00402982_74-292.indd A QUARTERLY REVIEW OF NEW MUSIC EDITORIAL: HOW DO WE KNOW WHAT WE KNOW? INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE LOUISE DEVENISH FEMINISTING FREE IMPROVISATION HANNAH REARDON-SMITH, LOUISE DENSON AND VANESSA TOMLINSON FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY TALISHA GOH TEACHING TERTIARY MUSIC IN THE #METOO ERA LOUISE DEVENISH, CECILIA SUN, CAT HOPE AND VANESSA TOMLINSON CONTENT TARGETS WORK: A PRACTICAL EXAMPLE OF CHANGING BEHAVIOURS AND PROCESSES IN PROGRAMMING WOMEN COMPOSERS NAOMI JOHNSON AND MATTHEW DEWEY TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN CAT HOPE, NAT GRANT, GABRIELLA SMART AND TRISTEN PARR RECLAIMING THE PERFORMER’S VOICE AND BODY IN MUSICAL ANALYSIS PHOEBE GREEN OF BODY, OF EMOTION: A TOOLKIT FOR TRANSFORMATIVE SOUND USE SHOSHANA ROSENBERG AND HANNAH REARDON-SMITH PIXERCISE: PICCOLO PERFORMANCE PRACTICE, EXERCISE AND FEMALE BODY IMAGE KATHRYN WILLIAMS REVIEWS: FIRST PERFORMANCES, CDs, AND BOOKS PROFILE: ANDREW FORD ARTWORK: LARRY GOVES VOL.74 NO.292 - APRIL 2020 ISSN 0040-2982 https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298219001104 Downloaded from https://www.cambridge.org/core. Carnegie Mellon University, on 06 Apr 2021 at 00:56:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms https://doi.org/10.1017/S0040298219001104 https://www.cambridge.org/core editor Christopher Fox tempoeditor@cambridge.org reviews editor Heather Roche temporeviewseditor@gmail.com advertising Email (UK and rest of the world) ad_sales@cambridge.org Email (US) USAdsales@cambridge.org subscription enquiries Tel: 01223 326070 Email: journals@cambridge.org advisory board Amy C. Beal University of California, Santa Cruz, USA Davinia Caddy University of Auckland, New Zealand Jonathan Cross University of Oxford, UK Mark Delaere KU Leuven, Belgium Kyle Gann Bard College, USA James Gardner Auckland, New Zealand Gisela Gronemeyer Cologne, Germany Anna Höstman Toronto, Canada Peter Hill University of Sheffield, UK Nicholas Jones Cardiff University, UK Gerard McBurney London, UK François-Bernard Mâche Paris, France Olivia Mattis Huntingdon, New York, USA David Metzer University of British Columbia, Canada Tim Rutherford-Johnson London, UK Howard Skempton Leamington Spa, UK Mission Statement As a ‘Quarterly Review of New Music’, TEMPO exists to document the international new music scene while contributing to, and stimulating, current debates therein. Its emphasis is on musical developments in our own century, as well as on music that came to prominence in the later twentieth century that has not yet received the attention it deserves. 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Printed in Great Britain by Bell & Bain Ltd, Glasgow. cover design: Studio Isabelle Vigier © Cambridge University Press 2020 https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298219001104 Downloaded from https://www.cambridge.org/core. Carnegie Mellon University, on 06 Apr 2021 at 00:56:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms https://doi.org/10.1017/S0040298219001104 https://www.cambridge.org/core editor Christopher Fox / reviews editor Heather Roche volume 74 no. 292 april 2020 3 editorial: how do we know what we know? Christopher Fox articles 6 introduction: towards gender diversity in new music practice Louise Devenish 10 feministing free improvisation Hannah Reardon-Smith, Louise Denson and Vanessa Tomlinson 21 from the other side: feminist aesthetics in australian musicology Talisha Goh 30 teaching tertiary music in the #metoo era Louise Devenish, Cecilia Sun, Cat Hope and Vanessa Tomlinson 38 content targets work: a practical example of changing behaviours and processes in programming women composers Naomi Johnson and Matthew Dewey 49 towards the summers night: a mentoring project for australian composers identifying as women Cat Hope, Nat Grant, Gabriella Smart and Tristen Parr 56 reclaiming the performer’s voice and body in musical analysis Phoebe Green 64 of body, of emotion: a toolkit for transformative sound use Shoshana Rosenberg and Hannah Reardon-Smith 74 pixercise: piccolo performance practice, exercise and female body image Kathryn Williams https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298219001104 Downloaded from https://www.cambridge.org/core. Carnegie Mellon University, on 06 Apr 2021 at 00:56:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms https://doi.org/10.1017/S0040298219001104 https://www.cambridge.org/core first performances 81 deutsche oper berlin: chaya czernowin, heart chamber Edmund Hunt 82 wiener konzerthaus: klangforum wien Roger Heaton 83 new york city: for/with; the story of one of my follies Ian Power 85 hcmf//: ellen arkbro, marcus pal, claudia molitor Sam Ridout 86 hcmf//: georgia rodgers Alex De Little 87 hcmf//: hanna hartman Max Erwin cdS and dvdS 88 rebecka sofia ahvenniemi: tacit-citat-ion George K. Haggett 89 kaija saariaho: graal théâtre, circle map, neiges, vers toi qui es si loin Caroline Potter 90 malin bång: structures of light and spruce Neil T. Smith 92 maija hynninen: dawn breaks Alex Huddleston 93 ben melsky: ben melsky Alex Huddleston 95 joanna bailie: artificial environments Thierry Tidrow 96 wolfgang von schweinitz: klang Ian Power books 98 collaborative and distributed processes in contemporary music-making by lauren redhead and richard glover Jessica Aszodi 101 artwork: larry goves 102 profile: andrew ford 105 contributors 109 corrigendum https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298219001104 Downloaded from https://www.cambridge.org/core. Carnegie Mellon University, on 06 Apr 2021 at 00:56:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms https://doi.org/10.1017/S0040298219001104 https://www.cambridge.org/core OFC.pdf IFC.pdf TEM_74_292_Contents.pdf