, edited by Catherine Laws, 53-78, Orpheus Institute Series, Leuven University Press; Gorton D., & Östersjö, S., 2019, ‘Austerity Measures I: performing the discursive voice’, in Voices, Bodies, Practices, by Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells, 27-79, Orpheus Institute Series, Leuven University Press; Clarke, E., Doffman, M., Gorton, D., & Östersjö, S., 2018, ‘Fluid Practices, Solid Roles? The evolution of Forlorn Hope‘, in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, edited by Eric Clarke and Mark Doffman, 116-135, Oxford University Press; Gorton, D., & Östersjö, S., 2016, ‘Choose your own adventure music: on the emergence of voice in musical collaboration‘, Contemporary Music Review 35, no. 6: 579–598. The following compositions are included, all published by Verlag Neue Musik, Berlin: ‘Austerity Measures I‘ for 10-string guitar (2014); ‘Cerro Rico‘ for soprano violin and charango (2018); ‘Charon‘ for two guitars (2019). The following composition entered the public domain before the REF publication period but is included as contextual information: ‘Forlorn Hope‘ for eleven-string alto guitar and optional electronics (2012).
- Author contribution statement
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- Non-English
- No
- English abstract
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