Multicomponent - Nature Study Notes (The Scratch Orchestra)
- Submitting institution
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Edinburgh Napier University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2273171
- Type
- I - Performance
- Venue(s)
- Chisenhale Art Space, London
- Open access status
- Out of scope for open access requirements
- Month of first performance
- June
- Year of first performance
- 2014
- URL
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https://portfolios.napier.ac.uk/view/view.php?t=TtmB3S9iuyGc8son4zhC
- 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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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The ensemble (without me) first performed in John Cage's Song Books at café Oto (11 March 2012). Following this performance I was invited to join them in their first performance of Nature Study Notes at Chisenhale Dance Space (28 June 2014). Although features of the performance were similar to that documented here, substantial changes were made to the repertoire of individuals, but more significantly to the ways in which individuals performed ensemble activities. Stefan Szczelkun's extensive documentation (2018) of the process traces the ways in which the ensemble developed the process as a group.
Writings by (Prévost 2006) and about (Harris 2016, Tilbury 2008) Cardew and the Scratch Orchestra were consulted during the preparation period to get a better idea of the context of the original performance practice. It should also be noted that interaction with members of the original Scratch Orchestra during discussions, rehearsals, and performances was an invaluable source of information and inspiration.
Theoretical perspectives from philosophy (Habermas 1987 and Sitton 2003), community music (Higgins 2012, and Kenny 2016), and the performance practice of experimental music (Piekut 2011) enabled me to put this historical context into a contemporary frame and to more rigorously interrogate what I was doing as an individual, the methodology of the group and the role of 'leadership' in this context, and how I participated with others during the performance.
Finally, texts by Lely and Parkinson (2012) and Anderson (2013a, 2013b) enabled me to engage with the texts as text scores, independent of their historical context.
- Author contribution statement
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- Non-English
- No
- English abstract
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