FiguresContents of the Online Repository of Supplemental FilesIntroductionCatherine LawsChapter 1Austerity Measures I: Performing the Discursive VoiceDavid Gorton and Stefan ÖstersjöPart 1: Collaboration and the discursive voicePart 2: Analysing the discursive voice in performanceConclusionsChapter 2Being a Player: Agency and Subjectivity in Player PianoCatherine LawsPart 1: Player Piano and Saying “I”Part 2: The Embodied Subject in Player PianoPart 3: Instrument as AgentPart 4: From Instrument to EcologyPostlude: “Alone With My Ten Fingers”?Chapter 3FootnotesWilliam Brooks, Stefan Östersjö, and Jeremy J. WellsPart 1Part 2Part 3 Chapter 4Arrival Cities: HanoiNguyễn Thanh Thủy and Stefan ÖstersjöArrival Cities: Hanoi1. Introduction2. Modes of collaboration3. Documentary, empathy, and inter-subjectivity4. The making of Arrival Cities: Hanoi5. The discursive voice in intercultural collaborationConclusionCatherine LawsReferencesNotes on ContributorsIndexIdentity and subjectivity in musical performancesIdentity and subjectivity in musical performances.Who is the "I" that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing "voices" can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.Who is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.