1857 research outputs found
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Winter's edge
No full textFor string quartet, duration 20 minutes. This work is Mark-Anthony Turnage's fourth string quartet, and was co-commissioned by the Piatti Quartet, the Wigmore Hall and Flagey ASBL. It was premiered by the Piatti Quartet at the Klarafestival, Brussels on 19 March 2019 and its UK premiere was given at the Wigmore Hall, London on 25 May 2019
Maya
No full textFor solo cello and chamber orchestra, duration 12 minutes. This piece was premiered on 17 November 2016 by Maya Beiser (cello) and the Swedish Chamber Orchestra conducted by Thomas Dausgaard at the Concert Hall, Örebro. Its UK premiere was given by the same performers at the BBC Proms on 5 August 2018
Canon fever
No full textFanfare for brass and percussion, duration 3 minutes. This work was premiered on 13 July 2012 at the Royal Albert Hall by the BBC Symphony Orchestra conducted by Edward Gardner. A YouTube video of this performance is available on the video tab below
Split apart
No full textFor string quartet, duration 20 minutes. This piece was premiered on 15 December 2020 by the Modigliani Quartet at the Centro Nacional de Difusión Musical, Madrid
Four meditations
No full textFor solo harp, duration 13 minutes. This work was commissioned by the Tanza Trust and premiered on 13 June 2019 by Lise Vandersmissen at the Milton Court Concert Hall, London
Learning cultures, creativities and higher music education institutions
No full textIt is increasingly recognized that musicians must embody multiple creativities in order to thrive in their professions, navigating a complex tapestry of musical fields (Burnard 2012). Higher music education institutions thus have a responsibility to foster and encourage wide and varied creativities among their students. To do so, however, can raise a tension between what Gregory (2005) refers to as long-held practices that ‘preserve musical tradition’ and newer practices that facilitate ‘centres of excellence for new ideas and approaches’ (p. 19). This chapter explores current practices, situating creativities as a cultural phenomenon constructed in and through the ‘learning cultures’ of higher music education sector institutions
Beldam
No full textFor solo percussion, duration c.3.5 minutes.
Beldam is a late Middle English word referring both to a beautiful woman and a witch. This piece was created for a scene in Eleesha Drennan’s dance production Channel Rose, where a witch-like character creates and destroys the structures around her in a ritual of fury.
It was premiered on 5 December 2014 by Julian Warburton at Dance House, Wales Millennium Centre, Cardiff
Assessing quality in socially engaged musical performances
No full textThis paper explored some of the practical and philosophical challenges of assessing quality in socially engaged musical performances, and advocated an holistic philosophy of music as a means of resolving some of these challenges. Recognising the functional differences between 'presentational performance' and 'participatory performance' (Turino 2008) goes some way to understanding the complex social contexts of musical performance, but can ultimately result in a polarised perspective on musical performance which is not necessarily reflective of the complexity of 'real life' situations (Camlin 2014). Using case studies from six years of 'socially engaged' (Helguera 2011) performances by third year students on the UK's first BA (Hons) Community Music programme, situated within the artistic programme of Sage Gateshead, this paper drew out some of these complexities, and revealed the need for more unifying philosophies of music which account for such complexity. Rather than more traditional 'recitals' of musical skill, the third year 40-credit Performance Project module requires students on the programme to engage with specific social, philosophical or ethical considerations in curating a musical performance, resulting in a wide range of 'socially engaged' performance events. Responses have ranged from participatory performances in schools for children with special educational needs and disabilities; a one-day community folk festival; an installation celebrating the musical faith traditions of the diaspora of Ap Chau island; collaborative performances with service users of mental health organisations; a Blue Light Choir to support the wellbeing of emergency services personnel; as well as more traditional showcase performances within Sage Gateshead's International Jazz Festival (GIJF). Artistic Citizenship (Elliott et al. 2016) provides a valuable philosophical 'lens' through which to view this complex and diverse range of responses, as does the author's philosophy of 'music in three dimensions' (Camlin 2016a; Camlin 2016b) which advocates a dialogic 'creative tension' (Bakhtin 1981; Wegerif 2012; Camlin 2015) between the aesthetic, praxial and social dimensions of music as a way of reconciling the apparent differences between them. Hence, quality in situations of musical performance cannot be understood in absolute terms, but rather is contingent on the situated social context/s which give them meaning (Camlin 2014)
Barrie's deviant fantasy
No full textAfter J. S. Bach, for string quartet and referee's whistles, duration 3 minutes. This work was first performed on 3 July 1995 by the Kreutzer Quartet