Composing Movement(s): On physical performativity and artistic violence in contemporary art music

Abstract

My thesis investigates the unification of the artistic languages of contemporary art music and performativity, exploring their potential for artistic resistance. This unification encompasses vocal and instrumental music performance, along with performative aspects of live performances, aiming to delve into the source through the interlinguistic expression of music, which here is associated with physical music and listening. Artistic resistance plays a significant role in my creation process. I discuss the arts as enablers of liberation and change, introducing the term ‘artistic violence’ to signify and deepen the understanding of the power of the arts. This concept interconnects with the investigation into the unified language of music and performativity. As part of my work, I distribute seven compositions, whose processes are detailed in the thesis. Through a project-based research method, I explore the implementation of performative parameters in music. This exploration moves from a macro perspective—considering a multiplicity of signs—to a micro perspective, focusing on the interlinguistic expression of music and performativity, along with reflections on experimental music theatre, Egyptian surrealism, extended composition, and poor theatre, among other philosophies and theories. As an interdisciplinary artist, composer, singer, and performance artist, my work has led to reflection and collage-formed mapping of the parallel roles of composer and director throughout the compositional processes.