Music and the mind.

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Brecht On Theatre The Development Of An Aesthetic

History of University Patronage in the United States” by Sally Banes, and “Never Enough Is Something Else: Feminist Performance Art, AvantGardes, and Probity” by Kristine Stiles. Banes begins chronicling the largely untold history of university theatres’ relation to and support of avant-garde artists; discussion of this not-alwayscomfortable relationship between artists and academe (influences, shared history, interaction) deserves wider expansion. Stiles’s essay combines personal narrative with criticism; she describes her own experience as a critic in a specific confrontation with avant-garde artists and curators who, she believes, had allowed radicalism to become an institution unto itself. As a result, she analyzes avant-garde precepts with new scrutiny, drawing a distinguishing line between “radicalism” and “radical” (defining avant-gardes as the latter), and calls upon avant-garde artists to become accountable and responsible to their commitments by approaching their work with greater probity.

http://muse.jhu.edu/journals/theatre_journal/v056/56.2hill.pdf

Theatre of Sound: Radio and the Dramatic Imagination (review)

In the UK there has never been much scope for radio art within the ream of public service broadcasting, leading artists to seek funding for their own independent projects, predominantly from the Arts Council of England (ACE) and other state funding bodies and charitable trusts. In this article, I will consider this recent avenue of practice, because its results - in terms of audience composition, artistic output and the wider cultural context of the form - shed light on both the particular context of radio art practice in the UK, and also have implications for the wider struggle for sustainable independent media networks against the diminished imaginative horizons of a public broadcast culture endlessly inured to 'unavoidable' cuts and the free market enclosure of the digital commons. In the name of „austerity‟ such cuts have been inflicted upon broadcasters worldwide.The loss of key radio arts programmes like Australia's ABC's Listening Room, as discussed in the last post by Colin Black, is by no means the exception, even in an age of expansion in digital spaces. As De Lys stated way back in 2006 it may be considered "[i]ronic that the rationalization‟ of radio arts by public broadcasters occurs at the same time that audio arts activity and the creative use of sound are expanding exponentially in community spaces, in galleries, games, and online".

The new wave on radio arts in the UK

This PhD by Publication draws together five composed features commissioned by and first aired on BBC Radio 3 and 4 between 2009 and 2013. I am the sole originator of these creative works and uniquely assume the role of composer and producer in their realisation. This combined role has given rise to a composed feature methodology common to all five publications. Within this thesis I clarify the composed feature methodology as an innovation in the practice field of storytelling in sound. I demonstrate original contribution to knowledge in the academic disciplines of media practice and performance arts by considering how the published work addresses some key research questions. This written synthesis frames the internationally acclaimed composed features within the academic sphere post hoc. To do this I adopted a Practice as Research in the arts methodology (PaR). My research strategy addressed how reflective and autoethnographic methods can be employed to critically investigate the original contributions to knowledge embodied in the generative act of making the work, and the published works themselves. This is set in the context of existing literature and practice. The process of reflection reveals three key aesthetic principles of the composed feature methodology: Firstly, the disruption of the dominant aesthetic of the supremacy of the spoken word gives equal weighting to music, spoken word and sound within a montage structure. Secondly, the disruption of the dominant aesthetic ensures that music, musicality and the composer are brought to the fore. Thirdly, therefore my voice within the work is a pluralistic entity, encompassing the composer voice, authorial voice and physical voice. By situating the composed features and myself as the practitioner within a practice lineage, I have also asserted the uniqueness of the composed feature methodology within the field. I have shown how music, musicality and the composer have played a significant role in developing and shaping a radio feature aesthetic. In outlining my approach to scoring music for the composed features I have responded to the gap in knowledge pertaining to the discourse surrounding composing music for radio drama, documentaries and features. I show here how the composed features give rise to new concepts surrounding voice and presence by employing a methodology where different modes of voice contribute to my presence within the work.

Nina Perry

Papers

Music, narrative, voice and presence: revealing a composed feature methodology.