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Communicating through notation: Michael Finnissy’s Second String Quartet from composition to performance
7 references·3 citing·30 second hop
Communicating through notation: Michael Finnissy’s Second String Quartet from composition to performance (2017)Communicating through notation: Michael F…Expressive Performance in Contemporary Concert Music (2014)Expressive Performance in Con…Prescriptive notation: Limits and challenges (2007)Prescriptive notation: Limits…COLLABORATION AND THE COMPOSER: CASE STUDIES FROM THE END OF THE 2OTH CENTURY (2007)COLLABORATION AND THE COMPOSE…‘Recercar’ – The Collaborative Process as Invention (2007)‘Recercar’ – The Collaborativ…Interpretation and performance in Bryn Harrison's être-temps (2005)Interpretation and performanc…Creativity In Performance (1998)Creativity In PerformanceThe Great Haydn Quartets: Their Interpretation (1988)The Great Haydn Quartets: The…Transactional Culture of the Portfolio Career Chamber Musician: A Case Study (2022)Transactional Culture of the …Empowering the Portfolio Musician: Innovative Chamber Music Pedagogy for the 21st-Century Artist (2022)Empowering the Portfolio Musi…Enquête sur la genèse du Deuxième quatuor à cordes de Michael Finnissy (2010)Enquête sur la genèse du Deux…PRESCRIPTIVE AND DESCRIPTIVE MUSIC-WRITING (1958)An exploration of musical communication through expressive use of timbre: The performer’s perspective (2011)The Cambridge History of Musical Performance (2012)Vocal performance in the seventeenth century (2012)Anatomy of a Performance: Sources of Musical Expression (1996)Practicing perfection: memory and piano performance (2002)"Seeing the Big Picture": Piano Practice as Expert Problem Solving (2003)Tracking the composer’s cognition in the course of a creative process: Stefano Gervasoni and the beginning of Gramigna (2012)Inspiration and decision-making: A case study of a composer’s intuitive and reflective thought (2014)AnalysisandPerformance, orwissen, können, kennen (2016)What in the World Do We Hear?: An Ecological Approach to Auditory Event Perception (1993)Ways of listening: an ecological approach to the perception of musical meaning (2006)Being Together in Time: Musical Experience and the Mirror Neuron System (2009)Creative layers and continuities: A case study of Nicole Lizée and the Kronos Quartet (2016)Memorising Contemporary Piano Music as Described by Professional Pianists (2022)The Dialogic Imagination: Four Essays (1981)Bowling alone: the collapse and revival of American community (2000)Using thematic analysis in psychology (2006)From Portfolio to Platform Career (2024)Frames and Images: Locating Music in Cultural Histories of the Middle Ages (1997)Humor e agudeza nos Quartetos de Cordas op. 33 de Joseph Haydn (2005)Cyclic Integration in the Instrumental Music of Haydn and Mozart (2019)"You won't see me": in search of an epistemology of collaborative songwriting (2013)‘Collaboration’ in Contemporary Music: A Theoretical View (2016)Creativity beyond innovation: Musical performance and craft (2016)Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration (2016)Shared musical creativity: teaching composer-performer collaboration (2020)Indexical order and the dialectics of sociolinguistic life (2003)Creative Teaching: Collaborative Discussion as Disciplined Improvisation (2004)The Concept of Flow (2014)
this work references cited by second hop

References

  • 1998Creativity In Performance315 cited
  • 2007Prescriptive notation: Limits and challenges103 cited
  • 1988The Great Haydn Quartets: Their Interpretation43 cited
  • 2007‘Recercar’ – The Collaborative Process as Invention39 cited
  • 2005Interpretation and performance in Bryn Harrison's être-temps36 cited
  • 2007COLLABORATION AND THE COMPOSER: CASE STUDIES FROM THE END OF THE 2OTH CENTURY35 cited
  • 2014Expressive Performance in Contemporary Concert Music13 cited

Cited by

  • 2022Transactional Culture of the Portfolio Career Chamber Musician: A Case Study3 cited
  • 2022Empowering the Portfolio Musician: Innovative Chamber Music Pedagogy for the 21st-Century Artist3 cited
  • 2010Enquête sur la genèse du Deuxième quatuor à cordes de Michael Finnissy3 cited

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