Keyword(s):Analysis , Socio-Cultural Aspects of Electroacoustic Music , Mixed Work
Kaija Saariaho’s NoaNoa for flute and electronics consists of two materials: the live flute part and the electronic component, which can be further divided into real-time and pre-recorded material. The sound mixtures of live instrument, pre-recorded material, and real-time electronics create diverse instrumental positions, which also have effects on the musician’s experiences of self and gender. This article examines the live flautist’s embodied identity during the real-time reverberation and the pre-recorded part. Different performances of NoaNoa by different performers introduce diverse embodied flautist identities where the negotiations of gender and self are constantly redefined.
All references of the same author:
(English)Riikonen, Taina (2004). Shared Sounds in Detached Movements: Flautist identities inside the ‘local-field' spaces