By the same authors

Piano Personae: Performance, Subjectivity and Experimentation

Research output: Contribution to conferencePaper

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Piano Personae : Performance, Subjectivity and Experimentation. / Laws, Catherine Ann.

2016. Paper presented at Fourth Performance Studies Network International Conference, Bath, United Kingdom.

Research output: Contribution to conferencePaper

Harvard

Laws, CA 2016, 'Piano Personae: Performance, Subjectivity and Experimentation', Paper presented at Fourth Performance Studies Network International Conference, Bath, United Kingdom, 14/07/16 - 17/07/16.

APA

Laws, C. A. (2016). Piano Personae: Performance, Subjectivity and Experimentation. Paper presented at Fourth Performance Studies Network International Conference, Bath, United Kingdom.

Vancouver

Laws CA. Piano Personae: Performance, Subjectivity and Experimentation. 2016. Paper presented at Fourth Performance Studies Network International Conference, Bath, United Kingdom.

Author

Laws, Catherine Ann. / Piano Personae : Performance, Subjectivity and Experimentation. Paper presented at Fourth Performance Studies Network International Conference, Bath, United Kingdom.

Bibtex - Download

@conference{05be58b5d68b49e086bc1d01eae8143d,
title = "Piano Personae: Performance, Subjectivity and Experimentation",
abstract = "The arts of the last century have pushed us to interrogate notions of the self, exposing the fragmented, fluid, dynamic, embodied and contingent nature of subjectivity. Musical subject-formation through performance is inherently intersubjective: every musician develops a sound, style and performance persona through a process of identification with and differentiation from the playing of others, whether peers, teachers, or idolised performer-heroes. Nevertheless, the discourse of the individual self persists. Developing an {\textquoteleft}authentic{\textquoteright} performing {\textquoteleft}voice,{\textquoteright} predicated on the self, is often regarded as key to musical success, while popular media commentary encourages the idea of performance as self-realisation. This presentation considers these issues via performance of my version of Annea Lockwood's Ceci n'est pas un piano (originally 2002, for piano, recorded voice and electronics). The research is part of a practice-led project {\textquoteleft}Piano Personae{\textquoteright}, examining the relationship between performance, experimentation, embodied knowledge and subjectivity.",
author = "Laws, {Catherine Ann}",
year = "2016",
month = jul,
day = "17",
language = "English",
note = "Fourth Performance Studies Network International Conference ; Conference date: 14-07-2016 Through 17-07-2016",

}

RIS (suitable for import to EndNote) - Download

TY - CONF

T1 - Piano Personae

T2 - Fourth Performance Studies Network International Conference

AU - Laws, Catherine Ann

PY - 2016/7/17

Y1 - 2016/7/17

N2 - The arts of the last century have pushed us to interrogate notions of the self, exposing the fragmented, fluid, dynamic, embodied and contingent nature of subjectivity. Musical subject-formation through performance is inherently intersubjective: every musician develops a sound, style and performance persona through a process of identification with and differentiation from the playing of others, whether peers, teachers, or idolised performer-heroes. Nevertheless, the discourse of the individual self persists. Developing an ‘authentic’ performing ‘voice,’ predicated on the self, is often regarded as key to musical success, while popular media commentary encourages the idea of performance as self-realisation. This presentation considers these issues via performance of my version of Annea Lockwood's Ceci n'est pas un piano (originally 2002, for piano, recorded voice and electronics). The research is part of a practice-led project ‘Piano Personae’, examining the relationship between performance, experimentation, embodied knowledge and subjectivity.

AB - The arts of the last century have pushed us to interrogate notions of the self, exposing the fragmented, fluid, dynamic, embodied and contingent nature of subjectivity. Musical subject-formation through performance is inherently intersubjective: every musician develops a sound, style and performance persona through a process of identification with and differentiation from the playing of others, whether peers, teachers, or idolised performer-heroes. Nevertheless, the discourse of the individual self persists. Developing an ‘authentic’ performing ‘voice,’ predicated on the self, is often regarded as key to musical success, while popular media commentary encourages the idea of performance as self-realisation. This presentation considers these issues via performance of my version of Annea Lockwood's Ceci n'est pas un piano (originally 2002, for piano, recorded voice and electronics). The research is part of a practice-led project ‘Piano Personae’, examining the relationship between performance, experimentation, embodied knowledge and subjectivity.

M3 - Paper

Y2 - 14 July 2016 through 17 July 2016

ER -