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Music, Mime & Metamorphosis

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Music, Mime & Metamorphosis Doctor of Creative Industries Project 2: Music, Mime & Metamorphosis ‘Blind Collaboration’; Mime; and the non-musical aspects of Musical Performance VODcasts & Commentary This paper accompanies and supports a series of VODcasts which, in combination: 1. catalogue the process of ‘Blind Collaboration’ (DCI Project 1) in the recording of a contemporary music album (2006-2007) 2. provide an analysis of the non-musical aspects of live musical performance 3. examine the application of Mime performance techniques to the Music performance context, to enhance stage presence and communication between music performer and audience CHRISTIAAN H. WILLEMS Grad.Dip.ArtsAdmin, MA CREATIVE INDUSTRIES FACULTY QUEENSLAND UNIVERSITY OF TECHNOLOGY Submitted in partial fulfilment of the requirements of the degree of Doctor of Creative Industries, Queensland University of Technology. 2008 KEY WORDS: VODcast, Blind Collaboration, Music Collaboration, Music Recording, Body Language, Physicality, Mime, Serendipity, Live Performance, Non-Musical aspects of Musical Performance, Soft Marketing DCI Project 2: Music, Mime & Metamorphosis. Christiaan Willems 2008 i Music, Mime & Metamorphosis ‘Blind Collaboration’; Mime; and the non-musical aspects of musical performance DCI Project 2: Music, Mime & Metamorphosis. Christiaan Willems 2008 ii ABSTRACT: With confirmation by Kurosawa & Davidson’s (2005) research that, ‘little investigation has been undertaken to explore the nonverbal information specified in a musical performance and its functions’ (p. 112), this paper seeks to both address that lack of investigation, and simultaneously explore areas where such ‘nonverbal information’ may be highlighted, stylised and exploited, in the interests of enhancing performer/audience communication, performance confidence and stage presence in the musical context. This paper is presented in conjunction with, refers to, and supports a series of VODcasts which constitute the primary source for this analysis/discussion, and which: a) catalogue an artistic process termed by the author, ‘Blind Collaboration’, in the recording of a contemporary music album b) provide an analysis of the effects of the non-musical aspects of live musical performance in the solo acoustic performance context c) explore the application of Mime performance techniques to the music performance context with a view to enhancing stage presence, performance confidence and the performer/audience relationship. Supplementary to and supporting the VODcasts (numbered 00 to 33 inclusive, ranging in duration from approximately 0:50 – 2:00 minutes), is the inclusion of written analyses of a variety of professional Concert performances (Appendix 2), both DVD and Live, providing both broad contextual information and specific examples. This analysis also includes performances by the author (Appendix 3). DCI Project 2: Music, Mime & Metamorphosis. Christiaan Willems 2008 iii CONTENTS: KEY WORDS:............................................................................................................... i ABSTRACT:............................................................................................................... iii CONTENTS:............................................................................................................... iv STATEMENT OF AUTHORSHIP:............................................................................... vi ACKNOWLEDGEMENTS:......................................................................................... vii Introduction: the Journey, the Focus:...................................................................... 1 SECTION 1: ‘Blind Collaboration’ - VODcasts ................................................... 7 1.1 Blind Collaboration – the Process: ........................................................ 7 1.2 VODcasts – what are they?................................................................... 9 1.3 Why VODcasts?.................................................................................. 10 1.4 The VODcast Series: .......................................................................... 11 1.5 VODcast Styles:.................................................................................. 12 SECTION 2: Live Music Performance - musical and non-musical aspects: .. 17 2.1 Background:........................................................................................ 17 2.2 What makes a Concert Memorable? (refer VODcast 17):.................... 22 2.3 Concert Analyses: – Various Artists .................................................... 24 2.4 Concert Analysis – David Bowie.......................................................... 27 2.5 Audience Communication (refer VODcast 30):.................................... 31 2.6 Solo Performance (refer VODcast 15):................................................ 38 2.7 What constitutes ‘The Package’? (refer VODcast 16):......................... 39 2.8 The Physicality of Performance:.......................................................... 42 2.9 The Detail: .......................................................................................... 50 SECTION 3: Music, Mime & Metamorphosis:................................................... 55 3.1 Background:........................................................................................ 55 3.2 Mime and Music:................................................................................. 57 3.3 What is Mime? (refer VODcast 26):..................................................... 58 3.4 Mime – Audience Contact: .................................................................. 60 3.5 Music – Audience Contact:.................................................................. 61 3.6 Mime & Music – Allies or Opposites? .................................................. 62 3.7 ‘The Package’ – Physicality (refer VODcast 18): ................................. 65 3.8 If it Moves, Control it (refer VODcast 19):............................................ 68 3.9 The Body – Bits and Pieces: (refer VODcasts 18; 20 - 27).................. 70 3.9.1 The Face:............................................................................................ 70 3.9.2 The Eyes:............................................................................................ 70 3.9.3 The Chest (refer VODcast 27):............................................................ 71 3.9.4 The Hands (refer VODcast 22):........................................................... 74 3.9.5 The Knees/Legs (refer VODcast 20 & 21): .......................................... 75 3.9.6 The Feet: (refer VODcast 20):............................................................. 76 3.10 The ‘Package’: Putting It Back Together: (refer VODcast 25):............. 77 3.11 Performance Anxiety (refer VODcast 29): ........................................... 79 3.12 Taking Command of the Space (refer VODcast 28): ........................... 84 DCI Project 2: Music, Mime & Metamorphosis. Christiaan Willems 2008 iv 3.13 The Internal Space (refer VODcast 29; 30):......................................... 88 3.14 The External Space (refer VODcast: 29; 31): ...................................... 90 3.14.1 Setting Your Physical Parameters: ...................................................... 91 3.14.2 Designing Your Space (refer VODcast: 32): ........................................ 93 3.14.3 Reducing Your Variables – Physical:................................................... 94 3.14.4 Reducing Your Variables – Banter:...................................................... 94 3.14.5 Banter: Case Study – ‘Siam’................................................................ 95 3.15 Performance Repetition - the case for ‘Case Hardening’: .................... 96 SECTION 4: CONCLUSION:............................................................................... 98 4.1 Why Should We Bother?: .................................................................... 98 4.2 Artist as ‘Mini-Corporation’ .................................................................. 99 4.3 Definitions & Context:........................................................................ 100 4.4 ‘Soft’ Marketing:................................................................................. 103 4.5 Metamorphosis?................................................................................ 104 References:............................................................................................................. 106 Appendices:............................................................................................................ 113 Appendix 1:............................................................................................................. 114 Appendix 2:............................................................................................................. 116 Appendix 3:............................................................................................................. 142 Appendix 4:............................................................................................................. 149 Appendix 5:............................................................................................................. 155 Appendix 6:............................................................................................................. 156 DCI Project 2: Music, Mime & Metamorphosis. Christiaan Willems 2008 v STATEMENT OF AUTHORSHIP: The work contained in this thesis has not been previously
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