PhD thesis abstract:
Pianists Concert Programming Lesser-known Repertoire: integrating an autoethnography of Clara Schumann’s Sonata with Interpretative Phenomenological Analysis of four pianists’ accounts (forthcoming, 2024)
The Western classical music canon is undergoing its biggest transformation in decades, driven by composer anniversaries, sociopolitical movements, and diversity quotas. Despite increasing scholarship on women musicians and concert studies (Mathias et al., 2022; Tröndle, 2021), no study has examined how performers programme lesser-known repertoire, or the discourses generated by such practices. To achieve longevity and meaningful inclusivity, more open discussions of programming processes are necessary. This thesis addresses the following central question: How does the solo pianist’s sense of identity and agency as a performer interrelate with their selection and programming of lesser-known repertoire?
The line of inquiry focuses on the pianists’ approaches to women composers' music as a basis, then examines more broadly their approaches to repertoire that is lesser-known due to stylistic unfamiliarity or the composers’ other demographic characteristics.
Drawing upon biographies, gender studies, historical concertising strategies, and audience research (Citron, 2000; Davies et al., 2021), Study 1 is an autoethnography where I programmed and performed Clara Wieck-Schumann’s Piano Sonata (1841–42) in four different concerts. To position performers as co-creators of meaning and value, the autoethnography is integrated with a concurrent Study 2, applying Interpretative Phenomenological Analysis to the interview accounts of four pianists experienced in performing a range of lesser-known music. Five overarching themes emerged from the integration of both studies: ‘musical, social, and personal connections’, ‘repertoire interrelated with professional identity’, ‘interpretative strategies and frameworks’, ‘perceptions of role as performer and of audiences’, and ‘programming agency’. These findings offer novel insights into how performers are imbricated in the repertoire and programming choices they make, and strongly suggest that empowering the creative agency of performers is essential to lasting change in the classical music canon.
As the publication of this thesis is forthcoming, please cite one of my most recent conference papers or the thesis abstract if you would like to reference my research.
Conference papers:
Performer’s Process — Concert Programming for Women Composers at the Performers(') Present 2023: International Artistic Research Symposium, Yong Siew Toh Conservatory of Music, Singapore, 25-28 October 2023 (this paper focused on Study 1)
"I’m known as this performer": Pianists Concert Programming for Lesser-known Repertoire at the Royal Musical Association Annual Conference, University of Nottingham, 14-16 September 2023 (this paper focused on Study 2)
The Fourth International Women's Work in Music Conference, Bangor University, 4-7 September 2023
Themenoffene Tagung der Fachgruppe Frauen- und Gender-Studien der GfM, Hamburg, 2 June 2023
As a Pianist between Ideology and Action: Concert Programming for Clara Schumann’s Sonata at the "Women at the Piano" International Conference, University of California Irvine, 16-19 March 2023 (this paper focused on Study 1)
European Platform for Artistic Research in Music (EPARM) Conference
8-9 April 2022
Royal Academy of Music, London
”Gender and musicianship” study days
24-25 January 2022
Sibelius Academy, Helsinki, Finland
RMA-BFE Research Students Conference
6-8 January, 2022
University of Plymouth, UK
Institute of Austrian and German Music Research Inaugural Conference
September 17–18, 2021
University of Surrey, UK
RMA-BFE Research Students Conference
January 2021
University of Cambridge, UK
Pianists Concert Programming Lesser-known Repertoire: integrating an autoethnography of Clara Schumann’s Sonata with Interpretative Phenomenological Analysis of four pianists’ accounts (forthcoming, 2024)
The Western classical music canon is undergoing its biggest transformation in decades, driven by composer anniversaries, sociopolitical movements, and diversity quotas. Despite increasing scholarship on women musicians and concert studies (Mathias et al., 2022; Tröndle, 2021), no study has examined how performers programme lesser-known repertoire, or the discourses generated by such practices. To achieve longevity and meaningful inclusivity, more open discussions of programming processes are necessary. This thesis addresses the following central question: How does the solo pianist’s sense of identity and agency as a performer interrelate with their selection and programming of lesser-known repertoire?
The line of inquiry focuses on the pianists’ approaches to women composers' music as a basis, then examines more broadly their approaches to repertoire that is lesser-known due to stylistic unfamiliarity or the composers’ other demographic characteristics.
Drawing upon biographies, gender studies, historical concertising strategies, and audience research (Citron, 2000; Davies et al., 2021), Study 1 is an autoethnography where I programmed and performed Clara Wieck-Schumann’s Piano Sonata (1841–42) in four different concerts. To position performers as co-creators of meaning and value, the autoethnography is integrated with a concurrent Study 2, applying Interpretative Phenomenological Analysis to the interview accounts of four pianists experienced in performing a range of lesser-known music. Five overarching themes emerged from the integration of both studies: ‘musical, social, and personal connections’, ‘repertoire interrelated with professional identity’, ‘interpretative strategies and frameworks’, ‘perceptions of role as performer and of audiences’, and ‘programming agency’. These findings offer novel insights into how performers are imbricated in the repertoire and programming choices they make, and strongly suggest that empowering the creative agency of performers is essential to lasting change in the classical music canon.
As the publication of this thesis is forthcoming, please cite one of my most recent conference papers or the thesis abstract if you would like to reference my research.
Conference papers:
Performer’s Process — Concert Programming for Women Composers at the Performers(') Present 2023: International Artistic Research Symposium, Yong Siew Toh Conservatory of Music, Singapore, 25-28 October 2023 (this paper focused on Study 1)
"I’m known as this performer": Pianists Concert Programming for Lesser-known Repertoire at the Royal Musical Association Annual Conference, University of Nottingham, 14-16 September 2023 (this paper focused on Study 2)
The Fourth International Women's Work in Music Conference, Bangor University, 4-7 September 2023
Themenoffene Tagung der Fachgruppe Frauen- und Gender-Studien der GfM, Hamburg, 2 June 2023
As a Pianist between Ideology and Action: Concert Programming for Clara Schumann’s Sonata at the "Women at the Piano" International Conference, University of California Irvine, 16-19 March 2023 (this paper focused on Study 1)
European Platform for Artistic Research in Music (EPARM) Conference
8-9 April 2022
Royal Academy of Music, London
”Gender and musicianship” study days
24-25 January 2022
Sibelius Academy, Helsinki, Finland
RMA-BFE Research Students Conference
6-8 January, 2022
University of Plymouth, UK
Institute of Austrian and German Music Research Inaugural Conference
September 17–18, 2021
University of Surrey, UK
RMA-BFE Research Students Conference
January 2021
University of Cambridge, UK
Music in the Third Reich - undergraduate research project
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This study looks into the complexities of music during the Third Reich, tracing the lives and works of Hartmann and Ullmann, two musicians who were active throughout the rise of the Nazis and the Second World War. The research draws upon existing literature on Nazi policies, anti-Semitism and wartime cultural life. Analysis of specific pieces of particular significance will examine how both men were able to sustain their creative outputs despite their defiant political stance and identities. This project endeavours to highlight the complex interplay of culture, identity and circumstance, and how these relate to the role music plays in the fabric of history. Ultimately, this study attempts to illustrate a more complete picture of artistic lives during the war, and thus, fill in the gap that often exists in the discussion of 20th century music.
Programme notes
I accept commissions for programme notes of any classical and/or contemporary instrumental or vocal music.
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