(Per)Forming Art: Performance as Research in Contemporary Artworks

A new book is out and is gaining intrigue amidst academic circles, it’s called (Per)Forming Art: Performance as Research in Contemporary Artworksand was recently published by Cambridge Scholars Publishing. The book is organised and edited by Alannah Marie Halay and includes research by Michael D. Atkinson (Sheffield Hallam University); Gabriele Cavallo (Goldsmiths, University of London); Hans–Peter Gasselseder (University of Aalborg); Jacopo Gianninoto (Assumption University of Thailand); Alannah Marie Halay (University of Leeds); Maria Kallionpää (University of Oxford); Marina Liontou Mochament (Leiden University, Orpheus Institute); Adilia Yip (Royal Conservatoire Antwerp); Cornelia Zambila (Orpheus Institute Ghent).

(Per)Forming Art: Performance as Research in Contemporary Artworks is based on the proceedings of a symposium by the same name. The ‘(Per)Forming Art Symposium’, as it is widely known, is an international conference and concert series that explores performance as research in contemporary artworks. It features acclaimed researchers, performers, and composers from all over the world. The last conference and concert was held at the University of Leeds, England, and funded by the Royal Musical Association. This event welcomed delegates from Belgium, Denmark, England, Italy, the Netherlands, Scotland, and Thailand. More information about this can be found here.

Below is a book description, which is also available on the Cambridge Scholars Publishing website, and which was written by Alannah Marie Halay.

Front cover: Alannah Marie Halay (ed.),(Per)Forming Art: Performance as Research in Contemporary Artworks

Book Description:

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

Primarily engaging with music of the twentieth- and twenty-first centuries, (Per)Forming Art: Performance as Research in Contemporary Artworks focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. It addresses how performance and composition are reciprocally entwined and what role this hermeneutic relationship plays in creative practice today. This publication is the work of multiple authors from academic institutions around the world; each approaches the topic “(Per)Forming Art” from their own perspective. As such, the contents of this book will appeal to a variety of academic interests pertaining to various “styles,” traditions and cultures, all of which are unified by the relationship between performance and composition.

If you are interested in obtaining a copy of (Per)Forming Art: Performance as Research in Contemporary Artworks , then it is available to buy from the Cambridge Scholars Publishing website and from Amazon. More information regarding this publication is available here.

Author Details: Janet Kimberly Richelle; Janet Kimberly Richelle is a retired musicologist from Surrey. Although primarily specialising in historical performance practice, she has given lectures in the listening practice of avant-garde music.

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