{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/618695793cbea30019988bc2/61b75a8048392200133c3f8b?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Percussion Perspectives ep.5: Louise Devenish (Solo artist/artistic researcher Monash University, Melbourne)","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/618695793cbea30019988bc2/1639406187126-75e22b5ffbf5eead245a5aa52130f760.jpeg?height=200","description":"<p>This episode features performer and researcher <a href=\"https://www.louisedevenish.com.au\" rel=\"noopener noreferrer\" target=\"_blank\">Louise Devenish</a>. Louise is a contemporary percussionist whose creative practice blends performance, collaboration and artistic research. Louise has commissioned over 50 works for percussion, she develops new works exploring graphic notation, post-instrumental practice and collaborative creativity, and she has performed all over the world with ensembles such as <a href=\"https://decibelnewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Decibel</a>, Speak Percussion and Synergy Percussion. She is currently a <a href=\"https://research.monash.edu/en/persons/louise-devenish\" rel=\"noopener noreferrer\" target=\"_blank\">Senior Research Fellow and Percussion Coordinator at Monash University.</a> In 2021 she published her first book, called&nbsp;<a href=\"https://www.routledge.com/Global-Percussion-Innovations-The-Australian-Perspective/Devenish/p/book/9780367587406\" rel=\"noopener noreferrer\" target=\"_blank\"><em>Global Percussion Innovations: The Australian Perspective</em>.</a></p><p>\tLouise talks about career paths for young musicians, about creating new music, about the necessity of developing skills connected to writing, project presentations and grant applications, about how she merges a career as a performer, artistic researcher and an educator, how music can lead to change and contribute to current discourses in society, and about the texts of writer <a href=\"http://rebeccasolnit.net\" rel=\"noopener noreferrer\" target=\"_blank\">Rebecca Solnit. </a></p><p>&nbsp;</p><p>The musical excerpts are taken from her solo album&nbsp;<a href=\"https://open.spotify.com/album/7dPjEg3IQ2Az0cjYa1Ve2v?si=_UfQVeL9QpyOj2Fm4qTXeQ\" rel=\"noopener noreferrer\" target=\"_blank\"><em>music for percussion and electronics</em></a>&nbsp;(Tall Poppies 2018).</p><p>For further reading, you may find the study on portfolio musicians Louise discusses <a href=\"https://www.dlgsc.wa.gov.au/department/publications/publication/making-music-work-sustainable-portfolio-careers-for-australian-musicians\" rel=\"noopener noreferrer\" target=\"_blank\"> here;</a> as well as her recent article on the developments in the field of instrumental practices<a href=\"https://www.musicandpractice.org/instrumental-infrastructure-instrumental-sculpture-and-instrumental-scores-a-post-instrumental-practice/\" rel=\"noopener noreferrer\" target=\"_blank\"> here</a>.</p>","author_name":"Håkon Mørch Stene and Henrik Knarborg Larsen"}