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Name: Donald Greig

PhD: C15th music, film music, performance

Thesis Title: Voices Appeared: Carl Theodor Dreyer’s La Passion de Jeanne d’Arc and Early Fifteenth Century Music - Live Music, Silent Film and Vocal Performance Practices

 

Thesis Description:

This proposal outlines a intellectual, creative and critical project that originates in practice-led research. 'Voices Appeared' is a score constructed of vocal music drawn from the time of Joan of Arc herself, performed by five singers to accompany screenings of Dreyer’s La Passion de Jeanne d’Arc (1928). Initially funded by the Arts Council of England in 2014 for twelve performances in England, there will be over forty public performances worldwide in 2015-18. With the performance element as its focal point, a 100,000-word thesis will include a compact account of the project itself (‘Voices Appeared’), and outlines three further areas of critical engagement: (1) a theoretical and historical consideration of the historicity and experiential appropriateness of the repertoire chosen to accompany the film (details of which appear in an appendix); (2) a process of critical reflection on the nature of the live performance event - how it relates to Dreyer’s oeuvre and to traditions of cinema music; what it offers in terms of modern performance practice, and how open it is to reinterpretation; and (3) a wider interrogation of the historical frameworks and perspectives which surround the project.

 

Supervisors and Institution(s): Prof Mervyn Cooke and Dr Philip Weller. University of Nottingham

 

Publications (please include full details with page nos. or web links):

  • ‘Sightlines and Tramlines’ Early Music v.XLIII no.1(February, 2015)
  • Time Will Tell (novel about C.15th music) Thames River Press (September, 2012)
  •  ‘Performing for (and against) the microphone’ in The Cambridge Companion to Recording  ed. Nicholas Cook, John Rink and Daniel Leech-Wilkinson (CUP, 2009)
  • 'Sight Readings: Notes on a cappella performance practice' in Early  Music (February, 1995 pp.125-148) repr. in Renaissance Music (Ashgate, 2011) Edited by Kenneth Kreitner
  • ‘Ars subtilior repertory as performance palimpsest’ Early  Music vol XXXI no.2 (May 2003)
  • Book reviews and articles in The Musical Times (2002-2007)
  •  ‘Performance Practice and Fantasy’ in Mittelalter Sehnsucht?: Texte des interdisziplinären Symposions zur musikalischen Mittelalterrezeption an der Universität Heidelberg, April 1998 (Kiel, 2000) ed. Annette Kreutziger-Herr and Dorothea Redepenning
  •  ‘The Issue of Ockeghem’, Tijdschrift der Verereniging voor Nederlandse muziekgeschiedenis (XLVII-1/2 1997 pp.139-162)
  •  ‘Those who dare’ Musical Times (June 1996) 'Early Music on the Internet' in Early  Music (August, 1995)
  • 'The Sexual Differentiation of the Hitchcock Text' in Screen v.28 no.1 (Winter 1987 pp.28-46) repr. in Fantasy and the Cinema ed. James Donald (London; BFI, 1989 pp.175-195). 

 

Scholarly / Public Engagement Activities:

Lecture/workshop for undergraduates: Vanderbildt University (November, 2005)

Lecture/workshops as part of Blodgett Series, Harvard University (Spring 2005)

 ‘Sing to the mike authenticity and performance in early music recording’ Paper at CHARM symposium, London, November 2005

Seton Hall University on Josquin des Prez and vocation (April 12 2005)

 ‘Desire and Demand in Musicology and Performance of Medieval Music’ Guest lecturer at Notre Dame University and Peabody Institute of Music (November 2004)

Panel contribution: Seattle annual meeting of American Musicologocial Society (2004)

‘Ars Subtilior as Performance Palimpsest’: Toronto, annual meeting of American Musicological Society  (2001)

International Musicological Society workshop on Aquitanian polyphony (1998)

‘Aquitanian Polyphony’ University of Iowa (1997)

Conference on ‘The Other’:Heidelberg (1997)

 ‘Tense and Tension in A cappella performance’: Medieval and Renaissance Conference in Southampton (1996)


 

Other Research Interests:

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University email address: amxdg@nottingham.ac.uk

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