1857 research outputs found
Sort by
The first nowell [traditional arr. Hesketh]
No full textArrangement by Kenneth Hesketh for SATB choir and orchestra, duration 5 minutes. Also available for SATB choir and organ, see https://www.musicroom.com/product/musnov291720/the-first-nowell-arr-kenneth-hesketh-satb.aspx
Practising research – researching practice
No full textDebates about the practicalities and philosophy of performance as research are currently a common feature of the institutional landscape. With the UK Research Assessment Exercise 2008 fast approaching, the Royal College of Music in London has recently been reflecting upon its research strengths, which are central to its overall mission; rigorous inquiry and innovation are evidently of profound significance to all those who seek to practice the art of music at its highest level. But, as the recent history of performance practice in Britain clearly illustrates, candidness about the nature and degree of originality of one's own research projects can sometimes prove a challenge in its own right
A festive overture [version for brass band]
No full textFor brass band, duration 8 minutes. This work was first performed on 28 January 2007 by the Brighouse and Rastrick Band at the Royal Northern College of Music Festival of Brass in Manchester.
It has also been recorded by the Leyland Band on their acclaimed CD 'Penlee' (Faber Music: 0571522165), see https://www.fabermusic.com/shop/penlee-cd-p3712. Versions of this piece are also available for orchestra (see https://researchonline.rcm.ac.uk/id/eprint/1548/) and symphonic wind band (see https://researchonline.rcm.ac.uk/id/eprint/1550/)
Ferdinando Sebastiani, Gennaro Bosa and the clarinet in nineteenth-century Naples
No full textMakes the important connection between the Italian virtuosic clarinetist Ferdinando Sebastiani (1803–1860) and the Neopolitan instrument maker Gennaro Bosa. Sebastiani's Método per clarinetto provided evidence the construction of the reed-above embouchure and his use of the 13-keyed clarinet, which were being built by Bosa
An exploratory study of the role of performance feedback and musical imagery in piano playing
No full textMusicians experience various forms of sensory feedback when practising and performing. By studying the extent to which musicians rely on such auditory, visual and kinaesthetic information, insight can be gained (albeit indirectly) into the content and strength of their mental imagery for the music they play. While in previous empirical research, impaired auditory feedback has not been shown to affect performance outcome, the significance of visual and kinaesthetic feedback is less well-understood. In the current study, performance feedback was systematically removed in a repeated measures (within-subjects) design. Eight skilled pianists performed from memory under a normal condition and under three further conditions without auditory, visual and kinaesthetic feedback, one of which included tapping along with the beat of an imagined performance. Differences and similarities in the expressive timing and intensity (dynamic) microstructure were analyzed and compared across conditions. Performance consistency in both timing and intensity profiles was highest for conditions with kinaesthetic feedback, even in the absence of auditory and visual feedback. The results are discussed in relation to their implications for mental imagery and mental practising
‘A sort of guerrilla’: Che at the opera
No full textThe undoubted cause célèbre of the 1969 Holland Festival was the large-scale music theatre piece Reconstructie, jointly authored by a team of five young composers and two librettists. The work, which took as its subject ‘the struggle against US imperialism in Latin America’, and revolved around the figure of Che Guevara, embodied the authors’ dual commitment to political engagement and artistic experiment. My account examines the work through the lens of recent scholarship that stresses the politically reactionary function of avant-garde experimentation within the cultural Cold War. In the process, attention is given to broader factors affecting the work’s production and reception: these include contemporaneous debates about cultural popularising and the Holland Festival; the complex motives of the work’s governmental patrons; and the influence upon the authors of Cuba, Castro and Guevara himself
William Waterhouse 1931–2007
No full textTribute to the virtuoso bassoonist, who died on 5 November 2007