Voices, Bodies, Practices

Catherine Laws is a pianist, reader in Music at the University of York, and senior artistic research fellow at the Orpheus Institute. William Brooks is professor of music at the University of York, emeritus professor at the University of Illinois, scholar-in-residence at the Newberry Library, and senior research fellow at the Orpheus Institute. David Gorton is a composer, senior postgraduate tutor and associate head of research at the Royal Academy of Music, associate professor at the University of London, and associate researcher at the Orpheus Institute, Ghent. Thanh Thủy Nguyễn is a đàn tranh player, a PhD candidate at Malmo Academy of Music at Lund University, and a đàn tranh teacher at Vietnam National Academy of Music. Stefan Östersjö is a guitarist, chaired professor of Musical Performance in Piteå School of Music at Luleå University of Technology, and associate researcher at the Orpheus Institute, Ghent. Jez Wells is an audio designer and senior lecturer in Sound Recording in the Department of Music at the University of York.

• FiguresContents of the Online Repository of Supplemental FilesIntroductionCatherine LawsChapter 1Austerity Measures I: Performing the Discursive VoiceDavid Gorton and Stefan ÖstersjöPart 1: Collaboration and the discursive voicePart 2: Analysing the discursive voice in performanceConclusionsChapter 2Being a Player: Agency and Subjectivity in Player PianoCatherine LawsPart 1: Player Piano and Saying “I”Part 2: The Embodied Subject in Player PianoPart 3: Instrument as AgentPart 4: From Instrument to EcologyPostlude: “Alone With My Ten Fingers”?Chapter 3FootnotesWilliam Brooks, Stefan Östersjö, and Jeremy J. WellsPart 1Part 2Part 3 Chapter 4Arrival Cities: HanoiNguyễn Thanh Thủy and Stefan ÖstersjöArrival Cities: Hanoi1. Introduction2. Modes of collaboration3. Documentary, empathy, and inter-subjectivity4. The making of Arrival Cities: Hanoi5. The discursive voice in intercultural collaborationConclusionCatherine LawsReferencesNotes on ContributorsIndex