Daniela Kaleva | University of South Australia (original) (raw)
Papers by Daniela Kaleva
Performance analysis studies aid the re-creative process of reading the score and transmitting th... more Performance analysis studies aid the re-creative process of reading the score and transmitting the ideas inherent in text and music via different tools of representation. In the case of vocal performance, the transitory elements of representation involve not only aural signs, such as linguistic signs, but also kinetic signs, comprising gesture, mime and movement on stage (Liebscher 1999: 56). The performance process of vocal works from the viewpoint of the performer undergoes initially a deconstruction process which involves decision-making aiming at the communication of particular ideas via specific signs through tone production, gesture, mime and body movement. Therefore, the simultaneous execution of auditory and visual signs, often a problem of coordination, requires a method of performance analysis which examines and connects the dramatic correlation and timing of the various elements of delivery. This paper uses the principles of the system of gesture, silent acting, and music analysis of word- and tone-based genres to provide successful strategies for such a performance analysis and facilitate a well coordinated vocal performance that will be true to the dramatic content.
‘Lamento d'Arianna’ with historically informed rhetorical gesture Non-traditional output: Recorde... more ‘Lamento d'Arianna’ with historically informed rhetorical gesture
Non-traditional output: Recorded/Rendered Creative Work
Daniela Kaleva (producer), Tessa Miller (soprano), Glenys March (harpsichord), Catherine Finnis (viola da gamba), Helga M. Hill OAM (gesture director), Shane Dunn (costume), Andrew Shanks (director of photography), Phil van Hout (sound), Alex Plisco (lighting).
Research background
Lamento d’Arianna is a cannon of the lamento genre and early opera recitative and the only extant piece from one of the first operas, L’Arianna (Mantua, 1608). Since the opera score is lost, the lament has been performed mostly as a concert or recording piece without the dramatic charge of baroque passions and precise declamation embodied through gestures. Yet rhetorical gesture was central to theatrical performance practice and composition. This study seeks to explore how the historical technique of rhetorical gesture impacts performance practice and understanding of the composition.
Research contribution
The recorded performance re-defines existing knowledge through material performative and performatic signs of embodiment derived using a research-led process using the expertise of a gesture director specialising in this art form, baroque musicians and Dr Daniela Kaleva in the role of producer. Created for the film medium, the camera adopts the perspective of the theatrical audience at which gestural actions are aimed. The performance is the first recorded semi-staged production of this version of the lament that allows a glimpse into early seventeenth-century operatic artistry.
Research significance
Funded by two internal grants by the Division of Education, Arts and Social Sciences and the School of Communication, International Studies and Languages, University of South Australia 2011, the recorded performance and Q&A session https://www.youtube.com/watch?v=2QdEQJi8IXQ are part of the Arianna Project that seeks to explore historical acting techniques in modern performance. It has been distributed on open access via YouTube since July 2014, screened in conference presentations and analyzed in scholarly publications. Perpetual viewing data include 561 (performance) and 207 (Q&A session with artists) views as of 5 March 2015. 50 copies were disseminated to patrons who attended another historically informed performance on 25 November 2014.
See published paper Kaleva, D. 2014. 'Performative Research: A Performance-led Study of 'Lamento d’Arianna' with Historically Informed Rhetorical Gesture' Musicology Australia, Special Issue: Music Performance and Performativity, Vol. 36/2, pp. 209-234.
This study is concerned with what is to be gained by performers and scholars if the dramatic char... more This study is concerned with what is to be gained by performers and scholars if the dramatic charge of Lamento d’Arianna by O. Rinuccini and C. Monteverdi was re-created with historically informed rhetorical gesture – an element of the representative theatrical style practised at the time of the lament’s premiere. The research contributes in a unique way to historically informed performance practice as well as to the literature on Lamento d’Arianna using multiple methods of performative research informed by historical source materials and work with musicians who specialize in baroque music, an expert in rhetorical gesture and the author as production dramaturg. Video footage, images, excerpts from the final score with gesture notation and this article offer an insight into the aesthetic and practice of early recitative artistry through reflexive writing that places the performance within relevant musicological discourses and scrutinizes auditory and visual elements of delivery.
Louise Hanson-Dyer’s patronage of Gustav Holst took place in the context of her efforts to popula... more Louise Hanson-Dyer’s patronage of Gustav Holst took place in the context of her efforts to popularise new British music in Melbourne and Paris. She supported him by disseminating his music in printed formats and facilitating live performances of his works. This is an example of combined individual and assimilationist patronage enabled by a local network of influential musicians in Melbourne and the network of modern British composers to which Holst’s friends Fritz B. Hart and W. Gillies Whittaker helped her to gain access. It is clear that her artistic appreciation and moral support, along with the financial support provided by purchasing and hiring of scores was an important form of financial aid and encouragement for Holst during his the latter part of his life, when his popularity was diminishing.
Paris-based music publisher Louise Dyer used the Melbourne Centenary Music Book of pipe music by ... more Paris-based music publisher Louise Dyer used the Melbourne Centenary Music Book of pipe music by Australian composers to celebrate the hundredth anniversary of Melbourne’s foundation in 1934. Whilst reinforcing the objectives and principles of the pipe music education movement, which developed in England and France during the 1920s and 1930s, the book also stands out as unusual amongst published scores of this time. This paper explores the Australian-inspired cover design in the context of its educational rationale.
Music forum magazine, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 341 Abstract Views, 2 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 13:38:00 EST by Daniela Kaleva - Detailed History. ...
Fontes artis musicae, Jan 1, 2008
Résumé/Abstract Cet article présente l'évaluation de deux collections de musique... more Résumé/Abstract Cet article présente l'évaluation de deux collections de musiques héritées à la Bibliothèque d'Etat de Victoria (Melbourne, Australie), suivant le contexte historique de l'époque. L'histoire et le contenu des collections Gustav Holst et British Music Society de ...
Library management, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 328 Abstract Views, 1 File Downloads - Detailed Statistics. Created: Mon, 11 Jan 2010, 11:07:29 EST by Daniela Kaleva - Detailed History. ...
Library management, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 311 Abstract Views, 0 File Downloads - Detailed Statistics. Created: Mon, 11 Jan 2010, 10:57:50 EST by Daniela Kaleva - Detailed History. ...
Musicology Australia, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 369 Abstract Views, 2 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 12:24:13 EST by Daniela Kaleva - Detailed History. ...
La Trobe Journal, Dec 1, 2009
Music forum magazine, Jan 1, 2011
The article provides an example of music patronage, which can be sustained and realized in challe... more The article provides an example of music patronage, which can be sustained and realized in challenging conditions and focuses on the contribution of music publisher Louise Hanson-Dyer (1884-1962). Her example demonstrates how patronage inspires confidence in ...
Musicology Australia, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 347 Abstract Views, 3 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 12:14:59 EST by Daniela Kaleva - Detailed History. ...
Performance analysis studies aid the re-creative process of reading the score and transmitting th... more Performance analysis studies aid the re-creative process of reading the score and transmitting the ideas inherent in text and music via different tools of representation. In the case of vocal performance, the transitory elements of representation involve not only aural signs, such as linguistic signs, but also kinetic signs, comprising gesture, mime and movement on stage (Liebscher 1999: 56). The performance process of vocal works from the viewpoint of the performer undergoes initially a deconstruction process which involves decision-making aiming at the communication of particular ideas via specific signs through tone production, gesture, mime and body movement. Therefore, the simultaneous execution of auditory and visual signs, often a problem of coordination, requires a method of performance analysis which examines and connects the dramatic correlation and timing of the various elements of delivery. This paper uses the principles of the system of gesture, silent acting, and music analysis of word- and tone-based genres to provide successful strategies for such a performance analysis and facilitate a well coordinated vocal performance that will be true to the dramatic content.
‘Lamento d'Arianna’ with historically informed rhetorical gesture Non-traditional output: Recorde... more ‘Lamento d'Arianna’ with historically informed rhetorical gesture
Non-traditional output: Recorded/Rendered Creative Work
Daniela Kaleva (producer), Tessa Miller (soprano), Glenys March (harpsichord), Catherine Finnis (viola da gamba), Helga M. Hill OAM (gesture director), Shane Dunn (costume), Andrew Shanks (director of photography), Phil van Hout (sound), Alex Plisco (lighting).
Research background
Lamento d’Arianna is a cannon of the lamento genre and early opera recitative and the only extant piece from one of the first operas, L’Arianna (Mantua, 1608). Since the opera score is lost, the lament has been performed mostly as a concert or recording piece without the dramatic charge of baroque passions and precise declamation embodied through gestures. Yet rhetorical gesture was central to theatrical performance practice and composition. This study seeks to explore how the historical technique of rhetorical gesture impacts performance practice and understanding of the composition.
Research contribution
The recorded performance re-defines existing knowledge through material performative and performatic signs of embodiment derived using a research-led process using the expertise of a gesture director specialising in this art form, baroque musicians and Dr Daniela Kaleva in the role of producer. Created for the film medium, the camera adopts the perspective of the theatrical audience at which gestural actions are aimed. The performance is the first recorded semi-staged production of this version of the lament that allows a glimpse into early seventeenth-century operatic artistry.
Research significance
Funded by two internal grants by the Division of Education, Arts and Social Sciences and the School of Communication, International Studies and Languages, University of South Australia 2011, the recorded performance and Q&A session https://www.youtube.com/watch?v=2QdEQJi8IXQ are part of the Arianna Project that seeks to explore historical acting techniques in modern performance. It has been distributed on open access via YouTube since July 2014, screened in conference presentations and analyzed in scholarly publications. Perpetual viewing data include 561 (performance) and 207 (Q&A session with artists) views as of 5 March 2015. 50 copies were disseminated to patrons who attended another historically informed performance on 25 November 2014.
See published paper Kaleva, D. 2014. 'Performative Research: A Performance-led Study of 'Lamento d’Arianna' with Historically Informed Rhetorical Gesture' Musicology Australia, Special Issue: Music Performance and Performativity, Vol. 36/2, pp. 209-234.
This study is concerned with what is to be gained by performers and scholars if the dramatic char... more This study is concerned with what is to be gained by performers and scholars if the dramatic charge of Lamento d’Arianna by O. Rinuccini and C. Monteverdi was re-created with historically informed rhetorical gesture – an element of the representative theatrical style practised at the time of the lament’s premiere. The research contributes in a unique way to historically informed performance practice as well as to the literature on Lamento d’Arianna using multiple methods of performative research informed by historical source materials and work with musicians who specialize in baroque music, an expert in rhetorical gesture and the author as production dramaturg. Video footage, images, excerpts from the final score with gesture notation and this article offer an insight into the aesthetic and practice of early recitative artistry through reflexive writing that places the performance within relevant musicological discourses and scrutinizes auditory and visual elements of delivery.
Louise Hanson-Dyer’s patronage of Gustav Holst took place in the context of her efforts to popula... more Louise Hanson-Dyer’s patronage of Gustav Holst took place in the context of her efforts to popularise new British music in Melbourne and Paris. She supported him by disseminating his music in printed formats and facilitating live performances of his works. This is an example of combined individual and assimilationist patronage enabled by a local network of influential musicians in Melbourne and the network of modern British composers to which Holst’s friends Fritz B. Hart and W. Gillies Whittaker helped her to gain access. It is clear that her artistic appreciation and moral support, along with the financial support provided by purchasing and hiring of scores was an important form of financial aid and encouragement for Holst during his the latter part of his life, when his popularity was diminishing.
Paris-based music publisher Louise Dyer used the Melbourne Centenary Music Book of pipe music by ... more Paris-based music publisher Louise Dyer used the Melbourne Centenary Music Book of pipe music by Australian composers to celebrate the hundredth anniversary of Melbourne’s foundation in 1934. Whilst reinforcing the objectives and principles of the pipe music education movement, which developed in England and France during the 1920s and 1930s, the book also stands out as unusual amongst published scores of this time. This paper explores the Australian-inspired cover design in the context of its educational rationale.
Music forum magazine, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 341 Abstract Views, 2 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 13:38:00 EST by Daniela Kaleva - Detailed History. ...
Fontes artis musicae, Jan 1, 2008
Résumé/Abstract Cet article présente l'évaluation de deux collections de musique... more Résumé/Abstract Cet article présente l'évaluation de deux collections de musiques héritées à la Bibliothèque d'Etat de Victoria (Melbourne, Australie), suivant le contexte historique de l'époque. L'histoire et le contenu des collections Gustav Holst et British Music Society de ...
Library management, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 328 Abstract Views, 1 File Downloads - Detailed Statistics. Created: Mon, 11 Jan 2010, 11:07:29 EST by Daniela Kaleva - Detailed History. ...
Library management, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 311 Abstract Views, 0 File Downloads - Detailed Statistics. Created: Mon, 11 Jan 2010, 10:57:50 EST by Daniela Kaleva - Detailed History. ...
Musicology Australia, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 369 Abstract Views, 2 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 12:24:13 EST by Daniela Kaleva - Detailed History. ...
La Trobe Journal, Dec 1, 2009
Music forum magazine, Jan 1, 2011
The article provides an example of music patronage, which can be sustained and realized in challe... more The article provides an example of music patronage, which can be sustained and realized in challenging conditions and focuses on the contribution of music publisher Louise Hanson-Dyer (1884-1962). Her example demonstrates how patronage inspires confidence in ...
Musicology Australia, Jan 1, 2011
... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 3... more ... Deakin Research Online is owned by the author, with all rights reserved. Access Statistics: 347 Abstract Views, 3 File Downloads - Detailed Statistics. Created: Wed, 08 Apr 2009, 12:14:59 EST by Daniela Kaleva - Detailed History. ...