Juliana Hodkinson
Juliana Hodkinson is a composer and researcher. She specialises in contemporary music and sound art in creative practices and institutional contexts, and her artistic practice ranges from chamber, orchestral and semi-staged acoustic and electro-acoustic music to installation and experimental opera.
Her educational background is in musicology, languages and philosophy. (MA Cantab in Music and Philosophy from King's College Cambridge, MA Hon in Japanese Studies from University of Sheffield, PhD in Musicology from University of Copenhagen.)
She teaches composition and music aesthetics, as well as mentoring creative artistic developments. She has taught at Technische Universität Berlin, Royal Academy of Music Copenhagen, Institute for Art and Culture at the University of Copenhagen, among other institutions. In 2014, she was a visiting fellow at Bogazici University in Istanbul.
She has previously occupied posts as chairman of the Danish National Arts Foundation, board member of the Danish Composers' Union, the Initiative Neue Musik Berlin, and panel member on the Berlin Senate's contemporary-music grants jury.
Her educational background is in musicology, languages and philosophy. (MA Cantab in Music and Philosophy from King's College Cambridge, MA Hon in Japanese Studies from University of Sheffield, PhD in Musicology from University of Copenhagen.)
She teaches composition and music aesthetics, as well as mentoring creative artistic developments. She has taught at Technische Universität Berlin, Royal Academy of Music Copenhagen, Institute for Art and Culture at the University of Copenhagen, among other institutions. In 2014, she was a visiting fellow at Bogazici University in Istanbul.
She has previously occupied posts as chairman of the Danish National Arts Foundation, board member of the Danish Composers' Union, the Initiative Neue Musik Berlin, and panel member on the Berlin Senate's contemporary-music grants jury.
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Papers by Juliana Hodkinson
situated at a distance from the live event but seeking an as-if live experience. Developing technologies of augmented, virtual and mixed reality create emotional expereinces whose sensibilities are constantly maturing. Consequently, demands have grown for experiences of spatially rich audio. New technologies of spatially rich audio are being
developed, and some older formats and techniques that were previously niche are being revisited. The challenges to the audio industry are substantial. Integrating 3D audio workflows into post-production pipelines for screen involves merging best practices from games, television and feature films, along with new strategies for emerging
media. But similarly substantial are the rewards, with many listeners showing ardent interest in upgrading their audio experiences in line with new formats constantly entering the market. This chapter considers how such developments in digital listening spaces might affect
changing musical and general cultural subjectivities. Some
differentiation between established and budding spatially-rich audio formats is undertaken, together with the acknowledgement that with the current proliferation of audio technologies, production techniques and playback hardware, hybrid approaches to spatial audio are likely to
become increasingly common.
This is a thesis about silence – as aesthetic concept, as rhetorical idea, and as perceptual object. The thesis explores musical and aesthetic issues concerning silence in an empirical field that covers music and sound art of the past 50 years – specifically, works of notated concert music from the mid- and late-20th century, and digital sound-art works created for compact disc at the turn of the millennium.
Part I offers a review of related academic literature, followed by a historical account of the use of rests and pauses in western art music, and some general considerations on the theoretical approaches attempted in the thesis. The main argument in Chapter 1 is that the works to be discussed are centrally constituted by silence of one kind or another. The way that silence manifests itself so radically varies from work to work, and the elucidation of that difference is one of the main tasks to be performed by the rest of the thesis. In Part I, the task is to distinguish the constitutive nature of silence in the chosen empirical field from other, mainly historical uses of the musical pause and rest.
Part II considers the paradigmatic status of John Cage’s concert score 4’33. The work is discussed through a number of interpretations, including the composer’s own representation of the rhetorical trope of silence in his writings. The discussion of Cagean silence in Chapter 2 turns firstly on the extent wo which we can talk of silence ‘constituting’ 4’33”, and secondly on a comparison of a range of historical and aesthetic positions in the discourse on Cagean silence. Chapter 3 offers an account of the mid-20th century as a period rife with empty art- works in several artistic media. The period is discussed in relation to a number of cultural factors such as a postwar shyness towards artistic representation.
In Part III, a comparative analysis is offered of two chamber-music works from the 1980s, which propose the consideration of silence within a more conventional musical discourse. Chapter 4 offers some perspectives on Luigi Nono’s string quartet Fragmente – Stille: an Di- otima, through a discussion of the work’s references to the early romantic aesthetic project, the composerly act of ‘schweigen’, and the hermeneutic discourse surrounding such a project. Chapter 5 discusses Salvatore Sciarrino’s quintet Lo spazio inverso, drawing on a contrasting model extracted from musicological analysis of the mature classical style. The hermeneutic approach of Chapter 4 is contrasted with the proposal of a performative listening mode in Chapter 5. Taken together, these two chapters move towards the proposal of a contrast be- tween silence’s ability to emphasise experiences of a presentation of absence in the former work, and a production of presence in the latter.
Part IV proposes the term ‘negative representation’, from Jean-Francois Lyotard’s re- evaluation of Kant’s analysis of the sublime (in the Critique of Judgment) as a theoretical basis for a discussion of recent sound art characterised by radical silences. Conceptual considera- tions advanced in Chapter 6 form the point of departure for an analysis of Christof Migone’s CD album Quieting and Francisco López’ Untitled series, under the category of ‘subliminal sound art’. Further, Part IV proposes an oscillation between the interpretive (hermeneutic) and perceptual (performative-phenomenological) projects discussed in Part III, as the basis for a series of reflections on listening modes in relation to 21st-century sound art.
Many composers work today with fluid creative work processes that oscillate between musical notation and digital audio. This article proposes a broad formulation of composition as sonic writing, in which the resonance of recorded sounds from diverse sources contributes to forming the nature of works as much as the composer does when notating sounds. Further to the notion of sonic writing, the term écriture is invoked, inspired by Cixous, to underline the continually developing aspect of composition that is enhanced when the flexibility of digital audio is involved. The multi-track digital editing session is regarded as naturally prompting a proliferation of sonic contexts, guiding the goals of compositional work away from the limited signifying economy of internal ontological coherence to a multiplicity of wide-ranging points of reference. Finally, after exploring the metaphor of vibration for this oscillatory practice, the article offers an analysis of the meeting of natural and synthetic vibrato in the recent opera Turbulence.
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situated at a distance from the live event but seeking an as-if live experience. Developing technologies of augmented, virtual and mixed reality create emotional expereinces whose sensibilities are constantly maturing. Consequently, demands have grown for experiences of spatially rich audio. New technologies of spatially rich audio are being
developed, and some older formats and techniques that were previously niche are being revisited. The challenges to the audio industry are substantial. Integrating 3D audio workflows into post-production pipelines for screen involves merging best practices from games, television and feature films, along with new strategies for emerging
media. But similarly substantial are the rewards, with many listeners showing ardent interest in upgrading their audio experiences in line with new formats constantly entering the market. This chapter considers how such developments in digital listening spaces might affect
changing musical and general cultural subjectivities. Some
differentiation between established and budding spatially-rich audio formats is undertaken, together with the acknowledgement that with the current proliferation of audio technologies, production techniques and playback hardware, hybrid approaches to spatial audio are likely to
become increasingly common.
This is a thesis about silence – as aesthetic concept, as rhetorical idea, and as perceptual object. The thesis explores musical and aesthetic issues concerning silence in an empirical field that covers music and sound art of the past 50 years – specifically, works of notated concert music from the mid- and late-20th century, and digital sound-art works created for compact disc at the turn of the millennium.
Part I offers a review of related academic literature, followed by a historical account of the use of rests and pauses in western art music, and some general considerations on the theoretical approaches attempted in the thesis. The main argument in Chapter 1 is that the works to be discussed are centrally constituted by silence of one kind or another. The way that silence manifests itself so radically varies from work to work, and the elucidation of that difference is one of the main tasks to be performed by the rest of the thesis. In Part I, the task is to distinguish the constitutive nature of silence in the chosen empirical field from other, mainly historical uses of the musical pause and rest.
Part II considers the paradigmatic status of John Cage’s concert score 4’33. The work is discussed through a number of interpretations, including the composer’s own representation of the rhetorical trope of silence in his writings. The discussion of Cagean silence in Chapter 2 turns firstly on the extent wo which we can talk of silence ‘constituting’ 4’33”, and secondly on a comparison of a range of historical and aesthetic positions in the discourse on Cagean silence. Chapter 3 offers an account of the mid-20th century as a period rife with empty art- works in several artistic media. The period is discussed in relation to a number of cultural factors such as a postwar shyness towards artistic representation.
In Part III, a comparative analysis is offered of two chamber-music works from the 1980s, which propose the consideration of silence within a more conventional musical discourse. Chapter 4 offers some perspectives on Luigi Nono’s string quartet Fragmente – Stille: an Di- otima, through a discussion of the work’s references to the early romantic aesthetic project, the composerly act of ‘schweigen’, and the hermeneutic discourse surrounding such a project. Chapter 5 discusses Salvatore Sciarrino’s quintet Lo spazio inverso, drawing on a contrasting model extracted from musicological analysis of the mature classical style. The hermeneutic approach of Chapter 4 is contrasted with the proposal of a performative listening mode in Chapter 5. Taken together, these two chapters move towards the proposal of a contrast be- tween silence’s ability to emphasise experiences of a presentation of absence in the former work, and a production of presence in the latter.
Part IV proposes the term ‘negative representation’, from Jean-Francois Lyotard’s re- evaluation of Kant’s analysis of the sublime (in the Critique of Judgment) as a theoretical basis for a discussion of recent sound art characterised by radical silences. Conceptual considera- tions advanced in Chapter 6 form the point of departure for an analysis of Christof Migone’s CD album Quieting and Francisco López’ Untitled series, under the category of ‘subliminal sound art’. Further, Part IV proposes an oscillation between the interpretive (hermeneutic) and perceptual (performative-phenomenological) projects discussed in Part III, as the basis for a series of reflections on listening modes in relation to 21st-century sound art.
Many composers work today with fluid creative work processes that oscillate between musical notation and digital audio. This article proposes a broad formulation of composition as sonic writing, in which the resonance of recorded sounds from diverse sources contributes to forming the nature of works as much as the composer does when notating sounds. Further to the notion of sonic writing, the term écriture is invoked, inspired by Cixous, to underline the continually developing aspect of composition that is enhanced when the flexibility of digital audio is involved. The multi-track digital editing session is regarded as naturally prompting a proliferation of sonic contexts, guiding the goals of compositional work away from the limited signifying economy of internal ontological coherence to a multiplicity of wide-ranging points of reference. Finally, after exploring the metaphor of vibration for this oscillatory practice, the article offers an analysis of the meeting of natural and synthetic vibrato in the recent opera Turbulence.
"