Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano
- Submitting institution
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University of York
: A - A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - A - Music
- Output identifier
- 67119539
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Leuven University Press; vimeo; soundcloud
- Open access status
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- Month
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- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output combines creative and critical research. The author produced performances and recordings as part of the research process, edited the book, and sole-authored the Introduction and her own chapter. Together, these form one output of a research cluster also named ‘Performance, Subjectivity, and Experimentation’: a partnership between the University of York and the Orpheus Institute, Ghent, with the author as PI.
_Performance, Subjectivity, and Experimentation_ is the second book from this research cluster. The first, _Voices, Bodies, Practices: Performing Musical Subjectivities_ (2019), also submitted as a REF output, is focused solely on the four subprojects that constituted the cluster. This second publication broadens the scope. In 2016 the author convened a two-day seminar with an open call to researchers (especially practitioner-researchers). Selected presentations were substantially developed for the book and additional contributions commissioned, with the author leading the work. The two volumes therefore share their rationale and core questions, but _PSE_ incorporates a wider range of practices and critical perspectives.
The author’s chapter focuses on her new (2015) version of Annea Lockwood’s _Ceci n’est un piano_. An audio recording was produced in 2015 (available on soundcloud), and a film version later collaboratively developed (published on vimeo, 2020): both are linked in the chapter text and submitted via USB stick. The live version has been performed in its own right in the UK, Sweden, Portugal and Belgium, but also as part of the author’s 75-minute multimedia performance, ‘Player Piano’. Since ‘Player Piano’ is the focus of the author’s extended contribution to _Voices, Bodies, Practices_ there is necessarily a small overlap. However, _VBP_ discusses the whole of ‘Player Piano’, which includes performances and film versions of other compositions plus additional intermedial collaboration. Moreover, quite deliberately the PSE chapter has an entirely different critical focus: gendered identity and autobiographical performance.
- Author contribution statement
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- Non-English
- No
- English abstract
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