Browse by Schools and Department by Authors
- City, University of London (24160)
- School of Communication & Creativity (1693)
- Performing Arts (535)
- Music (483)
- Performing Arts (535)
- School of Communication & Creativity (1693)
2024
Cottrell, S. ORCID: 0000-0003-4019-798X (2024).
Musical Instruments and Palimpsestic Identity.
Journal of Musicological Research,
pp. 1-18.
doi: 10.1080/01411896.2024.2376343
Nooshin, L. ORCID: 0000-0001-8737-5224 (2024).
Shahnameh in the Classroom: Iranian Music and DIY Cultural Diplomacy in the UK.
In: Lopes da Cunha, M. M. R., Shannon, J., Møller Sørensen, S. & Danielson, V. (Eds.),
Music and Cultural Diplomacy in the Middle East: Geopolitical Re-Configurations for the 21st Century.
(pp. 123-146). Palgrave Macmillan.
doi: 10.1007/978-3-031-36279-8_6
Nystrom, E. ORCID: 0000-0003-3628-540X (2024).
Unformation and Information, more or less (than) human.
Paper presented at the Noisefloor, 27-29 May 2024, Escola Superior de Musica de Lisboa.
Smith, J. ORCID: 0000-0002-5198-4076 (2024).
Early music in the ‘early game’.
In: Cook, J., Kolassa, A., Robinson, A. & Whittaker, A. (Eds.),
History as Fantasy in Music, Sound, Image, and Media.
Music and Visual Culture.
(pp. 83-101). New York, USA: Routledge.
doi: 10.4324/9781003291725
Smith, J. ORCID: 0000-0002-5198-4076 (2024).
"I must be beautiful”: becoming human through adaptive vocal soundscapes.
In: Galloway, K. & Hambleton, E. (Eds.),
Music and Sonic Environments in Video Games Listening to and Performing Ludic Soundscapes.
Routledge Music and Screen Media Series.
. Routledge.
2023
Nooshin, L. ORCID: 0000-0001-8737-5224 (2023).
The Sonic Intimacies of Khosrow Sinai’s A Lost Requiem (1983).
In: Wilford, S., Tragaki, D. & Cottrell, S. (Eds.),
Ethnomusicology and Its Intimacies.
. Routledge.
doi: 10.4324/9781003365792-16
Nooshin, L. ORCID: 0000-0001-8737-5224 & Salavati, K. (2023).
Tehran City Symphonies: The Sounds of Conflicted Modernities, Silent Spaces and Highway Pleasures.
In: Ghorbankarimi, M., Langford, M. & Khosroshah, Z. (Eds.),
The I.B.Tauris Handbook of Iranian Cinema.
. Bloomsbury.
Pace, I. ORCID: 0000-0002-0047-9379 (2023).
Academic Music in the United Kingdom and the Dalliance with Practice - Lecture at Faculty of Music, Oxford University, 25 April 2023.
Paper presented at the Oxford University, 25 Apr 2023.
Pace, I. ORCID: 0000-0002-0047-9379 (2023).
Curricula should not be decolonised based on partial historical knowledge.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2023).
Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences.
Journal of the Royal Musical Association, 147(2),
pp. 594-616.
doi: 10.1017/rma.2022.28
Pace, I. ORCID: 0000-0002-0047-9379 (2023).
Sources, Aesthetics, and Performance in Rădulescu’s Piano Sonatas.
In: Bauer, A., Cagney, L. & Mason, W. (Eds.),
The Oxford Handbook of Spectral music.
(C6S1-C6N74). New York: Oxford University Press.
doi: 10.1093/oxfordhb/9780190633547.013.6
Pace, I. ORCID: 0000-0002-0047-9379 (2023).
Tár - an exploration of the flawed musicians behind decadent music.
The Conversation,
Ásmundsdóttir, L. M. (2023). Webs of Creative Openness: Collaborative creativity within artistic practices. (Unpublished Doctoral thesis, City, University of London)
2022
Armstrong, N. ORCID: 0000-0002-1927-7371 (2022).
The Book of the Sediments
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Contribution to Round Table on 'The Legacy of Richard Taruskin'.
Paper presented at the Performance Studies Conference, 2 Jul 2022, University of Surrey, UK.
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Is classical colonial?.
The Critic,
pp. 42-43.
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Lancashire Rock (2022) for clarinet, percussion and piano
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Musicology and Academic Freedom.
Paper presented at the Music and the University Conference, 7 Jul 2022, London, UK.
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Performing arts need a research and practice excellence framework.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Response to Panel on 'Classical Music in Higher Education'.
Paper presented at the Music and the University Conference, 8 Jul 2022, London, UK.
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
The Two Traditions of 'Experimental Music': Implications for the Later Conceptual history.
Paper presented at the Xperimus 2022 Conference, 16 Apr 2022, Porto, Portugal.
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
The UK government must ensure core subjects are taught in every region.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
University departments need a broad range of active performing artists.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
We need a statutory qualification for practitioners in higher education.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
Why is post-colonial guilt only applied to Western classical traditions? Radio 3’s World of Classical reviewed.
The Spectator,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
The autoethnography masturbation outcry strikes a chord in music.
Times Higher Education,
Pace, I. ORCID: 0000-0002-0047-9379 (2022).
The political polyvalency of modernism.
Spectator,
2021
Loya, S. ORCID: 0000-0002-9156-2804 (2021).
Lateness in Context.
In: Cormac, J. (Ed.),
Liszt in Context.
Composer in Context.
(pp. 271-281). Cambridge: Cambridge University Press.
doi: 10.1017/9781108378253.034
Pace, I. ORCID: 0000-0002-0047-9379 (2021).
9/11 inspired an outpouring of classical music – too much of it thoughtless and emotionless.
The Conversation(10 Sep),
Smith, J. ORCID: 0000-0002-5198-4076 (2021).
Voices, Combat, and Music.
Journal of Sound and Music in Games, 2(2),
pp. 42-62.
doi: 10.1525/jsmg.2021.2.2.42
2020
Pace, I. ORCID: 0000-0002-0047-9379 (2020).
Music and trauma – why the two have a fraught relationship.
The Conversation,
Pace, I. ORCID: 0000-0002-0047-9379 (2020).
O novo estado da arte dos estudos em performance.
Revista Vórtex, 8(2),
pp. 1-22.
doi: 10.33871/23179937.2020.8.2.18
Rennie, T. ORCID: 0000-0001-8937-2780 (2020).
Sociosonic Interventions: Distributed Authorship in Socially Engaged Sound Practices.
Leonardo Music Journal, 30,
pp. 113-117.
doi: 10.1162/lmj_a_01102
2019
Pace, I. ORCID: 0000-0002-0047-9379 (2019).
Introduction to Panel on Rethinking Contemporary Musicologies: Disciplinary Shifts and the Risks of Deskilling.
Paper presented at the Royal Musical Association Conference, 12 Sep 2019, London, UK.
Pace, I. ORCID: 0000-0002-0047-9379 (2019).
Sensational Diaries, Creative Confessionals or Synthetic Exegeses? How 'Academic' Composers and Performers tell their Stories.
Paper presented at the Royal Musical Association 2019 Conference, 12 Sep 2019, Manchester UK.
Pace, I. ORCID: 0000-0002-0047-9379 (2019).
A Short History of Key Noise.
Keynote Paper presented at the Hands-On Research Conference, 1 Nov 2019, University of Aveiro, Portugal.
Smith, J. ORCID: 0000-0002-5198-4076 (2019).
Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II.
Soundtrack, The, 11(1-2),
pp. 75-97.
doi: 10.1386/ts_00006_1
2018
Pace, I. ORCID: 0000-0002-0047-9379 (2018).
Spin, Self-Promotion, Institutional Recognition and Critical Performance: Notes from the Diary of a Performer-Scholar.
Keynote Paper presented at the Beyond "Mesearch", 17 Apr 2018, London, UK.
2017
Pace, I. ORCID: 0000-0002-0047-9379 (2017).
Ideological Constructions of ‘Experimental Music’ and Anglo-American Nationalism in the Historiography of post-1945 Music.
Paper presented at the City, University of London, Mar 2017, London, UK.
2016
Pace, I. ORCID: 0000-0002-0047-9379 (2016).
Between Academia and Audiences - Some Critical and Methodological Reflections from a Performer Scholar.
Paper presented at the Royal Musical Association Conference, 5 Sep 2016, London, K.
Pace, I. ORCID: 0000-0002-0047-9379 (2016).
Musical Performance as a Scholarly Practice - Critical Reflections from a Performer-Scholar, and a Case Study of the Dukas Piano Sonata.
Keynote Paper presented at the Conference The Old in the New, 24 Nov 2016, Lisbon.
2015
Bucar, M. (2015). Aesthetic negativity and choreographic practice. (Unpublished Doctoral thesis, City, University of London)
2010
Wallis, L (2010). An exploration of the work of David Bintley, a very ‘English’ choreographer, with particular reference to his use of English Morris dance in Still Life at the Penguin Café and the process of translating ‘genuine’ English Morris dance to a theatrical environment.. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance/ City, University of London)
2006
Liao, P. (2006). An Inquiry into the Creative Process of Butoh: With Reference to the Implications of Eastern and Western Significances. (Unpublished Doctoral thesis, City University London)
2005
Chappell, K. (2005). Creativity within late primary age dance education: unlocking expert specialist dance teachers' conceptions and approaches. (Unpublished Doctoral thesis, City University London)
2001
Pakes, A. (2001). Dance interpretation and the cultural institution: exploring the condition(s) of british and french contemporary dance in the 1990s. (Unpublished Doctoral thesis, City University London)
2000
Brown, T. (2000). English Vernacular Performing Arts in the Late Twentieth Century. (Unpublished Doctoral thesis, City, University of London)
Chao, Y. (2000). Dance, Culture and Nationalism: the Socio-cultural Significance of Cloud Gate Dance Theatre in Taiwanese Society. (Unpublished Doctoral thesis, City University London)
1998
Rimmer, V. (1998). Dance, History and Deconstruction: Giselle and Beach Birds for Camera as Contrasting Sites for a Discussion of Issues of Meaning in Dance. (Unpublished Doctoral thesis, City, University of London)
1995
Hensel, S. (1995). Dance therapy: Source and route to holistic action in the Erziehungsbeistandschaft. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)
1993
Donaldson, A. (1993). The choreutic parameter: A key determinant of choreographic structural style. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)