City Research Online

A

Armstrong, N. ORCID: 0000-0002-1927-7371 (2022). The Book of the Sediments

B

Brown, T. (2000). English Vernacular Performing Arts in the Late Twentieth Century. (Unpublished Doctoral thesis, City, University of London)

Bucar, M. (2015). Aesthetic negativity and choreographic practice. (Unpublished Doctoral thesis, City, University of London)

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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 (Unpublished Doctoral thesis, City University London)

Chappell, K. (2005). Creativity within late primary age dance education: unlocking expert specialist dance teachers' conceptions and approaches. (Unpublished Doctoral thesis, City University London)

Cottrell, S. ORCID: 0000-0003-4019-798X (2024). Musical Instruments and Palimpsestic Identity. Journal of Musicological Research,

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Donaldson, A. (1993). The choreutic parameter: A key determinant of choreographic structural style. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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Hensel, S. (1995). Dance therapy: Source and route to holistic action in the Erziehungsbeistandschaft. (Unpublished Doctoral thesis, Trinity Laban Conservatoire of Music and Dance)

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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 (Unpublished Doctoral thesis, City University London)

N

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.view all authors (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

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.

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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),

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 (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 (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 (2023). Curricula should not be decolonised based on partial historical knowledge. Times Higher Education,

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.

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 (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 (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 (2020). Music and trauma – why the two have a fraught relationship. The Conversation,

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.

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 (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

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 (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.

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 (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.

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 (2023). Tár - an exploration of the flawed musicians behind decadent music. The Conversation,

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,

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)

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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)

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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)

Á

Ásmundsdóttir, L. M. (2023). Webs of Creative Openness: Collaborative creativity within artistic practices. (Unpublished Doctoral thesis, City, University of London)