Our objective is to explore the performance and the performers of Early Modern Music (c. 1400–1750). We seek to reconfigure how the music may be understood by and communicated to a present-day audience and improve, develop and discover new methodological approaches to how the music can be studied in a broad context. Central to our work is interdisciplinary approaches to artistic practise, theory, history, social- and cultural interactions and pedagogy. We undertake to:
•This group is part of the interdisciplinary research-platform Arts in Context. The group members are engaged in academic research as well as in artistic research
MusPed: Views on Early Music as Representation—Invitations, Congruity, Performance (Research anthology)
Eds. Rolfhamre, R. & Angelo, E.
For Cappelen Damm Akademisk/NOASP
Publication date: ??? 2021.
Early music performance in its broadest capacity presents a compelling case of being something present representing, presenting, enacting, re-enacting, living and re-living, concretising and fantasising a historical past. It is both what it is and something entirely other. Inspiring countless efforts to come to terms with its nature, one way of approaching the act of conveying or doing history is through pedagogy. Pedagogy, here, is multifaceted as it is placed and displaced in learning, acting, mediating, communicating, perceiving, conveying and persuading historically remote, cultural practices. As such, the anthology will include both explicitly pedagogical chapters and more implicit approaches situated within pedagogical settings. The driving force behind the project is: when safekeeping our European cultural heritage, how do we do so and to what effect? To cast a fresh gaze on traditional Early music performance studies, we argue for the pedagogical potential of such a project. Not only as something functioning as an artefact used within an educational setting, but as something being primarily pedagogical also in its formation and re-formation. The way Early music is construed and portrayed just to fulfil the official boundary of its terminology, is also a pedagogical act performed in multiple ways. It is not a question of regarding Early music scholarship and artistry as binary presentism vs historicism, but rather as historicism in presentism and presentism in historicism. It is precisely what this volume is all about and to which it seeks to contribute. The anthology gathers a collection of chapters highlighting spectatorship, experience, theory, rhetoric, philosophy, representation, performance, performativity, literature, visual arts, pedagogy, education, pragmatism and also new-materialism. It treats music that is readily categorised as Early music, and music that is bordering to, or even becoming, something else entirely, but with evident roots in the Early music repertoire.