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

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

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

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 workā€™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 ā€œ(Per)Forming Artā€ from their own perspective. As such, the contents of this book will appeal to a variety of academic interests pertaining to various ā€œstyles,ā€ traditions and cultures, all of which are unified by the relationship between performance and composition.

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

What does it mean to ā€˜composeā€™?

Tomorrow I will present a paper at a postgraduate symposium inĀ Leeds about composition and what it might entail. This talk also forms a small part of the argument in my PhD thesis. A the moment, it poses more questions than it answers. Below is an abstract for this talk:

What is really involved in the act of composing? Does it concern ā€˜materialā€™ (whatever that is) or structure? Are composers genuinely ā€˜creatingā€™ when they compose or are they merely rearranging what already exists into a coherent form? In order to explore this area, my investigation begins with the following question: what level of constituent ā€˜materialā€™ is necessary for a piece to be recognised as the same piece or to be identified as a different piece? My practice-led investigation into this query concerns a series of compositions where each piece is a re-ordered version of the first composition in the series. This collection of pieces poses several research questions: first, can (or will) these pieces be perceived as separate compositions that share the same obvious ā€˜blocksā€™ of material (which is essentially what they are) or as essentially the same composition? Second, if perceived as separate, do the ā€˜movementsā€™ in this collection sound like separate compositions by different composers or like separate compositions by the same composer? Third, if they sound like separate compositions by the same composer, then is it the micro-level which determines whether or not a piece sounds like it is written by a particular composer? Finally, what can this research say about the act of composing?

The guestLISZT @ The Library

petrichorĀ (2015) for fixed-media electronics andĀ Graphite PendulumĀ (2014) for solo clarinet in BbĀ and fixed-media electronicsĀ will be premiĆØred by theĀ Leeds University Union Music Society this Wednesday. This event will also feature work byĀ Bizaar DJs Max Williams and Alex Busby.Ā 

For more information about this event and how you can obtain tickets, click here.

L.I.M.E.: ‘Barricades and Partitions’

CROSSWOR[K]Ā (2013) Ā for free instrumentation will be performed by Leeds Improvised Music and Experimentation organisation (L.I.M.E.) in theirĀ  upcoming concert Barricades and Partitions,Ā 1st May, 2016 ,Ā Wharf Chambers,Ā Leeds, England.

The event also features LUUMS New Music Ensemble and Prohibited Strangers. More information about the event can be found here.

More information about my compositionĀ CROSSWOR[K]Ā (2013) can be found here.

 

*cellomondo* by cellist Katharina Gross

I have been selected by cellistĀ Katharina Gross to be one of the composers to take part in her cellomondo project. This project aims to explore the music of composers from all over the world. More information about this project can be found here.

Other composers taking part in this project so far includeĀ Seung-Won Oh (Korea / The Netherlands/ USA),Ā Amit Gur (Israel/ The Netherlands),Ā RaphaĆ«l Languillat (France),Ā Ryszard Lubieniecki (Poland),Ā Johannes Kretz (Austria),Ā Veronika Simor (Hungary / Austria),Ā Dugal McKinnon (New Zealand),Ā Jakhongir Shukur (Uzbekistan),Ā Artyom Kim (Uzbekistan),Ā AurĆ©lio Edler-Copes (Brasil / France),Ā Christopher Wood (USA),Ā Jason Post (New Zealand). Further information about these composers can be found here.

Katharina Gross will perform my compositionĀ Parallax ErrorĀ (2014) for any four-string bowed instrument at the Gaudeamus Muziekweek in Utrecht on 10th of September, 2016.

Upcoming Performance: *[Co]Valence II*

[Co]Valence II (2016) for Ā any number of flautists of any flute-type and optional fixed-media electronics will be premiĆØred on thirteen flutes next Friday by the University of Leeds Flute Ensemble. Further information about this concert can be found here.

You can watch the concert here.

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photo: rehearsingĀ [Co]ValenceĀ II in the Clothworker’s Centenary Concert Hall

Performance in Copenhagen (secret location)

My compositionĀ angustiaĀ (2015) for flute, accordion, and violin was performed by Trio Layers ‘inĀ a secret location in Copenhagen’ last Tuesday (1st March, 2106).

As well as ensembleĀ Trio Layers, the event also involved performances from saxophonistĀ Kārlis AuziņŔ, and singerĀ Elina Silova.

More information about the event can be found here.