Ian Pace
Biographic Data
| ID | 1069452 |
|---|---|
| NAME | Ian Pace |
| GIVEN NAMES | Ian |
| FAMILY NAME | Pace |
| SIGNATURE | PACE I |
| AFFILIATIONS | City, University of London |
| ORCID | 0000-0002-0047-9379 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences
In October 1945, five months after the end of the Second World War in Europe, German critic Edmund Nick wrote the following in the American-sponsored Munich newspaper Neue Zeitung
Composição e performance podem ser, e frequentemente tem sido, pesquisa
O artigo de John Croft “Composição não é Pesquisa” desafia uma concepção e um ideal de trabalho composicional na academia que ganhou destaque ao longo de várias décadas no Reino Unido. Como performer acadêmico, que também escreve sobre assuntos acadêmicos não relacionados à performance, abordo este desafio, partilhando algumas das restrições de Croft sobre as maneiras pelas quais essas concepções têm se manifestado, e também algumas preocupações …
O novo estado da arte dos estudos em performance
A performance-como-pesquisa e a performance baseada em pesquisa são alvos de criÌ ticas constantes na academia. Autores como Clarke, Cook e Daniel Leech-Wilkinson integram um grupo muito proeminente de pesquisadores que abordam esse assunto. Cook se destaca com o livro Beyond the Score: Music as Performance (livro que seraÌ analisado durante este texto), no qual realiza criÌ ticas duras e, por vezes, precipitadas, aÌ€ performance da muÌ sica de…
Modernist Fantasias: The Recuperation of a Concept
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The New State of Play in Performance Studies
In an essay published in 2004, 1 John Rink characterised the field of 'Performance Studies' in music as consisting of 'three overlapping domains': historical performance practice, the psychology of performance, and analysis and performance. Within these he found a series of problematic biases: towards Western art music, solo piano repertoire, and the study of tempo and dynamics. Of these, historical performance practice (or HIPhistorically-inform…
Ferneyhough Hero: Scholarship as Promotion
Journal Article Ferneyhough Hero: Scholarship as Promotion Get access Ian Pace Ian Pace * *City University. Email: [email protected]. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 96, Issue 1, February 2015, Pages 99–112, https://doi.org/10.1093/ml/gcu111 Published: 25 March 2015
Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti'sÉtudesfor Piano
This article examines some of the particular questions and associated strategies concerning matters of rhythm, perceived metre, notation, accentuation, line, physical approach to the keyboard, pedalling and more in the performance of Ligeti's Études for piano. I relate these issues to those encountered in earlier repertoire, including works of Schumann, Liszt, Stravinsky, Prokofiev, Bartók and Blacher, and argue that particular approaches and att…
Unfolding Time: Studies in Temporality in Twentieth Century Music
Lachenmann's Serynade --Issues for Performer and Listener
In this article, I explore Lachenmann's largest piano work, his Serynade, and investigate its intricate notation. I discuss its relationship to the music of the past and also place it within a more contemporary context. In addition, I offer my thoughts as a performer about its impact on both listeners and performers
Finnissy, Michael
Fox, Christopher
The harpsichord works of Iannis Xenakis
A study of the five works of Iannis Xenakis that involve the harpsichord, exploring the processes, harmonic, textural or otherwise, by which their conceptions are realized
Positive or Negative 2
Ian Pace concludes his introduction, begun last month, to the music of Helmut Lachenmann
Positive or Negative 1
In a two-part article, the first in a series surveying developments in contemporary Germanic music, IAN PACE introduces the music of Helmut Lachenmann
Uncommon ground: The music of Michael Finnissy
Conversations with Michael Finnissy the piano music, Ian Pace the chamber music, Roger Redgate the orchestral music, Julian Anderson the vocal music, Christopher Fox the theatrical works, Ian Pace absconscion, for Michael Finnissy, Ken Edwards reels, Harry Gilonis song 9, for Ian Pace, Harry Gilonis catalogue of works, Henrietta Brougham
Archetypal Experiments
Never to Be Naught
The New State of Play in Performance Studies
In an essay published in 2004, 1 John Rink characterised the field of 'Performance Studies' in music as consisting of 'three overlapping domains': historical performance practice, the psychology of performance, and analysis and performance. Within these he found a series of problematic biases: towards Western art music, solo piano repertoire, and the study of tempo and dynamics. Of these, historical performance practice (or HIPhistorically-inform…
Uncommon ground: The music of Michael Finnissy
Conversations with Michael Finnissy the piano music, Ian Pace the chamber music, Roger Redgate the orchestral music, Julian Anderson the vocal music, Christopher Fox the theatrical works, Ian Pace absconscion, for Michael Finnissy, Ken Edwards reels, Harry Gilonis song 9, for Ian Pace, Harry Gilonis catalogue of works, Henrietta Brougham
Archetypal Experiments
Never to Be Naught
Positive or Negative 2
Ian Pace concludes his introduction, begun last month, to the music of Helmut Lachenmann
Positive or Negative 1
In a two-part article, the first in a series surveying developments in contemporary Germanic music, IAN PACE introduces the music of Helmut Lachenmann
Finnissy, Michael
Fox, Christopher
The harpsichord works of Iannis Xenakis
A study of the five works of Iannis Xenakis that involve the harpsichord, exploring the processes, harmonic, textural or otherwise, by which their conceptions are realized
Lachenmann's Serynade --Issues for Performer and Listener
In this article, I explore Lachenmann's largest piano work, his Serynade, and investigate its intricate notation. I discuss its relationship to the music of the past and also place it within a more contemporary context. In addition, I offer my thoughts as a performer about its impact on both listeners and performers
Unfolding Time: Studies in Temporality in Twentieth Century Music
Maintaining Disorder: Some Technical and Aesthetic Issues Involved in the Performance of Ligeti'sÉtudesfor Piano
This article examines some of the particular questions and associated strategies concerning matters of rhythm, perceived metre, notation, accentuation, line, physical approach to the keyboard, pedalling and more in the performance of Ligeti's Études for piano. I relate these issues to those encountered in earlier repertoire, including works of Schumann, Liszt, Stravinsky, Prokofiev, Bartók and Blacher, and argue that particular approaches and att…
Ferneyhough Hero: Scholarship as Promotion
Journal Article Ferneyhough Hero: Scholarship as Promotion Get access Ian Pace Ian Pace * *City University. Email: [email protected]. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 96, Issue 1, February 2015, Pages 99–112, https://doi.org/10.1093/ml/gcu111 Published: 25 March 2015
The New State of Play in Performance Studies
In an essay published in 2004, 1 John Rink characterised the field of 'Performance Studies' in music as consisting of 'three overlapping domains': historical performance practice, the psychology of performance, and analysis and performance. Within these he found a series of problematic biases: towards Western art music, solo piano repertoire, and the study of tempo and dynamics. Of these, historical performance practice (or HIPhistorically-inform…
Modernist Fantasias: The Recuperation of a Concept
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Composição e performance podem ser, e frequentemente tem sido, pesquisa
O artigo de John Croft “Composição não é Pesquisa” desafia uma concepção e um ideal de trabalho composicional na academia que ganhou destaque ao longo de várias décadas no Reino Unido. Como performer acadêmico, que também escreve sobre assuntos acadêmicos não relacionados à performance, abordo este desafio, partilhando algumas das restrições de Croft sobre as maneiras pelas quais essas concepções têm se manifestado, e também algumas preocupações …
O novo estado da arte dos estudos em performance
A performance-como-pesquisa e a performance baseada em pesquisa são alvos de criÌ ticas constantes na academia. Autores como Clarke, Cook e Daniel Leech-Wilkinson integram um grupo muito proeminente de pesquisadores que abordam esse assunto. Cook se destaca com o livro Beyond the Score: Music as Performance (livro que seraÌ analisado durante este texto), no qual realiza criÌ ticas duras e, por vezes, precipitadas, aÌ€ performance da muÌ sica de…
Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences
In October 1945, five months after the end of the Second World War in Europe, German critic Edmund Nick wrote the following in the American-sponsored Munich newspaper Neue Zeitung
Art (9 works) · Computer Science (8 works) · Art history (6 works) · Musicology and Musical Analysis (5 works) · Piano (5 works) · Visual arts (5 works) · Aesthetics (4 works) · Psychology (4 works) · Geography (3 works) · History (3 works)