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| <h2>IMPORTED REVISION FROM WIKISPACES</h2> | | <span style="text-decoration: none;"><span style="display: block; text-align: JUSTIFY;">'''Imogene Newland''' <span style="font-family: Arial,sans-serif;"><span style="font-size: 14.6667px;">is a researcher and practitioner whose work intersects gesture-based study within the fields of music performance and choreography. Originally trained as a pianist specialising in contemporary repertoire, Imogene became interested in the overlap between postmodern dance practices and gestural analysis and classification in music performance in 2003. She has subsequently formed a series of practice-led works that address the intimate and intensely physical relation between the body and the piano. She has recently completed her practice-led PhD “The Piano and the Female Body: the Erotic, the Seductive and the Transgressive” at the Sonic Arts Research Centre, Queen's University Belfast.</span></span></span></span> |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
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| : This revision was by author [[User:guest|guest]] and made on <tt>2011-11-21 08:36:40 UTC</tt>.<br>
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| : The original revision id was <tt>277643310</tt>.<br>
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| : The revision comment was: <tt></tt><br>
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| The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html"><span style="text-decoration: none;"><span style="display: block; text-align: JUSTIFY;">**Imogene Newland** <span style="font-family: Arial,sans-serif;"><span style="font-size: 14.6667px;">is a researcher and practitioner whose work intersects gesture-based study within the fields of music performance and choreography. Originally trained as a pianist specialising in contemporary repertoire, Imogene became interested in the overlap between postmodern dance practices and gestural analysis and classification in music performance in 2003. She has subsequently formed a series of practice-led works that address the intimate and intensely physical relation between the body and the piano. She has recently completed her practice-led PhD “The Piano and the Female Body: the Erotic, the Seductive and the Transgressive” at the Sonic Arts Research Centre, Queen's University Belfast.</span></span></span></span></pre></div>
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| <h4>Original HTML content:</h4>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Imogene Newland</title></head><body><span style="text-decoration: none;"><span style="display: block; text-align: JUSTIFY;"><strong>Imogene Newland</strong> <span style="font-family: Arial,sans-serif;"><span style="font-size: 14.6667px;">is a researcher and practitioner whose work intersects gesture-based study within the fields of music performance and choreography. Originally trained as a pianist specialising in contemporary repertoire, Imogene became interested in the overlap between postmodern dance practices and gestural analysis and classification in music performance in 2003. She has subsequently formed a series of practice-led works that address the intimate and intensely physical relation between the body and the piano. She has recently completed her practice-led PhD “The Piano and the Female Body: the Erotic, the Seductive and the Transgressive” at the Sonic Arts Research Centre, Queen's University Belfast.</span></span></span></span></body></html></pre></div> | |
Revision as of 00:00, 17 July 2018
Imogene Newland is a researcher and practitioner whose work intersects gesture-based study within the fields of music performance and choreography. Originally trained as a pianist specialising in contemporary repertoire, Imogene became interested in the overlap between postmodern dance practices and gestural analysis and classification in music performance in 2003. She has subsequently formed a series of practice-led works that address the intimate and intensely physical relation between the body and the piano. She has recently completed her practice-led PhD “The Piano and the Female Body: the Erotic, the Seductive and the Transgressive” at the Sonic Arts Research Centre, Queen's University Belfast.