By the same authors

Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano

Research output: Other contribution

Standard

Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano. / Laws, Catherine.

Leuven University Press; vimeo; soundcloud. 2020.

Research output: Other contribution

Harvard

Laws, C 2020, Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano. Leuven University Press; vimeo; soundcloud.

APA

Laws, C. (2020). Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano. Leuven University Press; vimeo; soundcloud.

Vancouver

Laws C. Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano. 2020.

Author

Laws, Catherine. / Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano. 2020. Leuven University Press; vimeo; soundcloud.

Bibtex - Download

@misc{b16e41c252bb4587942f308202675dae,
title = "Performance, Subjectivity, and Experimentation/ Ceci n{\textquoteright}est pas un piano",
abstract = "This output combines creative and critical work: performance and recorded outputs sit alongside the textual submission. The output author edited the submitted book, Performance, Subjectivity, and Experimentation, wrote the Introduction and her own chapter, and produced performances and recordings as part of the research process. Performance, Subjectivity, and Experimentation and the related creative work form one of the outputs of a research cluster of the same name, with the author as PI, based at the Orpheus Institute, Ghent, in partnership with the University of York. A partner volume, Voices, Bodies, Practices: Performing Musical Subjectivities (Leuven University Press, 2019), also submitted as one of the author{\textquoteright}s REF outputs, is focused tightly around the four subprojects that formed the cluster research. Performance, Subjectivity, and Experimentation has a different function, drawing in a wider range of contributors with different perspectives and practices. Many of the chapters of the edited volume originated in a two-day international seminar, convened by the author and held at the Orpheus Institute (2016), with practitioner-researcher presentations selected from an open call. Selected presentations were substantially developed for the book and additional contributions commissioned; the author led this work, edited the volume, and wrote the Introduction, which situates the work in relation to the key concerns of the cluster. The author{\textquoteright}s own chapter focuses on one of the performance projects from her cluster research: the development of a new version of Annea Lockwood{\textquoteright}s Ceci n{\textquoteright}est un piano. The version has been performed repeatedly in the UK and abroad, notably as part of a large-scale performance project Player Piano, but also in its own right in the UK, Sweden, Portugal and Belgium. An audio recording was produced in 2015, and a film version and produced in collaboration with filmmaker Minyung Im (2020).",
author = "Catherine Laws",
year = "2020",
language = "English",
publisher = "Leuven University Press; vimeo; soundcloud",
type = "Other",

}

RIS (suitable for import to EndNote) - Download

TY - GEN

T1 - Performance, Subjectivity, and Experimentation/ Ceci n’est pas un piano

AU - Laws, Catherine

PY - 2020

Y1 - 2020

N2 - This output combines creative and critical work: performance and recorded outputs sit alongside the textual submission. The output author edited the submitted book, Performance, Subjectivity, and Experimentation, wrote the Introduction and her own chapter, and produced performances and recordings as part of the research process. Performance, Subjectivity, and Experimentation and the related creative work form one of the outputs of a research cluster of the same name, with the author as PI, based at the Orpheus Institute, Ghent, in partnership with the University of York. A partner volume, Voices, Bodies, Practices: Performing Musical Subjectivities (Leuven University Press, 2019), also submitted as one of the author’s REF outputs, is focused tightly around the four subprojects that formed the cluster research. Performance, Subjectivity, and Experimentation has a different function, drawing in a wider range of contributors with different perspectives and practices. Many of the chapters of the edited volume originated in a two-day international seminar, convened by the author and held at the Orpheus Institute (2016), with practitioner-researcher presentations selected from an open call. Selected presentations were substantially developed for the book and additional contributions commissioned; the author led this work, edited the volume, and wrote the Introduction, which situates the work in relation to the key concerns of the cluster. The author’s own chapter focuses on one of the performance projects from her cluster research: the development of a new version of Annea Lockwood’s Ceci n’est un piano. The version has been performed repeatedly in the UK and abroad, notably as part of a large-scale performance project Player Piano, but also in its own right in the UK, Sweden, Portugal and Belgium. An audio recording was produced in 2015, and a film version and produced in collaboration with filmmaker Minyung Im (2020).

AB - This output combines creative and critical work: performance and recorded outputs sit alongside the textual submission. The output author edited the submitted book, Performance, Subjectivity, and Experimentation, wrote the Introduction and her own chapter, and produced performances and recordings as part of the research process. Performance, Subjectivity, and Experimentation and the related creative work form one of the outputs of a research cluster of the same name, with the author as PI, based at the Orpheus Institute, Ghent, in partnership with the University of York. A partner volume, Voices, Bodies, Practices: Performing Musical Subjectivities (Leuven University Press, 2019), also submitted as one of the author’s REF outputs, is focused tightly around the four subprojects that formed the cluster research. Performance, Subjectivity, and Experimentation has a different function, drawing in a wider range of contributors with different perspectives and practices. Many of the chapters of the edited volume originated in a two-day international seminar, convened by the author and held at the Orpheus Institute (2016), with practitioner-researcher presentations selected from an open call. Selected presentations were substantially developed for the book and additional contributions commissioned; the author led this work, edited the volume, and wrote the Introduction, which situates the work in relation to the key concerns of the cluster. The author’s own chapter focuses on one of the performance projects from her cluster research: the development of a new version of Annea Lockwood’s Ceci n’est un piano. The version has been performed repeatedly in the UK and abroad, notably as part of a large-scale performance project Player Piano, but also in its own right in the UK, Sweden, Portugal and Belgium. An audio recording was produced in 2015, and a film version and produced in collaboration with filmmaker Minyung Im (2020).

UR - https://lup.be/products/129478

UR - https://soundcloud.com/user-120758327/ceci-mix-27th-july-2015

UR - https://vimeo.com/421565655

M3 - Other contribution

PB - Leuven University Press; vimeo; soundcloud

ER -