Woman wanted theatre cleaner (8-12 daily): the missing literature of the empty mopped stage

This chapter emerges from a strange silence where there should be so much more noise. We are beckoned by ghosts slipping in and out of theatre history without any real literature about their material working practices, or indeed any other kind of literature by theatre cleaners or even about theatre cleaning. ***** This chapter is available to read free of charge at the 'Official URL' given below. ****

Developing hybridised influences inspired by Japanese pop culture and the art of Wassily Kandinsky through collaborative practice

This research explores the hybridisation of influences from Japanese pop culture and Wassily Kandinsky’s art and philosophy, alongside the development of collaborative methodologies for music composition. By studying these two distinct sources and merging their influences, this work seeks to uncover unconventional perspectives for compositional practice, fostering creative thinking in cross-genre and cross-disciplinary contexts. Through a portfolio of compositions, I examine pop music elements, Kandinsky-inspired compositional techniques, graphic notation, and interdisciplinary practices. Simultaneously, I collaborate with artists from various disciplines and musicians of diverse backgrounds to refine a collaborative approach that elevates hybridised influences, forging connections between music and art from a deeply personal perspective. This practice reflects my artistic vision, challenges the boundaries of contemporary classical music, and promotes a unique compositional style, emphasizing collaboration-based projects and diverse artistic engagement. Furthermore, the commentary documents the research underpinning my practice, identifying techniques, examining hybridised influences, and evaluating collaborative processes. A practice-based, autoethnographic approach is central to realizing the potential of this research. This methodology facilitates the exploration of hybridised influences, the curation of cross-genre and cross-disciplinary projects, and the development of collaborative methodologies. Through this creative process, I have established connections between Japanese pop culture and Kandinsky’s works, both musically and philosophically, uncovering their artistic significance. These discoveries have enabled me to shape a distinct compositional style and integrate a collaborative approach that bridges interdisciplinary subjects through communication and cooperation. Collaboration has become a vital aspect of my compositional practice. This research marks a pivotal transition from a traditional concert music composer to one who actively engages in collaboration and interdisciplinary art forms. It lays the groundwork for lifelong exploration of unconventional influences in music composition, broadening the scope of cross-genre and cross-disciplinary works, and solidifying a commitment to collaborative practice. Compared to traditional concert music, cross-disciplinary collaboration in contemporary music is relatively new. Moreover, the gap between contemporary music and other artistic disciplines presents a challenge. This research represents an initial step in bridging these gaps, challenging conventional boundaries, and introducing innovative approaches to music composition

Inside the contemporary conservatoire: critical perspectives from the Royal College of Music, London

Drawing on the expertise of a wide range of professionals, Inside the Contemporary Conservatoire: Critical Perspectives from the Royal College of Music, London presents fresh perspectives on the work of music conservatoires today through an in-depth case study of the Royal College of Music (RCM), London. Problematising the role and purpose of conservatoires in the context of changing cultural and societal conditions, the contributors reframe the conservatoire as a vehicle for positive change in the performing arts and society at large. Organised into three main sections, the volume covers conservatoire identities and values, teaching and learning music at a conservatoire, and reflections on the conservatoires of the future. Diverse voices from inside and outside the RCM reflect viewpoints from professional musicians, academics, industry, and the student community, spanning topics such as arts practice, music pedagogy and education, technology, inclusion, employability, entrepreneurship, performance science, material culture, and philanthropy. With chapters that combine interviews, case studies, analysis, critical reflection, and perspectives from inside and outside the RCM, this book offers an in-progress model for the forward-thinking conservatoire, underpinned by renewed emphasis on equitable, innovative, sustainable, and technologically enabled artistic practice

The global conservatoire

This chapter explores how online learning is opening up new possibilities for conservatoire learning and teaching, with a particular focus on the global context. The conservatoire environment traditionally privileges embodied interactions; however, this chapter argues that carefully designed online learning can provide important and timely opportunities for digital skills development, flexible learning, peer interaction, and culturally responsive courses. Following a short survey of online teaching in music, this chapter introduces the multi-institutional Erasmus+ ‘Global Conservatoire’ project, examining how online international teaching partnerships can complement the embodied and collaborative values of traditional conservatoire teaching models. The authors draw upon the findings of a research project that explored the staff and student experiences of the Global Conservatoire in practice. The chapter concludes by reflecting on the outcomes of the project before setting out a number of recommendations to embed and optimise online transnational learning in today’s conservatoire curriculum as a form of ‘global pedagogy’

Pablo Sarasate across theory and practice: synthesising old and new sources

Pablo de Sarasate is a renowned and respected violin figure, yet current research is primarily limited to biographical sources and the portrayal of his virtuosity. Sarasate’s skill as a violinist and his contribution to repertoire and performance practices must be acknowledged and understood. This two-part doctoral project is focused, therefore, on redefining our understanding of Pablo de Sarasate. Part One centres on providing new evidence and perspectives. It explores Sarasate’s repertoire and programming preferences, whilst also revealing a categorisation of his career development. It includes the first in-depth exploration of Otto Goldschmidt, Sarasate’s manager and piano accompanist, an essential figure in the development of Sarasate’s public identity and success. The first part concludes with an examination of Sarasate’s violins, which includes videos of my performances on his instruments, as well as the discovery and performance of a work found in Sarasate’s repertoire. Part Two focuses on a comprehensive interrogation of Sarasate as a violinist. It includes an exploration of his posture, sound, compositions and overall technique, from my own perspective as a violinist. Whilst this research expands current knowledge on Sarasate and contextualises the violinist within the nineteenth century, its larger goal is to highlight his importance in the development of violin performance practices. Additionally, this doctoral project provides new evidence, including documentary sources such as concert programmes and letters by Sarasate, which are interrogated for the first time through this work

Antagonistic muscular co-contraction for skilled, healthy piano technique: a scoping review

Aims: This scoping review aimed to generate a novel evidence-based model of antagonistic muscular co-contraction (AMCC)’s effects on human movement. The review applies this model to the context of skilled, healthy piano playing to enable advances in pedagogy and research that can aid pianists in developing and maintaining skill and task-related health. Background: Piano playing is a challenging, complex activity that carries significant risk of playing-related neuromusculoskeletal disorder (PRNDs). AMCC is a contentious, terminologically problematic topic in pedagogical and scientific literature, and has scarcely been studied in relation to piano technique. Methods: Adhering to PRISMA-ScR guidelines, the review adopted the search terms “co-contraction,” “piano,” “co-activation,” and “antagonist,” consulting 36 aggregated resources and 100 individual journals. After screening, 188 studies published between 1982 and 2021 were included. From these studies, AMCC-related content was extracted, analyzed in relation to piano technique, and categorized. The resultant categories were synthesized into a model representing the characteristics and effects of AMCC in movement. Results: AMCC is a prevalent, complex, and learnable phenomenon, exhibiting the capacity for both positive and negative effects on performance and health. These effects are highly relevant to the task-specific challenges of skilled, healthy piano playing. AMCC can affect sensorimotor task control, accuracy, efficiency, coordination, internal model generation, proprioception, range of motion, individuation, neuromuscular signal-to-noise ratio, speed, power, stability, task-related injury, pain, and rehabilitation. Conclusion: The review and corresponding model suggest that AMCC is a fundamental characteristic of human movement with broad and unique effects on sensorimotor task performance, including piano playing. Of the 188 publications reviewed, none were found to have robust methods investigating AMCC in healthy, skilled pianists; this review underpins ongoing research targeting the nature of AMCC in piano technique

Cultural fusion in piano compositions by composers who immigrated to Israel from the Soviet Union and the former Soviet Union

This research investigated the way the motivation of composers who immigrated to Israel from the Soviet Union and the former Soviet Union influenced their compositional styles. It focused on eight composers who immigrated in two periods: Mark Kopytman, Lev Kogan, and Joseph Dorfman, who immigrated in the 1970s; and Josef Bardanashvili, Benjamin Yusupov, Emanuel Vahl, Irena Svetova, and Oleg Bogod, who immigrated in the 1990s. Detailed biographical information is provided for each composer, much of which is original. Earlier sociological research maintained that immigration in these two periods was driven by different motivations: in the 1970s because of ideological aspirations, and in the 1990s due to the economic collapse of the former Soviet Union. However, interviews, archival material, and examination of their solo piano compositions revealed that all the composers were driven by ideological motivations related to their Jewish identity. Piano works were examined before and post-immigration, and a significant increase in the incorporation of Jewish musical motifs was discovered and this reflected the composers’ newfound freedom of expression in Israel. Furthermore, these compositions exhibited diverse cultural fusion. To help identify the various musical motifs, I used a unique method of practice research, known as “think aloud”, while preparing the solo piano works for performance. A chapter is devoted to the foundations of Jewish and Israeli art music, and another focuses on Jewish composers and Jewish art music’s development in the Soviet Union. These chapters provide the historical context for the composers and compositions examined in this work. The influence of the Russian nationalist composers, “The Five”, in the creation of Jewish art music, and the establishment of the St Petersburg Society for Jewish Folk Music is discussed. A chapter is devoted to Musorgsky’s Pictures at an Exhibition, a work of considerable significance in the development of Jewish art music

Tra le fiamme

Soprano Rowan Pierce joins Florilegium and Ashley Solomon in 'Tra le fiamme' - a new recording of secular cantatas by G. F. Handel and J. S. Bach. 'Tra le fiamme' is one of Handel's Italian style cantatas, combining vocal virtuosity with deep emotional expressivity. Bach’s cantata 'Ich bin in mir vergnügt' is an elegant example of one of his secular cantatas. This cantata stands out for its reflective exploration of themes of inner peace, contentment, and stoic philosophy - qualities that reflect Bach’s interest in moral and philosophical themes outside of his sacred music. Also included here is the final virtuosic 'Alleluia' from Vivaldi’s motet 'In furore iustissimae irae' together with instrumental concertos by Vivaldi and Handel

What next for conservatoires?

Inside the Contemporary Conservatoire has juxtaposed a range of voices from both within and beyond the Royal College of Music, London (RCM). Over the course of the preceding pages, we have moved from rethinking conservatoire identities and values (Part I), to exploring learning and teaching in the conservatoire (Part II), to considering conservatoires of the future (Part III). Readers will have observed myriad different views, informed by those working in a multitude of roles and with varied musical, educational, and professional backgrounds. Reflecting on key themes from across the book, this short conclusion foregrounds some of the potential areas for development as we continue to shape and reimagine the contemporary conservatoire

Music and parental wellbeing: a position paper

This article sets out a collective vision for a new Music and Parental Wellbeing Alliance. It starts from the premise that challenges to parental wellbeing represent a persistent, global concern. When unchecked, these challenges can lead to negative consequences for the whole family. Music is common in the lives of many parents around the world; yet despite emerging evidence, it is not yet considered as an option in most parental care pathways. To address this requires a collaborative approach, leading to the founding of the Music and Parental Wellbeing Research Network in 2023. As a network comprising of parents, musicians, music therapists, healthcare practitioners, researchers, arts leaders, and policy experts, we set ourselves the task of proposing and setting out a direction for the field of music and parental wellbeing. We embarked on agreeing the key steps needed to advance the field, and the driving principles underpinning such endeavor, arriving at a vision for our ongoing work: To enable, sustain, and expand an international and interdisciplinary community that works towards ensuring that all parents have the opportunity – and are empowered and equipped – to engage with music that can support their wellbeing. In this short article, we articulate a mission for a new Music and Parental Wellbeing Alliance that is focused on achieving our vision through SHAPING evidence and practice, SUPPORTING professionals working in the field, and SHARING the potential of music in supporting parental wellbeing. We invite readers to join us in progressing this mission