Performing Precarity

To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious. keywords: Performing, Precarity, Contemporary music performance, Laurence Crane, Carola Bauckholt, Elizabeth Hobbs, Lisa Streich, Anders Førisdal, Io A. SIvertsen, Lea Ye Gyoung, Ellen Ugelvik, Jennifer Torrence, Simon Løffler, Trond Reinholdtsen, Christian Blom, Hild Borchgrevink, Norwegian Academy of Music, Simon Steen-Andersen, Theater Corpus, Tormod Lindgren, Darla Crispin, ECLAT, Bobby J, 2-Metre Harmony: Uncertain Chorales, Vladimir Tarnopolski, Artistic research, Io A. Sivertsen, Contemporary music, Performance, New Music, experimental music, instruments, audience, animals, networks, disorientation, pandemic, covid, compostion, queer theory, collapse, sharing, improvisation, being together, Bonnie Whiting, Performing precarity