A Loose Affiliation of Alleluias

This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our p...

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Autores principales:	Celeste Oram, Keir GoGwilt
Formato:	article
Lenguaje:	EN
Publicado:	Columbia University Libraries 2021
Materias:	Music and books on Music M
Acceso en línea:	https://doaj.org/article/9a7a1c4c1bd640fe8c079096563f81bc
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spelling	oai:doaj.org-article:9a7a1c4c1bd640fe8c079096563f81bc2021-11-06T18:55:47ZA Loose Affiliation of Alleluias10.52214/cm.v108i108.79210011-3735https://doaj.org/article/9a7a1c4c1bd640fe8c079096563f81bc2021-11-01T00:00:00Zhttps://journals.library.columbia.edu/index.php/currentmusicology/article/view/7921https://doaj.org/toc/0011-3735 This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis of “technique”, and via Edward Said’s notion of “affiliations” as the networks which build up cultural associations and cultural authority. With this theoretical frame, we contextualize some of the musical techniques and tropes engaged in our concerto—for instance polyphony, ornamentation, and the concerto soloist as heroic subject. We contextualize our reflections next to critical positions staked circumscribed by what Ben Piekut calls “elite avantgardism”—an analytical category which we see ourselves as operating within. We discuss, for instance, the critical gestures of musical modernism which (per Adorno’s analysis) conspicuously arrest and negate historical musical grammars and logics – and yet continue to reproduce its structuring values. In our concluding statements we gesture towards some of the pedagogical implications of this work, considering how creative practice can be leveraged to re-appraise the histories shaping our practices of composition, improvisation, and performance. Celeste OramKeir GoGwiltColumbia University LibrariesarticleMusic and books on MusicMENCurrent Musicology, Vol 108 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	Music and books on Music M
spellingShingle	Music and books on Music M Celeste Oram Keir GoGwilt A Loose Affiliation of Alleluias
description	This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis of “technique”, and via Edward Said’s notion of “affiliations” as the networks which build up cultural associations and cultural authority. With this theoretical frame, we contextualize some of the musical techniques and tropes engaged in our concerto—for instance polyphony, ornamentation, and the concerto soloist as heroic subject. We contextualize our reflections next to critical positions staked circumscribed by what Ben Piekut calls “elite avantgardism”—an analytical category which we see ourselves as operating within. We discuss, for instance, the critical gestures of musical modernism which (per Adorno’s analysis) conspicuously arrest and negate historical musical grammars and logics – and yet continue to reproduce its structuring values. In our concluding statements we gesture towards some of the pedagogical implications of this work, considering how creative practice can be leveraged to re-appraise the histories shaping our practices of composition, improvisation, and performance.
format	article
author	Celeste Oram Keir GoGwilt
author_facet	Celeste Oram Keir GoGwilt
author_sort	Celeste Oram
title	A Loose Affiliation of Alleluias
title_short	A Loose Affiliation of Alleluias
title_full	A Loose Affiliation of Alleluias
title_fullStr	A Loose Affiliation of Alleluias
title_full_unstemmed	A Loose Affiliation of Alleluias
title_sort	loose affiliation of alleluias
publisher	Columbia University Libraries
publishDate	2021
url	https://doaj.org/article/9a7a1c4c1bd640fe8c079096563f81bc
work_keys_str_mv	AT celesteoram alooseaffiliationofalleluias AT keirgogwilt alooseaffiliationofalleluias AT celesteoram looseaffiliationofalleluias AT keirgogwilt looseaffiliationofalleluias
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A Loose Affiliation of Alleluias

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