Title: Performativity and Liveness: Approaches to Performance and Composition in Electroacoustic Music
Author: Leonie Patrizia Strecker
Institution: University of Music and Performing Arts, Graz
Date: September 2023
Field: Computer Music
Degree Name: Master of Arts (MA)
Artistic Quality:
The thesis tackles challenging concepts like performativity and spatial interaction, which Strecker tries to weave into her artistic work. However, the artistic interpretation feels limited to her personal approach, which could be enhanced by looking at other artists’ work for comparison. Examining how different genres approach these themes could offer valuable context and strengthen her own interpretations.
Degree of Innovation:
Strecker’s work has moments of originality, especially in how she applies theoretical ideas to her performances. Yet, the approach stops short of exploring newer methods or current technologies that could deepen the study of “liveness.” For instance, exploring real-time audience interaction or using AI-driven components might take the concept of liveness in a direction that resonates more with today’s audiences. The potential for further innovation is present but could be expanded.
Independence:
The thesis shows independence, especially in how Strecker applies theory to her compositions. However, a more questioning approach to her chosen ideas could have added depth. For example, considering viewpoints that challenge or add complexity to the idea of performativity in electroacoustic music would show a willingness to explore different angles, which could make her conclusions stronger.
Organization and Structure:
The thesis is clearly organized, but sometimes feels compartmentalized. The theoretical and practical sections could be more smoothly connected, creating a flow that lets theory and application reinforce each other. This reorganization might make the work feel more engaging for the reader.
Clarity and Communication:
Strecker’s writing is mostly clear, though some sections are quite dense with academic language, which could be challenging for readers unfamiliar with performance theory. Simplifying some of the complex ideas, or using more everyday examples, would make the thesis accessible to a wider audience. Terms like “corporeal liveness” and “mediatized presence” could especially benefit from being explained in simpler terms.
Scope of the Work:
The thesis stays focused, allowing for a deep dive into its topics, but this focus might be a bit too narrow. Relying mainly on her own compositions restricts the broader applicability of her findings. Looking at other artists’ work, or contrasting her pieces with notable electroacoustic compositions, might offer a more well-rounded perspective. Including recent advances in music technology, like machine learning in live performances, could also give the thesis a more modern edge.
Orthography, Diligence, and Accuracy:
The thesis is carefully proofed, though there are minor inconsistencies in digital citations. Additionally, bringing in newer scholarship, especially recent studies on live electronic performance, would make the arguments feel timely and better connected to current discussions in the field.
Literature:
Strecker has done well covering essential sources, referencing foundational theorists like Erika Fischer-Lichte and Philip Auslander. However, more secondary sources, particularly from fields like media studies or digital performance, could help add new angles to her analysis. Expanding the literature review in this way could show how her work fits into a broader conversation.
