As a composer-performer, I propose approaching the theme of the body(ies) in music from a perspective of disruption. In this sense, both my artistic practise and my research have been focusing on the investigation, exploration, and creation of (non)expressive tools for a ‘disruptive body’, including the possibility of musical construction with and through the notion of ‘disruption’, which could be understood in various ways:

1. as disruption of meaning - by means of discontinuity,
   break, suspension
   of sense
2. as a non-dualistic ‘mechanism’ :
   
   - how a body falls
   apart
   and pulls itself together
   in a non-dualistic way:
   disruption as a mechanism for unshaping | shaping the body of music,
   the performing body, the listening body, the instrumental body, etc.
3. as listening: overcoming the duality of subject/object, self/other,
   listening is ‘formulated’ here through an idea of disruption, both triggering it and being triggered by it.
   listening as the disruptive phenomenon when/where a self
   is disarticulated, spaced

This collection addresses different issues involving performance and musical creation in contemporary piano music. Organised into three sections, it examines the aesthetic and technical aspects of musical creation in the 20th century, and evaluates the questions that these aspects pose regarding the interpretative and performative process. It also offers a reflection on artistic practices in the 21st century, and explores their contribution to redefining the contemporary performative field.

Edited by Madalena Soveral
Contributors: Heloisa Amaral, Pavlos Antoniadis, Helen Gallo, Mariachiara Grilli, Anna Kijanowska, Kuo-Ying Lee, Helena Marinho, Paulo Meirelles, Leticia Michielon, Joana Sá, Helena Santana, Carlos Villar Taboada, Ana Telles, Alexandre Zanuith.

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