Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship
In 1980, Abbie Conant, a white American trombonist living in Germany, won the solo trombone chair of the Munich Philharmonic, beating out thirty-two other candidates, all male. Invited to the audition via a letter addressed to Herr Abbie Conant, the trombonist achieved this success as a disembodied...
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| Language: | English |
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Columbia University Libraries
2006-09-01
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| Series: | Current Musicology |
| Online Access: | https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5080 |
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doaj-9c53d80896f04556af115c8293321df22020-11-25T03:44:30ZengColumbia University LibrariesCurrent Musicology0011-37352006-09-018210.7916/cm.v0i82.5080Corpo-Realities: Keepin’ It Real in “Music and Embodiment” ScholarshipTracy McMullen In 1980, Abbie Conant, a white American trombonist living in Germany, won the solo trombone chair of the Munich Philharmonic, beating out thirty-two other candidates, all male. Invited to the audition via a letter addressed to Herr Abbie Conant, the trombonist achieved this success as a disembodied performer-from behind an auditioning screen. With the entire orchestra and director listening, as is the custom when auditioning solo chairs, Conant's sound was consumed as pure musical expression; indeed, her winning performance was exactly the realization the orchestra hoped for. However, when she stepped out from behind the screen, this seemingly unproblematic purity of sound was disrupted: for there stood a female body. https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5080 |
| collection |
DOAJ |
| language |
English |
| format |
Article |
| sources |
DOAJ |
| author |
Tracy McMullen |
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Tracy McMullen Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship Current Musicology |
| author_facet |
Tracy McMullen |
| author_sort |
Tracy McMullen |
| title |
Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship |
| title_short |
Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship |
| title_full |
Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship |
| title_fullStr |
Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship |
| title_full_unstemmed |
Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship |
| title_sort |
corpo-realities: keepin’ it real in “music and embodiment” scholarship |
| publisher |
Columbia University Libraries |
| series |
Current Musicology |
| issn |
0011-3735 |
| publishDate |
2006-09-01 |
| description |
In 1980, Abbie Conant, a white American trombonist living in Germany, won the solo trombone chair of the Munich Philharmonic, beating out thirty-two other candidates, all male. Invited to the audition via a letter addressed to Herr Abbie Conant, the trombonist achieved this success as a disembodied performer-from behind an auditioning screen. With the entire orchestra and director listening, as is the custom when auditioning solo chairs, Conant's sound was consumed as pure musical expression; indeed, her winning performance was exactly the realization the orchestra hoped for. However, when she stepped out from behind the screen, this seemingly unproblematic purity of sound was disrupted: for there stood a female body.
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https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5080 |
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