Päivi Järviö
DMus Päivi Järviö specializes in the singing, researching and teaching of Baroque and Renaissance music. She has performed as a soloist with numerous baroque ensembles and orchestras in Finland as well as abroad. Her recordings include music by Claudio Monteverdi, Luigi Rossi, Henry Purcell, and Tomás de Torrejón y Velasco. Further, she coaches singers, choirs, ensembles and conductors. In 2011 she completed her doctoral thesis on the embodied performing practice of Italian Early Baroque music, and is currently working as university lecturer and head of the DocMus Doctoral School at the Sibelius Academy of the University of the Arts, Helsinki. In 2012 she worked as senior fellow in the Artistic Experimentation in Music research project at the Orpheus Institute (Gent, Belgium). Her present research focuses on the embodied present-day practice of performing so-called Early Music and embodied historiography.
Address: PO Box 30, FI-00097 Uniarts
Address: PO Box 30, FI-00097 Uniarts
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This demonstration was part of our artistic research project in progress the main body of work on which will begin next fall. In our project, it is our intention to study the performing practices of the past by doing detailed work on fragments of music, by experimenting with different practice methods, by recording our work, by studying it closely, by doing workshops with other musicians and students, by attempting to verbalize the experience of working on this repertoire etc. This work will be supported by the study of source material from the 17th and 18th centuries. One theoretical frame of reference for our work will be the phenomenology of Michel Henry that focuses on the singular, live experience of a human being. As a sideline, we will address the ongoing discussion on Early Music performance.
This demonstration was part of our artistic research project in progress the main body of work on which will begin next fall. In our project, it is our intention to study the performing practices of the past by doing detailed work on fragments of music, by experimenting with different practice methods, by recording our work, by studying it closely, by doing workshops with other musicians and students, by attempting to verbalize the experience of working on this repertoire etc. This work will be supported by the study of source material from the 17th and 18th centuries. One theoretical frame of reference for our work will be the phenomenology of Michel Henry that focuses on the singular, live experience of a human being. As a sideline, we will address the ongoing discussion on Early Music performance.
Invited presenters have been asked to meditate on a set of specific entries as suggested in the program below, each one departing from their specific musicological/artistic research in relation to the music of Claudio Monteverdi and the contemporary artistic context in mid-seventeenth century Venice. (This research seminar is curated based on methodologies /theories on intra-action and assemblage.)
Time:
15 June 2017
15:00-18:30
Venue:
Palazzo Grimani, Ruga Giuffa, off Campo Santa Maria Formosa, Venezia,
Participants need to contact the organisers in advance.
Latest registration day: June 10
[email protected]
Event documented in the Research Catalogue Database:
https://www.researchcatalogue.net/view/361060/361061
Tutkimus rakentuu italialaisen varhaisbarokin musiikin ja sen esittämisen käytännön tarkasteluille, joiden lähtökohtina ovat (1) laulajaa ympäröivä, jaettavissa oleva musiikillinen todellisuus (musiikinhistoria, musiikinteoria, esittämiskäytäntö, puhuminen) ja (2) laulamisen kehollistunut kokemus. Lähtökohtien moninaisuus tekee näkyväksi tarkastelijan position ratkaisevuuden. Tarkastelut kiinnittyvät väljästi ranskalaisen Michel Henryn kokemisen yksittäisyyttä painottavaan filosofiaan.
Tutkimuksen päätelmät koskevat laulamista, Monteverdin musiikkia, tutkimuksen menetelmiä sekä tutkimuksen seurauksia laulajan ja pedagogin toiminnalle. Tutkimuksessa laulaja kuvataan musiikin tekijänä ja tutkijana, jonka on tietämisensä ja taitamisensa pohjalta välttämätöntä ottaa kantaa kaikkiin musiikin esittämisen käytännön kysymyksiin. Laulajan tavallisesti näkymättömiin jäävää työskentelyprosessia avataan. Laulaminen ajatellaan kehon sisäisenä liikkeenä, ja tekstin kanssa työskentely ymmärretään elävän puhumisen uurtamisena laulavaan kehoon. Monteverdin ajan improvisatorisen lauluperinteen ja puhumisen käytäntöjen merkitys resitatiivin kehittymiselle ja sen esittämisen tavalle osoitetaan. Tutkija-laulajan ääni ajatellaan musiikin, laulamisen ja puhumisen tarkastelujen lähtökohdaksi ja kehollistuneeseen muusikkouteen perustuvien musiikin tutkimisen tapojen kehittelemisen mahdollisuudeksi. Laulaen puhumisen merkitystä laulajan ja continuon resitatiivien työstämisen tapana painotetaan. Tutkimuksessa esitetään myös kysymys klassisesti koulutetun lauluäänen rajoista ja niiden laajentamisen mahdollisuudesta.
The subject of this study is the experience of a singer of Early Italian Baroque Music. Description of this experience relies on the concept of sprezzatura, which was used in the Italy of Monteverdi's time and referred to subtlety based on knowledge, skill and experience, and to a cultivated ability to act with seemingly nonchalant mastery. The study focuses on so-called recitar cantando, or speaking in tones, and on the experience of singing Early Baroque recitative. The researcher's own, singular experience of singing and teaching is reported through autoethnographical research and writing. The part of Messaggiera in Claudio Monteverdi's Orfeo (1607), and especially her description of the events leading to Euridice's death, is studied in depth.
The study comprises a set of discussions on Italian Early Baroque music and its performance. The two starting points for these discussions are (1) the musical reality that is available for sharing (music history, music theory, performing practice, speaking), and (2) the embodied experience of singing. The multiplicity of starting points highlights the key role of the singer-researcher. The thinking is loosely based on the philosophy of Michel Henry, which emphasizes the singularity of human experience.
Conclusions are drawn on singing, on Claudio Monteverdi's music, on research methods, and on the relevance of the study to the practical work of a singer and pedagogue. The singer is characterized as a music maker and researcher who needs to find solutions to all practical questions concerning the performance of a piece of music, and light is shed on this typically invisible working process. Singing is understood as an interior movement of the body, and the work on the sung text as the carving of living speech into the singing body. The centrality of the improvisatory singing tradition and the practice of speaking in the development of recitative in Monteverdi's time is demonstrated. Further, the researcher-singer's voice is understood as a starting point for studying music, singing and speaking, and as a field of development for research based on embodied musicianship. Speaking in tones as a method of working with the recitatives of Monteverdi is considered vital for the singer as well as for the continuo. The study also explores the limits of a classically trained singing voice and the possibility of extending them.