A case study of a pioneering musician and an interdisciplinary appraisal of the larger social role of the artist.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
GEORGINA HUGHES is a lecturer in the Department of Creative Arts, Media and Music at Dundalk Institute of Technology (Ireland). As a percussionist, she has performed extensively as both a solo and orchestral musician. Her interest in percussion continues in her work as an academic, exploring the practicalities, philosophies, histories, and futures of percussion performance.
Inhaltsangabe
Introduction "I shall just have to try harder to convince you." Glennie's Early Career Chapter 1. "Of course, I just assumed that the world was full of solo percussionists." The Ascendance of Solo Multi-Percussion Performance Chapter 2. "I just basically followed my own instincts." Diversification, Improvisation and Collaboration Chapter 3. "I'm simply a person who wants to encourage females to do whatever they want to do." The Issue of Gender Chapter 4. "I'm not a deaf musician. I'm a musician who happens to be deaf." Inclusion Chapter 5. "I hope the seeds I have sown will be taken up by those who follow me." Legacy: A Series of New Beginnings Conclusion "To Teach the World to Listen" Appendix 1: Concerto Commissions Appendix 2: Solo Commissions Bibliography Videography and Audio Resources Index
Introduction "I shall just have to try harder to convince you." Glennie's Early Career Chapter 1. "Of course, I just assumed that the world was full of solo percussionists." The Ascendance of Solo Multi-Percussion Performance Chapter 2. "I just basically followed my own instincts." Diversification, Improvisation and Collaboration Chapter 3. "I'm simply a person who wants to encourage females to do whatever they want to do." The Issue of Gender Chapter 4. "I'm not a deaf musician. I'm a musician who happens to be deaf." Inclusion Chapter 5. "I hope the seeds I have sown will be taken up by those who follow me." Legacy: A Series of New Beginnings Conclusion "To Teach the World to Listen" Appendix 1: Concerto Commissions Appendix 2: Solo Commissions Bibliography Videography and Audio Resources Index
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