By the same authors

Touch and Go

Research output: Non-textual formDigital or Visual Products

Standard

Touch and Go. Laws, Catherine (Author); Marsh, Roger Michael (Composer); Im, Minyung (Other). 2018.

Research output: Non-textual formDigital or Visual Products

Harvard

Laws, C, Marsh, RM & Im, M, Touch and Go, 2018, Digital or Visual Products.

APA

Laws, C. (Author), Marsh, R. M. (Composer), & Im, M. (Other). (2018). Touch and Go. Digital or Visual Products, Retrieved from https://vimeo.com/273496616

Vancouver

Laws C (Author), Marsh RM (Composer), Im M (Other). Touch and Go 2018.

Author

Laws, Catherine (Author) ; Marsh, Roger Michael (Composer) ; Im, Minyung (Other). / Touch and Go. [Digital or Visual Products].

Bibtex - Download

@misc{9c021f226342422bb0578451709ba860,
title = "Touch and Go",
abstract = "Touch and Go is a composition for piano by Roger Marsh, developed in collaboration with pianist Catherine Laws in 2014, who performs it here.Film: Minyung ImSound: Lynette Quek.Marsh composed the notes and prefaced the score with a brief scenario that opens: 'An impossible idea. The performer has never seen a piano before. She sits down at the instrument without fear but with a degree of curiosity. She explores the instrument with thoughtful curiosity....' In developing the piece for performance, Laws explored the physical relationship to the instrument, focusing on the gestures necessary to perform the piece and playing around with them: interrupting and freezing them, exaggerating and extending, generating an additional, semi-choreographed aspect to the piece.The film, made by Minyung Im in 2018, with sound by Lynette Quek, takes all this further, using the camera eye to scrutinise the interaction of sound and gesture, the relationship between pianist and piano.This work forms part of the large scale performance project 'Player Piano', which is in turn part of the overarching research project 'Performance, Subjectivity and Experimentation', in collaboration with the Orpheus Research Centre in Music, Ghent.",
author = "Catherine Laws and Marsh, {Roger Michael} and Minyung Im",
year = "2018",
language = "English",

}

RIS (suitable for import to EndNote) - Download

TY - ADVS

T1 - Touch and Go

AU - Laws, Catherine

A2 - Marsh, Roger Michael

A2 - Im, Minyung

PY - 2018

Y1 - 2018

N2 - Touch and Go is a composition for piano by Roger Marsh, developed in collaboration with pianist Catherine Laws in 2014, who performs it here.Film: Minyung ImSound: Lynette Quek.Marsh composed the notes and prefaced the score with a brief scenario that opens: 'An impossible idea. The performer has never seen a piano before. She sits down at the instrument without fear but with a degree of curiosity. She explores the instrument with thoughtful curiosity....' In developing the piece for performance, Laws explored the physical relationship to the instrument, focusing on the gestures necessary to perform the piece and playing around with them: interrupting and freezing them, exaggerating and extending, generating an additional, semi-choreographed aspect to the piece.The film, made by Minyung Im in 2018, with sound by Lynette Quek, takes all this further, using the camera eye to scrutinise the interaction of sound and gesture, the relationship between pianist and piano.This work forms part of the large scale performance project 'Player Piano', which is in turn part of the overarching research project 'Performance, Subjectivity and Experimentation', in collaboration with the Orpheus Research Centre in Music, Ghent.

AB - Touch and Go is a composition for piano by Roger Marsh, developed in collaboration with pianist Catherine Laws in 2014, who performs it here.Film: Minyung ImSound: Lynette Quek.Marsh composed the notes and prefaced the score with a brief scenario that opens: 'An impossible idea. The performer has never seen a piano before. She sits down at the instrument without fear but with a degree of curiosity. She explores the instrument with thoughtful curiosity....' In developing the piece for performance, Laws explored the physical relationship to the instrument, focusing on the gestures necessary to perform the piece and playing around with them: interrupting and freezing them, exaggerating and extending, generating an additional, semi-choreographed aspect to the piece.The film, made by Minyung Im in 2018, with sound by Lynette Quek, takes all this further, using the camera eye to scrutinise the interaction of sound and gesture, the relationship between pianist and piano.This work forms part of the large scale performance project 'Player Piano', which is in turn part of the overarching research project 'Performance, Subjectivity and Experimentation', in collaboration with the Orpheus Research Centre in Music, Ghent.

M3 - Digital or Visual Products

ER -