Ian Pace

Dados Biográficos

ID1069452
NOMEIan Pace
PRENOMESIan
SOBRENOMEPace
ASSINATURAPACE I
AFILIAÇÕESCity, University of London
ORCID0000-0002-0047-9379
VERIFICADOSim
TOTAL DE OBRAS17
TOTAL DE CITAÇÕES3
TOTAL COMO AUTOR16
TOTAL COMO EDITOR1
PRIMEIRO ANO DE PUBLICAÇÃO1997
ANO MAIS RECENTE DE PUBLICAÇÃO2022
ÍNDICE H1

  • Music and Internationalism in Nazi Germany: Provenance and Post-War Consequences

    Open AccessIan PaceARTICLEJournal of the Royal Musical…2022

    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

    Open AccessIan Pace, Vitória Liz P Louveira et al.ARTICLERevista Vórtex2020

    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

    Open AccessIan Pace, Vitória Louveira et al.ARTICLERevista Vórtex2020

    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

    Open AccessIan PaceARTICLEJournal of the Royal Musical…2019Referências: 26

    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

    Ian PaceARTICLEMusic and Letters2017Citada por: 3

    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

    Ian PaceARTICLEMusic and Letters2015

    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

    Ian PaceARTICLEContemporary Music Review2012Referências: 18

    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

    Open AccessMark Delaere, Justin London et al.BOOKUnfolding Time2009

  • Lachenmann's Serynade --Issues for Performer and Listener

    Ian PaceARTICLEContemporary Music Review2005

    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

    Jonathan Cross, Ian PaceCHAPTERThe new Grove dictionary of music…2001

  • Fox, Christopher

    Ian Pace, James SaundersCHAPTERThe new Grove dictionary of music…2001

  • The harpsichord works of Iannis Xenakis

    Ian PaceARTICLEContemporary Music Review2001

    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 PaceARTICLEThe Musical Times1998

    Ian Pace concludes his introduction, begun last month, to the music of Helmut Lachenmann

  • Positive or Negative 1

    Ian PaceARTICLEThe Musical Times1998

    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

    Henrietta Brougham, Christopher Fox et al.BOOKUncommon ground1997

    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

    Ian PaceARTICLEThe Musical Times1997

  • Never to Be Naught

    Ian PaceARTICLEThe Musical Times1997