Practica musica review12/30/2023 ![]() One of the reviewers was quite explicit about it and explained that the fact that the term “performativity” had a long history in music studies ¯used in reference to the act of musical performance, music-making, or musical interpretation¯ made my use of it in a different context quite problematic. However, the outside reviewers’ comments were also quite telling although I received valuable suggestions and observations from most of them, what to this day sticks in my mind is their decided opposition to the use of the notion of “performativity” in conjunction with the act of composition. My article could have been turned down for any of these reasons as far as I am concerned. Obviously, an article could be turned down from publication for many reasons from having a poorly argued case to having been sent to the wrong reviewers, to being irrelevant to the readership of the journal in question. The article was rejected from a few journals over a period of a couple of years, until I eventually lost interest in its publication in English as I moved to other projects. (Madrid 2003b: 11, 45, 95, 109, and 163) I presumed musicologists might find this notion engaging and conducive to an intellectual dialogue, and tried to find a place for the article in a musicology journal. This article had been my first approximation to an idea I would have later called “performative composition,” a theoretical concept that suggests the act of composition might allow a liminal composer to intentionally or unintentionally resolve the contradicting discourses s/he experiences as an individual living at cultural borders or contact zones, while performing his/her self in relation to these discourses as part of the compositional process. Some years ago I tried to publish the revised English version of an article I had published earlier in the Chilean music journal Resonancias. ![]() Palabras clave: Performativo, performático, práctica del performance, complejo de performance, musicología, estudios de performance, etnomusicología, teoría de la música Después de observar críticamente la incapacidad de la musicología para trascender más allá de las discusiones musicales, el autor sugiere que el articular la cuestión de la performatividad (como se entiende en los estudios de performance) más allá del locus del performance podría permitir a los musicólogos y estudiosos de la música contribuir en los proyectos intelectuales cada vez más interdisciplinarios que ocupan a las ciencias sociales y las humanidades. ![]() Key words: Performative, performatic, performance practice, performance complex, musicology, performance studies, ethnomusicology, music theoryĪdemás de presentar los ensayos del dossier especial en música y estudios de performance, este artículo señala la forma en que la noción de performance ha sido abordada en los estudios musicales tradicionales. After looking critically at the inability of musicology to transcend music studies, the author suggests that addressing the question of performativity (as understood in performance studies) beyond the locus of performance might allow musicologists and music scholars a way to contribute to the growingly interdisciplinary intellectual projects in the social sciences and the humanities. ![]() Madridīesides introducing the articles from the special issue in music and performance studies, this article surveys how the notion of performance has been dealt with in traditional music scholarship. Why Music and Performance Studies? Why Now?: An Introduction to the Special Issue Alejandro L.
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