Live Versus Mediatised: The Added Value of ‘Liveness’ on a Music Performance

Ieva Dudaite
That concert is performed live is essential to its definition, particularly in contrast with non-live
performances on recordings or radio broadcasts. Yet, despite the centrality of the issue, there is
little research asking whether there is indeed a distinctive nature to performing live. This master
thesis employs techniques of ethnographic research, analysis and qualitative interviewing to
explore empirically originating understandings of how ‘liveness’ influences music performance
from artist’s perspective. The topic is highly relevant and challenging as it explores the
importance of performing live as opposed to mediatised performance (radio, TV broadcasts, CD
recordings). ‘Liveness’ is a concept that applies to the theatre and music but not to the other
forms of arts, such as visual arts, literature since the core of ‘liveness’ lies within the
simultaneous presence of the artist and the audience. In terms of scope of literature in this area,
this specific topic is still rather under-researched with growing interest in its relevance. Whereas
there are many researchers and articles exploring ‘liveness’ in theatre or from audience
perception, this thesis fills the niche of the impact of performing live upon the artist in the field of
music.

-

-

Bibliografie

Bibliography

Adorno, T. W. (1962). Introduction to the Sociology of Music. New York: Seabury Press.

Adshead, J. (1988). Dance Analysis: Theory and Practice. London: Dance Books.

Ashby, A. (2010). Absolute Music, Mechanical Reproduction. Berkeley: University of California Press.

Ashby, A. (2013) Liveness in Modern Music: Musicians, Technology, and the Perception of Performance Review. Music and Letters, 94(4), pp. 719-721.

Attali, J. (1985). Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.

Auslander, P. (2008). Liveness: Performance in a Mediatized Culture. London: Routledge.

Barker, M. and Brooks, K. (1998). Knowing Audiences: Judge Dredd, Its Friends, Fans and Foes. Luton: University of Luton Press.

Barker, M. (2003). Crash, Theatre Audiences, and the Idea of ‘Liveness’. Studies in Theatre and Performance, 23(1), pp. 21-39.

Baudrillard, J. (1981). For a Critique of the Political Economy of the Sign. St. Louis: Telos Press.

Bauman, R. (2004). A World of Other’s Words: Cross-Cultural Perspectives on Intertextuality. Oxford: Blackwell. Bayley, A. (2010). Recorded Music: Performance, Culture and Technology. Cambridge, UK: Cambridge University Press.

Benjamin, W. (1986). The Work of Art in the Age of Mechanical Reproduction. In Hanhardt, J. G., Video Culture: A Critical Investigation. Layton: Peregrin Smith Books, pp. 27-52.

Burman, E. and Parker, I. (1993). Discourse Analytic Research: Repertoires and Readings of Texts in Action. London: Routledge.

Connor, S. (1989). Postmodernist Culture. Oxford: Basil Blackwell. 39 Couldry, N. (2004). ‘Liveness’, ‘Reality’, and the Mediated Habitus from Television to the Mobile Phone. Communication Review, 7(4), pp. 353-361.

Cox, C. and Warmer, D. (2004). Audio Culture: Readings in Modern Music. New York: Continuum.

Crafts, S. D., Cavicchi, D. and Keil, C. (1993). The Music in Daily Life Project. Hanover NE: Wesleyan University Press.

Crissel, A. (2012). Liveness and Recording in the Media. Basingstoke, UK: Palgrave Macmillan.

Day, T. (2000). A Century of Recorded Music: Listening to Musical History. New Haven: Yale University Press.

DeNora, T. (2000). Music in Everyday Life. Cambridge: Cambridge University Press.

De Tiende van Tijl (May 27th, 2014). Bumblebee door Floris Onstwedder. Retrieved November 13, 2015, from http://web.avrotros.nl/detiendevantijl/player/bumblebee_floris_onstwedd…

Duncan, M. (2004). The Operatic Scandal of the Singing Body: Voice, Presence, Performativity. Cambridges Opera Journal, 16(3), pp. 283-306.

Frith, S. (1998). Performing Rites: On the Value of Popular Music. USA: Harvard University Press.

Giovanca. Official Website. Retrieved December 1, 2015, from http://www.giovanca.nl/

Godlovitch, S. (1998). Musical Performance. A Philosophical Study. London: Routledge.

Harris, K. D. (1997). My Music My Life?: Discourse Analysis and the Interview Talk of Members of a Music Based Subculture. London: Goldsmiths College.

Keller, H. (1994). Essays on Music. Cambridge: Cambridge University Press. Kerman, J. (1985). Contemplating Music: Challenges to Musicology. Cambridge, MA: Harvard University Press.

Krausz, M. (1993). The Interpretation of Music: Philosophical Essays. Oxford: Clarendon Press.

Leman, M. (2008). Embodied Music Cognition and Mediation Technology. Cambridge, MA: MIT Press.

Martynas. Official Website. Retrieved June 26, 2015, from http://www.levickis.com/

MacDonald, S. (2001). Ethnography in the Science Museum, London. In Gellner, D. N. and Hirsch, E., Inside Organisations: Anthropologists at Work. Oxford: Berg, pp. 115-137.

Melnikov, A. Official Website. Retrieved September 25, 2015, from http://www.artsmg.com/ Piano/AlexanderMelnikov/

Middleton, R. (1990). Studying Popular Music. Buckingham, UK: Open University Press. Phelan, P. (1993). Unmarked: The Politics of Performance. London: Routledge.

Reason, M. (2003). Archive or Memory?: The Detritus of Live Performance. New Theatre Quarterly, 19(1), pp. 82-89. Reason, M. (2004). Theatre Audiences and Perceptions of ‘Liveness’ in Performance. Participations, 1(2), pp. 1-29.

Reason, M. (2006). Young Audiences and Live Theatre, Part 2: Perception of Liveness in Performance. Studies in Theatre and Performance, 26(3), pp. 221-241.

Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past. London: Faber and Faber.

Sanden, P. (2013). Liveness in Modern Music. Musicians, Technology, and the Perception of Performance. New York: Routledge.

Saygun, A. A. (1951). Authenticity in Folk Music. Journal of the International Folk Music Council, 3, pp. 7–10.

Shields, R. (2003). The Virtual. London: Routledge. Society for Historically Informed Performance (SoHIP). (2015). Retrieved January 1, 2016, from https://sohipboston.squarespace.com/

Steiner, G. (1989). Real Presences. Chicago: University of Chicago Press. 41

Thom, P. (1993). For an Audience: A Philosophy of the Performing Arts. Philadelphia: Temple University Press.

University College Cork (UCC) Strategic Research Fund (2015). Rethinking Liveness: Music, Performance and Media Technology. Retrieved September 1, 2015, from https:// rethinkingliveness.wordpress.com/

Walsh, D. (1998). Doing ethnography. In C. Seale (eds.), Researching Society and Culture, pp. 217-232.

Willing, C. (1999). Applied Discourse Analysis: Social and Psychological Interactions. Buckingham: Open University Press.

Wittgenstein, P. (1922). Tractatus Logico-Philosophicus. London: Paul Kegan.

Wurtzler, S. (1992). “She Sang Live, but the Microphone Was Turned Off": The Live, the Recorded and the Subject of Representation. Sound Theory Sound Practice. London: Routledge, pp. 87-103.

Universiteit of Hogeschool
Universiteit Maastricht- MA Kunst en Erfgoed, Conservatorium Maastricht- MA Muziek (Piano)
Universiteit Maastricht en Conservatorium Maastricht
Publicatiejaar
2016
Promotor(en)
Gert Keunen
Kernwoorden
Share this on: