(Per)Forming Art: Performance as Research in Contemporary Artworks

I have recently completed editing a multi-authored book based on the proceedings of the (Per)Forming Art Symposium which I founded in 2015. I am pleased to announce that the book will be available via the Cambridge Scholars Publishing website from the 1st October, 2016.

This publication is based on the proceedings of the first (Per)Forming Art event, which took place September, 2015. More information regarding this event can be found here.
Further information regarding this publication can be found on the (Per)Forming Art website.

Below is a book description, which is also available on the Cambridge Scholars Publishing website:

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                                         Front cover: Alannah Marie Halay (ed.), (Per)Forming Art: Performance as Research in Contemporary Artworks 

Book Description:

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

Primarily engaging with music of the twentieth- and twenty-first centuries, (Per)Forming Art: Performance as Research in Contemporary Artworks focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. It addresses how performance and composition are reciprocally entwined and what role this hermeneutic relationship plays in creative practice today. This publication is the work of multiple authors from academic institutions around the world; each approaches the topic “(Per)Forming Art” from their own perspective. As such, the contents of this book will appeal to a variety of academic interests pertaining to various “styles,” traditions and cultures, all of which are unified by the relationship between performance and composition.

I would like to thank the following researchers for contributing to this book: Michael D. Atkinson (Sheffield Hallam University); Gabriele Cavallo (Goldsmiths, University of London); Hans–Peter Gasselseder (University of Aalborg); Jacopo Gianninoto (Assumption University of Thailand); Maria Kallionpää (University of Oxford); Marina Liontou Mochament (Leiden University, Orpheus Institute); Adilia Yip (Royal Conservatoire Antwerp); Cornelia Zambila (Orpheus Institute Ghent)

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