Helen Julia Minors

• Doctor of Philosophy
• York St John University

Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. Th...

Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. Th...

Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. Th...

Various modes of women's contemporary cultural, social and political leadership can be found in music. Informed by different histories and culturally bound social mores but also by a comparative perspective, the contributors of this volume ask what can be considered leadership in culture from women's point of view. They deconstruct the notion of le...

How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process an...

How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process an...

How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process an...

This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera’s many travels between continents, countries, languages and cultures—and also between genres and media. The concept of ‘adaptation’ is a thread running through the sixteen contributions, which encompass a variety of composers, operas, peri...

This chapter takes a particular case study, that of the live multimodal signed gestural language, Soundpainting, to reassess the issues of intuition, dissemination and authorship in a collaborative context. It defines what Soundpainting is and illustrates how a performer-composer uses their intuition in the creation of a new work. It seeks new form...

This chapter lays out the main aims, questions and concerns of this volume, iterating some of the context for the debate before offering an overview of this volume’s contents.

This chapter sets out the context for Collaborative Arts Research within Higher Education Institutions, specifically within the UK, offering examples of the mechanisms for research development, assessment and funding in order to explore how collaborative artistic research functions within such a context. It is not exclusive to the UK: this chapter...

This volume explores the issue of collaboration which is an issue at the centre of Performance Arts Research. It is explored here through the different practices of in music, dance, drama, fine art, installation art, digital media or other performance arts. Collaborative processes are seen to develop as it occurs between academic researchers in the...

In this article we discuss an interdisciplinary and collaborative four-year project, Taking Race Live, that explored lived experiences of race among students enrolled at an ethnically diverse university in England. Utilizing qualitative methods to evaluate the project each year, we draw on students' voices to address their experiences of race, part...

This article presents five case studies from within music in higher education programmes that collectively explore key questions concerning how we look at the challenges and trends, and the need for change to react to the recent higher education (HE) climate, through reference to teaching musicians the skills, knowledge and diverse career creativit...

This article presents five case studies from within music in higher education programmes that collectively explore key questions concerning how we look at the challenges and trends, and the need for change to react to the recent higher education (HE) climate, through reference to teaching musicians the skills, knowledge and diverse career creativit...

One could be pardoned for assuming that this book is a study of a single operatic work, Salome, based on Oscar Wilde’s play. It is, however, much more than that. This book presents a series of essays dedicated to charting the history of the play’s operatic and balletic stage settings and its development as opera on film. This detailed historical, c...

Successfully walking a tightrope between cultural-historical musicology and reception history, Music and Ultra-Modernism in France: A Fragile Consensus, 1913–1939 tackles a wide range of issues, all of which assert a sense of purpose (to further the development of a French musical style), whether national, political, religious, or academic, felt by...

Using a plethora of primary source material drawn from letters, sketches, and score manuscripts, Charles M. Joseph proposes that Stravinsky's ballets offer a "looking glass" (247) through which we can chart his developing compositional vocabulary. Joseph's emphasis on Stravinsky's use of musical movement, via his employment of pace, rhythm, meter,...

Expanding the notion of translation, this book specifically focuses on the transferences between music and text. The concept of ‘translation’ is often limited solely to language transfer. It is, however, a process occurring within and around most forms of artistic expression. Music, considered a language in its own right, often refers to text disco...

Expanding the notion of translation, this book specifically focuses on the transferences between music and text. The concept of ‘translation’ is often limited solely to language transfer. It is, however, a process occurring within and around most forms of artistic expression. Music, considered a language in its own right, often refers to text disco...

Expanding the notion of translation, this book specifically focuses on the transferences between music and text. The concept of ‘translation’ is often limited solely to language transfer. It is, however, a process occurring within and around most forms of artistic expression. Music, considered a language in its own right, often refers to text disco...

Using “Soundpainting” as a case study, this paper examines how musicians and dancers can create and contribute to a dialogue between, across and within the arts. Interviews with the “Soundpainter” Walter Thompson provide a practical and applied basis for analysis, and a major goal of the article is to illustrate how music-dance dialogues are formed...

Paul-André Bempéchat reassesses Jean Cras (1879–1932) within a changing political cultural context. As a naval officer, inventor, scientist, philosopher, composer, and deeply religious man, Cras's creative output is varied. An exploration of his work is complex, not least because his responsibilities took him around the world, including during Worl...

This exploration of the creation of the poeme danse, La Peri (1911-12) for which the score was composed by Paul Dukas (1865-1935) establishes the role played in its development by the premiere danseuse, Natatalia (Natasha) Trouhanova (1885-1956) and other artists. It charts the troubled collaboration on the initial project, which Serge Diaghilev (1...

FauserAnnegret, Musical Encounters at the 1889 Paris World's Fair (Rochester: University of Rochester Press, 2005). xviii + 391 pp. £40.00 - Volume 4 Issue 1 - Helen Julia Minors

Paul Dukas (1865–1935) had once mentally consigned his ballet, La Péri, to the funeral pyre. In the weeks leading up to its aborted premiere, Pierre Lalo recounts that the composer approached him for an honest assessment of his composition: "if you find that it is too bad . . . I will destroy the manuscript; it is all that it merits." Against all o...