Congratulations Dr. Penton!

We are very pleased to announce that Misha Penton successfully completed her viva today. Congratulations Dr Penton! The online viva was an absolutely fascinating and engaging discussion. The work, titled Vocality as / in Composition: solo and collaborative creation of new postopera works, comprised a portfolio of two substantial new media monodramas and a site-specific postopera, along with a sequence of micro-operas interspersed amongst the text of the substantial commentary. The research focused on ‘compositional methods centred in an embodied vocal practice and the exploration of a multi-layered meaning-making process’, drawing on theory that included Jelena Novak, Hans-Thies Lehmann, Maurice Merleau-Ponty, Julia Kristeva, and Adriana Cavarero. It also proposed a practical application of versioning as a way to make multiple differently-presented framings of a work.

For more information on Misha’s work, have a look at her website.

You might be interested in …

LAB15: Dominic Lash, Misha Penton, Vassilis Chatzimakris

Uncategorized

Wednesday 18 April, 12-4pm (12-2pm, CM107 / 2-4pm CM137) This month we welcome Bristol-based double bassist, improviser and composer Dominic Lash to talk about his work with Éliane Radigue on her Occam Ocean series. Dominic will play the piece and discuss the working process for making the piece with Radigue. In the first half of the lab, […]

Read More

LAB4: Jennifer Walshe, Robert Luzar, Oogoo Maia

Uncategorized

Wednesday 11 January, 12-4pm, CM131 In the fourth lab we explore physicality and scoring. Robert Luzar will present recent video demonstrations and discuss their relationship with live performance, and Oogoo Maia considers the musician’s body as a site of music-making through a series of interactive games. In the second part we welcome composer/performer Jennifer Walshe who will present […]

Read More

Oogoo Maia PhD completion

Uncategorized

Congratulations to Dr. Maia who has now completed his PhD! Oogoo’s fascinating project focused on developing a vigilant musical practice, which he describes as exploring three main principles: non-normative cognitive states (how the performer thinks); embodied multimodal imagery across a full effort scale (the images a performer draws with their presence); and inter-personal communication (the […]

Read More

Leave a Reply

Your email address will not be published. Required fields are marked *