Performance og autentisitet Performance og autentisitet l Performance

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Performance og autentisitet

Performance og autentisitet

Performance og autentisitet l Performance l Autentisitet l To cases

Performance og autentisitet l Performance l Autentisitet l To cases

Performance og autentisitet Performance l Hvem og hva er ”performer”/utøver/fremfører? l Kunstmusikk - utøverens

Performance og autentisitet Performance l Hvem og hva er ”performer”/utøver/fremfører? l Kunstmusikk - utøverens følelser l Motiver (Roland S. Persson 2001) l Emosjonell kommunikasjon (Patrick N. Juslin 2001) l Kommunikasjonsnøyaktighet og kodebruk l Brunswiks ”Linsemodell”

Performance og autentisitet Performance l Populærmusikk: Performance vs. Recording (vs. Song) l En sang

Performance og autentisitet Performance l Populærmusikk: Performance vs. Recording (vs. Song) l En sang er ”paradigmatically a specified combination of text, melody, and harmonic support” (Gracyk 1996: 47) l ”Recording realism” - fremføringen har alltid ontologisk prioritet l Intensjon l Primær- og sekundærmateriale

Performance og autentisitet Autentisitet l l Adorno (1987 [1939]) l Standardisering l Pseudo-individualisering l

Performance og autentisitet Autentisitet l l Adorno (1987 [1939]) l Standardisering l Pseudo-individualisering l ”Plugging” Benjamin (1991 [1936]) l Autentisiteten unndrar seg den tekniske reproduserbarheten l ”Aura”

Performance og autentisitet Autentisitet l Frith (1986) l 1. Teknologi vs. natur l 2.

Performance og autentisitet Autentisitet l Frith (1986) l 1. Teknologi vs. natur l 2. Teknologi vs. samfunn l 3. Teknologi vs. Kunst l Teknologiske muligheter for autentisitet: l a) innspilling l b) mikrofon l c) magnet-tape

Performance og autentisitet Autentisitet l Gracyk (1996) l Falsifikasjon l Autografisk vs. Allografisk musikk

Performance og autentisitet Autentisitet l Gracyk (1996) l Falsifikasjon l Autografisk vs. Allografisk musikk l Sampling l Appropriasjon vs. allusjon l Romantisk ideologi l Rockens autonomi

Performance og autentisitet Autentisitet l Eksempler: l Bruce Springsteen l Er ikke nødvendigvis ”the

Performance og autentisitet Autentisitet l Eksempler: l Bruce Springsteen l Er ikke nødvendigvis ”the real thing”, men opprettholder troen på at ”the real thing” finnes l Representerer autentisitet i motsetning til det kunstige l Prince (”Diamonds and Pearls”) l Postmoderne vokal uten ”dybde”? l ”To be authentic and to sound authentic is in the rock context the same thing. Music can not be true or false, it can only refer to conventions of truth and falsity” (Frith 1988: 100)

Performance og autentisitet To cases l Case 1: Oingo Boingo vs. Jean Michel Jarre

Performance og autentisitet To cases l Case 1: Oingo Boingo vs. Jean Michel Jarre l Hva er mest autentisk?

Performance og autentisitet To cases l Case 2: Roger Hodgson vs. Roger Hodgson l

Performance og autentisitet To cases l Case 2: Roger Hodgson vs. Roger Hodgson l Sang vs. Innspilling - hva er viktigst/hva overlever?

Performance og autentisitet To cases

Performance og autentisitet To cases

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