Second, revised edition
Chapter I: The Music-Audience Nexus Seen Through The Interactive Stage Performance
Chapter I THE MUSIC-AUDIENCE NEXUS SEEN THROUGH THE INTERACTIVE STAGE PERFORMANCE Music is not supposed to be a mould of auditory sensations. We see that an expression appears inside voices. A whole occurs through one expression to another as Proust says. It is only possible in music whether in Debussy’s vicinity or in Bach’s kingdom. Maurice Merleau-Ponty Imagine an audience in a concert hall witnessing a musical performance, a classical music performance. In what way can one claim that they are attending the concert? In other words, does their physical presence signify that the audi ence forms a real part of the experience? Is there any tool to demonstrate the audience’s level of initiation? Is initiation an emotional experience, or does it require a certain level of technical competency? Perhaps it is both of these things. Yet, to what extent is it possible to construct any kind of common ground? If one remembers that interactivity in this situation stands for the verbal communication between performer and audience, is it possible to mark out the encoding-decoding flow, the two-way business between the artist and the audience, in an adequate way? Such questions are further complicated, one might add, by musician such as Fazil Say, the Turkish pianist, whose genuinely interactive style adds another variable to the traditional classical music concert experience, a style through which Say tries to establish a common ground between himself and his audience. This chapter will begin with a general discussion ofhow the flow operates (or not)...
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