Collaborative Storytelling through Contemporary Composition: Examining participation in the creation and performance of meaningful works through Judith Weir’s woman.life.song
2018 (English)Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE credits
Student thesis [Artistic work]
Abstract [en]
Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon.
Place, publisher, year, edition, pages
2018. , p. 22
Keywords [en]
feminism, intersectionality, gender, contemporary music, female composer, chamber orchestra, text, song cycle, collaboration
Keywords [sv]
genus, kvinnlig tonsättare, sångcykel, samarbete, feminismen, intersektionalitet
National Category
Music
Identifiers
URN: urn:nbn:se:kmh:diva-2791OAI: oai:DiVA.org:kmh-2791DiVA, id: diva2:1213708
Educational program
Kandidatprogram musiker
Presentation
2018-05-28, Kungasalen på Kungliga Musikhögskolan, Valhallavägen 105, Stockholm, 19:00 (Swedish)
Supervisors
Examiners
Note
Kristine Nowlain, sopran
Gustave Charpentier (1860-1956)
Depuis le jour
Ur Louise(Louise)
Libretto av G. Charpentier
Albert Dahllöf, piano
Mario Castelnuovo-Tedesco (1895-1968)
The Divan of Moses-Ibn-Ezra
1. When the morning of life has passed
2. The dove that nests in the tree-top
3. Wrung with anguish
Text av Moses-Ibn-Ezra (1058-1138)
Gustav Sondén, gitarr
Heitor Villa-Lobos (1887-1959)
Bachianas Brasileiras, no. 5 (Aria)
Text av Ruth V. Corrêa
Gustav Sondén, gitarr
Åke Uddén (1903-1987)
Tre sånger ur ”Les Chanson de Bilitis”
1. Tendresses
3. Chanson
Text av Pierre Louÿs (1870-1925)
Johanna Johnsson, piano
Gösta Nyström (1890-1966)
På Reveln
3. Havet Sjunger
Text av Ebba Lindqvist (1908-1995)
Johanna Johnsson, piano
Rebecca Clarke (1886-1979)
The Seal Man
Text ur A Mainsail Haul av John Masefield (1878-1967)
Albert Dahllöf, piano
W.A. Mozart (1756-1791)
Ach, ich Fühl’s
Ur Die Zauberflöte(Pamina)
Libretto av Emanuel Schikaneder (1751-1812)
KMH Kammarorkester
Judith Weir (f. 1954)
woman.life.song
1c. Edge (text av Toni Morrison, f. 1931)
2. Eve Remembering (text av Toni Morrison)
3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)
KMH Kammarorkester:
Sofia Winiarski, dirigent
Albert Dahllöf, piano
Andreas Nyström, slagverk
Astrid le Clercq, klarinett
Catrin Spångberg Johansson, altflöjt
Enno Leggedör, viola
Gustav Wetterbrandt, basklarinett
Henrik Wassenius, slagverk
Hugo Olsson, klarinett
Isabel Godau, violin
Johanna Moraeus, violin
Kajsa Nilsson, flöjt
Klara Källström, cello
Miia Roiko-Jokela, flöjt
Miriam Liljefors, harpa
Moa Nissfolk, gitarr
Ragnhild Kvist, viola
Simon Landqvist, slagverk
Svante Söderqvist, kontrabas
Viktoria Hillerud, cello
2018-06-052018-06-052018-06-05Bibliographically approved