29
Views
0
CrossRef citations to date
0
Altmetric
Articles

What my body told me: towards a bodily interpretation of Clare Loveday’s Johannesburg Etude No. 1

References

  • Berry, W (1989). Musical Structure and Performance. New Haven: Yale University Press.
  • Boast, P (2016). ‘The musical body: Instrumental performance and bodily intentionality.’ ResearchGate. <https://www.researchgate.net/publication/311607833_The_Musical_Body_Instrumental_Performance_and_Bodily_Intentionality> accessed 4 January 2020.
  • Clayton, M & L Leante (2013). ‘Embodiment in music performance.’ In M Clayton, B Dueck & L Leante (eds), Experience and Meaning in Music Performance. Oxford: Oxford University Press, 188–207.
  • Cook, N (1999). ‘Analysing performance and performing analysis.’ In N Cook & M Everist (eds), Rethinking Music. Oxford: Oxford University Press, 239–261.
  • Cook, N (2001). ‘Theorizing musical meaning.’ Music Theory Spectrum, 23(2):170–195. doi: 10.1525/mts.2001.23.2.170
  • Cook, N (2003). ‘Music as performance.’ In M Clayton, T Herbert & R Middleton (eds), The Cultural Study of Music: A Critical Introduction. New York: Routledge, 204–214.
  • Cook, N (2013). Beyond the Score: Music as Performance. Oxford: Oxford University Press.
  • Cook, N (2017 [2007]). Music, Performance, Meaning: Selected Essays. London: Routledge.
  • Cusick, S (1994). ‘Feminist theory, music theory, and the mind/body problem.’ Perspectives of New Music, 32(1):8–27. doi: 10.2307/833149
  • De Assis, P & L D’Errico (eds) (2019). Artistic Research: Charting a Field in Expansion. London: Rowman & Littlefield.
  • De Souza, J (2017). Music at Hand: Instruments, Bodies, and Cognition. Oxford: Oxford University Press.
  • Doğantan-Dack, M (2006). ‘The body behind music: Precedents and prospects.’ Psychology of Music, 34(4):449–464. doi: 10.1177/0305735606067155
  • Fisher, G & J Lochhead (2002). ‘Analyzing from the Body.’ Theory and Practice, 27:37–67.
  • Fourie, W (2018). ‘Splinter and loss: Reading Clare Loveday’s “Johannesburg Etude No. 2”.’ Samus: South African Music Studies, 36–37(1):464–489.
  • Infecting the City (2014). Infecting the City: Public Arts Festival. <http://www.infectingthecity.com/2014/> accessed 1 October 2021.
  • Kaastra, L (2008). ‘Performance inquiry and cognitive science: A search for common ground.’ College Music Symposium, 48:131–156.
  • Le Guin, E (2005). Boccherini’s Body: An Essay in Carnal Musicology. Berkeley: University of California Press.
  • Leong, D (2016). ‘Analysis and performance, or “wissen, können, kennen”.’ Music Theory Online, 22(2). <https://mtosmt.org/issues/mto.16.22.2/mto.16.22.2.leong.html> accessed 14 September 2021. doi: 10.30535/mto.22.2.6
  • Leong, D (2019). Performing Knowledge: Twentieth-Century Music in Analysis and Performance. Oxford: Oxford University Press.
  • Lerdahl, F (1988). ‘Cognitive constraints on compositional systems.’ In J Sloboda (ed.), Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford: Oxford University Press, 231–259.
  • Lochhead, J (2006). ‘”How does it work?”: Challenges to analytic explanation.’ Music Theory Spectrum, 28(2):233–254. doi: 10.1525/mts.2006.28.2.233
  • Narmour, E (1988). ‘On the relationship of analytical theory to performance and interpretation.’ In E Narmour & R Solie (eds), Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B Meyer. New York: Pendragon Press, 317–340.
  • Parker, M (2007). ‘Book reviews – Boccherini’s Body: An Essay in Carnal Musicology. By Elisabeth Le Guin.’ Notes, 63(3):606–608. doi: 10.1353/not.2007.0036
  • Rink, J (ed.) (1995). The Practice of Performance: Studies in Musical Interpretation. Cambridge: Cambridge University Press.
  • Rink, J (2002). ‘Analysis and (or?) performance.’ In J Rink (ed.), Musical Performance: A Guide to Understanding. Cambridge: Cambridge University Press, 35–58.
  • Rink, J (2004). ‘The state of play in performance studies.’ In J W Davidson (ed.), The Music Practitioner: Research for the Music Performer, Teacher and Listener. London: Routledge, 37–52.
  • Schmalfeldt, J (1985). ‘On the relation of analysis to performance: Beethoven’s Bagatelles Op. 126, Nos. 2 and 5.’ Journal of Music Theory, 29(1):1–31. doi: 10.2307/843369
  • Schmalfeldt, J (2011). In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. Oxford: Oxford University Press.
  • Stolp, M (2015). ‘Analysing “from the inside out”: Frederic Rzewski’s “De Profundis” from a performer’s perspective.’ Samus: South African Music Studies, 34–35(1):426–458.
  • Stolp, M (2016). ‘Thinking through “Voyeur Piano”: Strategies and outcomes for an artistic research project in musical performance.’ De Arte, 51(1):74–88. doi: 10.1080/00043389.2016.1177252
  • Stolp, M (2018). ‘Clare Loveday: Composer at 50.’ Samus: South African Music Studies, 36–37(1):451–454.
  • Swinkin, J (2016). Performative Analysis: Reimagining Music Theory for Performance. Rochester: University of Rochester Press.
  • Voyeur (2014). ‘Voyeur.’ Vimeo: MJ Lourens. <https://vimeo.com/92772135> accessed 5 December 2022.
  • Wacquant, L (2015). ‘For a sociology of flesh and blood.’ Qualitative Sociology, 38(1):1–11. doi: 10.1007/s11133-014-9291-y

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.