This edited collection explores recent insights into the experience and role of virtuosity in different contexts, via contributions from an intergenerational group of artists, academics, and artist-academics and offers a vision for the future that prioritises inclusive and overlapping practices and processes in music.
This edited collection explores recent insights into the experience and role of virtuosity in different contexts, via contributions from an intergenerational group of artists, academics, and artist-academics and offers a vision for the future that prioritises inclusive and overlapping practices and processes in music.
Louise Devenish is a contemporary percussionist whose creative practice blends performance, collaboration and artistic research. She is a Senior Research Fellow and Percussion Coordinator at Monash University, where she is undertaking an Australian Research Council Discovery Early Career Research Award in artistic research, developing performance works with collaborators across music, visual arts, digital arts, and design. Additional projects include ARC Special Research Initiative on gender diversity in Australian jazz and improvisation, and ongoing artistic research in animated notation (Decibel New Music) and contemporary music performance (The Sound Collectors Lab). Her writing on music performance, Australian music, and notation is published in Contemporary Music Review, Tempo, Musicology Australia, Music & Practice, and Percussive Notes, and the monograph Global Percussion Innovations: The Australian Perspective. Her creative work has been acknowledged by awards and grants including a Churchill Fellowship. Cat Hope is an artist scholar whose research interests include animated notation, gender and music, Australian music, digital archiving, as well as music composition and performance as artistic research. She is currently a Professor of Music at the Sir Zelman Cowen School of Music and Performance at Monash University in Melbourne. She is the vice-president of the Australian Council of Deans and Directors of Creative Arts (DDCA) and a reviewer for a number of journals and conferences. She was a member of the Australian Research Council College of Experts, on the Humanities and Creative Arts panel (2016-2019).
Inhaltsangabe
1.Contemporary musical virtuosities 2. Virtue restored, virtue shared 3. Virtuosity, pleasure and violence 4. Songman? Considering virtuosity and Noongar song revitalisation 5. Virtuosity of the Self: Investigating how the disabled dancer develops singular virtuosity 6. Virtuosities of the native alien 7. The practice of social virtuosity 8. On The New Virtuosity Manifesto 9. Virtuosity and the Commons 10. Moving for machines: How performing with sensors results in a new virtuosity 11. Developing gestural virtuosity for electronic music 12. Always preparing for spontaneity 13. Virtuosity, post-instrumental practice, and collapse: A correspondence 14. Skills and sensitivities: Designing collaborative site-specific soundworks 15.'Rrrrreaaaaaaaaaarrrrrrrghhhhh!!!!': Evolving vocal virtuosity in extreme metal 16. The interrogation of instrumental technology in Liza Lim's 'Invisibility'
1.Contemporary musical virtuosities 2. Virtue restored, virtue shared 3. Virtuosity, pleasure and violence 4. Songman? Considering virtuosity and Noongar song revitalisation 5. Virtuosity of the Self: Investigating how the disabled dancer develops singular virtuosity 6. Virtuosities of the native alien 7. The practice of social virtuosity 8. On The New Virtuosity Manifesto 9. Virtuosity and the Commons 10. Moving for machines: How performing with sensors results in a new virtuosity 11. Developing gestural virtuosity for electronic music 12. Always preparing for spontaneity 13. Virtuosity, post-instrumental practice, and collapse: A correspondence 14. Skills and sensitivities: Designing collaborative site-specific soundworks 15.'Rrrrreaaaaaaaaaarrrrrrrghhhhh!!!!': Evolving vocal virtuosity in extreme metal 16. The interrogation of instrumental technology in Liza Lim's 'Invisibility'
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