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ZUHANDEN

Published online by Cambridge University Press:  24 December 2018

Claudia Molitor
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Abstract

As a pianist I spent many hours practising the connection between my touching and my listening, adjusting the pressure and weight of touching the keyboard to elicit just the right sonic texture in a note. As a composer I have spent years exploring the connection between my embodied act of notating and its potential sonic reality. Both these endeavours are acts of honing cross-modal activity. As I continue to qualify my experiences of sound and working with sound through language in instances like this – writing about my practice – I find myself constructing an increasingly complex and expanding web of linguistic gymnastics, in an attempt to explain, explore and grasp the slippery subject of listening.

Type
RESEARCH ARTICLES
Information
Tempo , Volume 73 , Issue 287 , January 2019 , pp. 91 - 93
Copyright
Copyright © Cambridge University Press 2018 

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References

1 Migone, Christof, Sonic Somatic: Performances of the Unsound Body (Los Angeles: Errant Bodies, 2012)Google Scholar.

2 Schulze, Holger, ‘The Body of Sound: Sounding Out the History of Science’, SoundEffects, 2/1 (2012), p. 203Google Scholar.

3 Barad, Karen, ‘On Touching – The Inhuman That Therefore I Am’, in differences: A Journal of Feminist Cultural Studies, 23/3 (2012), p. 216CrossRefGoogle Scholar.

4 Molitor, Claudia, ‘Professor Fox, will you give me a doodle?’ The Music of Christopher Fox: Portraits and Discussions of an Enigma (London: Routledge, 2016)Google Scholar