TANIA CHEN Bio Web Site 2016

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TANIA CHEN http://taniachen.com/about/ Tania Chen is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and vintage and lo-fi electronics. She studied piano with John Tilbury during her Master’s degree in Performance studies at Goldsmiths College, University of London. She has performed the music of John Cage, Earle Brown, Schoenberg, Webern, Satie, Scriabin, Andrew Poppy, Michael Parsons and Chris Newman in the UK, Europe, USA and Japan. She is equally known for her passion for free improvisation, performing alongside and collaborating with musicians that include Steve Beresford, John Edwards, Lol Coxhill, Alan Tomlinson, Roger Turner, John Butcher, Rhodri Davies and Terry Day. Earlier this year, Tania has been touring John Cage's Indeterminacy with Steve Beresford and the comedian, writer and performer Stewart Lee. Most recently, she has been nominated for the Royal Philharmonic Society RPS Award. MUSIC OF CHANGES 'Raw and incandescent' - The Wire 'Tania Chen excels, bringing these strange, austere and glacially beautiful “sounding events” to startling life' - The Guardian INDETERMINACY "The music produced by Beresford and Chen, combined with Lee’s voice, was endlessly inventive and occasionally very touching. It is still something of a revelation that these shifting arrangements of piano, objects, text and voice can produce ever-new configurations of feeling." - Frieze "It was music as sport, meditation and geometry, an endless flow of bodily shapes and sounds creating one another as Chen accosted the keyboard and the inner workings of the instrument with inhuman precision but very human indeed sense of narrative" - The Arts Desk APPROACHING THE UNFAMILIAR : STEWART LEE ON JOHN CAGE 'S INDETERMINACY Cage's performances, both of Water Walk and Indeterminacy invite two sorts of laughter – the sort of uncomprehending, Philistine scorn with which avant garde activity has so often been greeted on its interfaces with mass audiences, but also a genuine and intended joy at a performance which is intended to be as non-serious as it is serious. - Quietus .

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A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.
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PDF (Phd Commentary)
Durham E-Theses Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016 REZAEI, MARIAM How to cite: REZAEI, MARIAM (2017) Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11968/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition University of Durham by Mariam Rezaei 2016 The copyright of this work rests with the author. No quotation from it should be published without her prior written consent and information derived from it should be acknowledged. Acknowledgements Special thanks to: Prof. Richard Rijnvos, supervisor, University of Durham Dr.
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