Louise Devenish
Dados Biográficos
| ID | 6522558 |
|---|---|
| NOME | Louise Devenish |
| PRENOMES | Louise |
| SOBRENOME | Devenish |
| ASSINATURA | DEVENISH L |
| AFILIAÇÕES | The University of Western Australia |
| ORCID | 0000-0002-0112-9389 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 7 |
| TOTAL DE CITAÇÕES | 0 |
| TOTAL COMO AUTOR | 7 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2015 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 0 |
Extensions and Amputations
This article explores the aesthetic dimensions of telematic music performance, focussing on composers’ and performers’ experiences in an intercontinental collaboration. Telematic performances, which allow musicians to collaborate across geographical distances using digital platforms, present both opportunities and challenges due to network-induced latency. Drawing on the ‘latency-accepting approach’ proposed by Carôt and Werner ([2007]. “Network …
The Cambridge Companion to Music in Australia
As a companion to 'music in Australia', rather than 'Australian music', this book acknowledges the complexity and contestation inherent in the term 'Australia', whilst placing the music of Aboriginal and Torres Strait Islander people at its very heart. This companion emphasizes a diversity of musical experiences in the breadth of musical practice that flows though Australia, including Indigenous song, art music, children's music, jazz, country, p…
Exploring Sonic Worlds
This paper develops the idea of ‘instrumentality’ to explore how the use of diverse tools or instruments involved in new music have the potential to (re)frame our engagement with the world. It will be argued that the choice of instrumental tools and how they are used in performance can not only enrich creative processes and outcomes for the artist but can also alter the audience’s relationship to the world by encouraging a conceptual engagement w…
Gender as performance, experience, identity and, variable
There is growing interest in examining the gendered nature of music practices worldwide. Recent investigations of access to and equity in the music industry have included studies of gender discrimination in classical music, popular music, film music, and within the structure of colonization. This article contributes to this work by reporting the findings of a Systematic Literature Review (SLR) of research that addresses the gendered nature of jaz…
Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery
This paper discusses the percussion notation of Western Australian composers Lindsay Vickery, Stuart James and Cat Hope. Both the compositional and performative aspects of their notational conventions are considered in the diverse approaches they take to the specification of timbre, improvisation, and ensemble coordination. The design and interpretation of screen-based technologies, tablature gestural approaches and spectrographic notation is exp…
Contemporary Percussion Explorations in Twenty-First-Century Australia
To be a percussionist active in contemporary music is to be involved in research: designing new instruments and developing new techniques, commissioning and creat- ing new work, utilising and developing technology, and engaging in interdisciplinary collaboration. In the twenty-first century, percussionists and their collaborators are more prolific than ever before, and their creative research leads innovations in contem- porary music around the w…
The Emergence of Contemporary Percussion in Australia
Over the past forty years, contemporary percussion music has assumed an increasingly prominent role in Australian classical music performance and composition; however, no research has been undertaken to record how or why this prolific field of Australian music emerged in the 1970s. This paper closes a gap in Australian contemporary music history by examining the historical contexts that fostered the emergence of an Australian percussion scene in …
Sem obras proeminentes nesta página.
The Emergence of Contemporary Percussion in Australia
Over the past forty years, contemporary percussion music has assumed an increasingly prominent role in Australian classical music performance and composition; however, no research has been undertaken to record how or why this prolific field of Australian music emerged in the 1970s. This paper closes a gap in Australian contemporary music history by examining the historical contexts that fostered the emergence of an Australian percussion scene in …
Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery
This paper discusses the percussion notation of Western Australian composers Lindsay Vickery, Stuart James and Cat Hope. Both the compositional and performative aspects of their notational conventions are considered in the diverse approaches they take to the specification of timbre, improvisation, and ensemble coordination. The design and interpretation of screen-based technologies, tablature gestural approaches and spectrographic notation is exp…
Contemporary Percussion Explorations in Twenty-First-Century Australia
To be a percussionist active in contemporary music is to be involved in research: designing new instruments and developing new techniques, commissioning and creat- ing new work, utilising and developing technology, and engaging in interdisciplinary collaboration. In the twenty-first century, percussionists and their collaborators are more prolific than ever before, and their creative research leads innovations in contem- porary music around the w…
Gender as performance, experience, identity and, variable
There is growing interest in examining the gendered nature of music practices worldwide. Recent investigations of access to and equity in the music industry have included studies of gender discrimination in classical music, popular music, film music, and within the structure of colonization. This article contributes to this work by reporting the findings of a Systematic Literature Review (SLR) of research that addresses the gendered nature of jaz…
Exploring Sonic Worlds
This paper develops the idea of ‘instrumentality’ to explore how the use of diverse tools or instruments involved in new music have the potential to (re)frame our engagement with the world. It will be argued that the choice of instrumental tools and how they are used in performance can not only enrich creative processes and outcomes for the artist but can also alter the audience’s relationship to the world by encouraging a conceptual engagement w…
The Cambridge Companion to Music in Australia
As a companion to 'music in Australia', rather than 'Australian music', this book acknowledges the complexity and contestation inherent in the term 'Australia', whilst placing the music of Aboriginal and Torres Strait Islander people at its very heart. This companion emphasizes a diversity of musical experiences in the breadth of musical practice that flows though Australia, including Indigenous song, art music, children's music, jazz, country, p…
Extensions and Amputations
This article explores the aesthetic dimensions of telematic music performance, focussing on composers’ and performers’ experiences in an intercontinental collaboration. Telematic performances, which allow musicians to collaborate across geographical distances using digital platforms, present both opportunities and challenges due to network-induced latency. Drawing on the ‘latency-accepting approach’ proposed by Carôt and Werner ([2007]. “Network …
Art (6 obras) · Musical (5 obras) · Visual arts (5 obras) · Diverse Musicological Studies (3 obras) · History (3 obras) · Music History and Culture (3 obras) · Percussion (3 obras) · Sociology (3 obras) · Acoustics (2 obras) · Aesthetics (2 obras)