PERFORMING the UNKNOWN

Mapping Modes of Musical Praxis through Artistic Research Results, Diffractive Methodologies, Existential Psychology, New Materialisms and Performance Philosophy. 

This project

1) begins with a curiosity for the Unknown, for a performer's mind and identity
2) and an historical music manuscript (also a musical knowledge map),

3) allowing for an exploration of the performer's intra-active ways of meaning-making through music, 

4) highlighting ways of re/turning, diffracting and challenging through terms such as authenticity, ornamentation, form-force-style-genre, pure sound, experimentation, performance-practice, methods-modes, existensive learning,

5) The project outcome:

- a review of the 'early music movement' developement through the perspective of artistic research and performative praxis

- Intra-active encounters (explorative semina/labo/rehearsals, symposia & conferences) through the re-visioned cluster framework of 17^th century Accademia degl'Incogniti (Miato 1998, Calcagno 2003, Muir 2007, Belgrano 2011, 2016)

- A radical research strategy for mapping musical performance practice

Ref.

Barad, K. (2014) ‘Diffracting Diffraction: Cutting Together-Apart’, Parallax, Vol. 20, No. 3, pp. 168-187

Calcagno, M. (2003) ‘Signifying Nothing: On the Aesthetics of Pure Voice in Early Venetian Opera’, The Journal of Musicology, Vol. 20. No 4, pp. 461-497

Belgrano, E. (2004/2017) ‘Eclatante Amarante. A Portait of the French Singer Anne Chabanceau de La Barre (1628-1688)‘, Research Catalogue, https://www.researchcatalogue.net/view/229531/229532/0/0 [accessed 26/08/2019]

Belgrano, E. (2011/2018) ‘“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.‘, Research Catalogue (2011/2018) https://www.researchcatalogue.net/view/397858/397859/0/0 [accessed 19/08/2019].

Belgrano, E. (2016) ‘Vocalizing Nothingness: (Re) configuring vocality inside the spacetime of Ottavia’. Journal of Interdisciplinary Voice Studies,Vol. 1 Number 2, pp. 183-195 .

Belgrano, E. (2018) ‘Ornamenting Vocality. Intra-active methodology for Vocal Meaning-Making.‘, Ruukku Studies in Artistic Research, 9 (2018) https://doi.org/10.22501/ruu.370801 [accessed 19/08/2019], www.ruukku-journal.fi.

Belgrano, E. (2019) ‘A Singing Orna/Mentor's Performance or Ir/rational Practice‘, Ruukku Studies in Artistic Research, 11  https://doi.org/10.22501/ruu.402061 [accessed 19/08/2019], www.ruukku-journal.fi.

Boer, J. (2019) ‘New Perspectives in the Historical Development of the Main Subject‘, Research Catalogue,  https://www.researchcatalogue.net/view/56212/56213/0/0 [accessed 19/08/2019].

Haseman, B. (2006) ‘A Manifesto for Performative Research’, Media International Australia incorporating Culture and Policy, theme issue “Practice-led Research”, No, 118, pp. 98-106.

Karttunen, A. (2018) ‘The aural garden of sounding materials: performing within the materiality of Et in Arcadia ego-music performance‘, Ruukku Studies in Artistic Research, 8 https://doi.org/10.22501/ruu.420481[accessed 19/08/2019], www.ruukku-journal.fi.

Miato, M. (1998) L'Accademia degli Incogniti di Giovan Francesco Loredan, Venezia (1630-1661), Leo Olschki Editore, Firenze

Muir, E. (2007) The Culture Wars of the Late Renaissance: Skeptics, Libertines and Opera, Harvard University Press, Boston

Van der Tuin, I. (2019) ‘Deleuze and Diffraction’, in: Posthuman Ecologies: Complexity and Process after Deleuze. Braidotti, R. and Bignall, S. (Eds.) Rowman and Littlefield International, London, pp. 17-39.

Vicens, C. (2017) ’Il Cembalo del Partenope. A Renaissance harpsichord tale.’ Carpe Diem Records, CD-16312