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dc.contributor.authorMacDonald, Alistair
dc.coverage.spatial18en_US
dc.date.accessioned2015-03-12T11:38:28Z
dc.date.available2015-03-12T11:38:28Z
dc.date.issued2014-12-16
dc.identifier.citationMacDonald, A. (2014). Dislocation and relocation: clarsach and live electronics. Scottish Journal of Performance, 2(1), pp. 11– 28.en_US
dc.identifier.issn2054-1961en_US
dc.identifier.urihttps://hdl.handle.net/10023/6208
dc.description.abstractIn writing The Salutation (clarsach and electroacoustic sound) for harpist Catriona McKay in 2002, I wanted to create something which celebrated the history and music of the instrument itself, using studio technology to create a bridge between idiomatic writing for the instrument and environmental/anecdotal sound, including the voice, which referenced place and time. This paper will chart and reflect on the collaborative work we have done together since then, describing our methodology for interrogating and relocating the clarsach. It will explore how we consciously play with musical, sonic and conceptual distances in our improvised performances, and examine aspects of this shared ‘performance ecosystem’ (Waters, 2007), which enables us to function in multiple contexts.en_US
dc.language.isoenen_US
dc.publisherThe Royal Conservatoire of Scotlanden_US
dc.relation.ispartofScottish Journal of Performanceen_US
dc.rightsThis work is licensed under a Creative Commons Attribution 4.0 International License.en_US
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/
dc.subjectClarsachen_US
dc.subjectLive electronicsen_US
dc.subjectImprovisationen_US
dc.subject.lccPN1576en_US
dc.subject.lcshPerforming arts--Researchen_US
dc.subject.lcshMusic--Researchen_US
dc.titleDislocation and relocation: clarsach and live electronicsen_US
dc.typeJournal articleen_US
dc.description.versionPublisher PDFen_US
dc.publicationstatusPublisheden_US
dc.statusPeer revieweden_US
dc.identifier.doihttps://doi.org/10.14439/sjop.2014.0201.02en


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