Dr Elaine King (née Goodman)
BA(Dunelm), MMus(Lond), PhD(Lond), LGSM
Office: L216
Email: e.c.king@hull.ac.uk
Phone: 01482 465627
Dr Elaine King (née Goodman) is a performer and musicologist
with research interests in performance studies, psychology of music
and music analysis. Her doctoral thesis, completed in 2000, focused
on the nature of interaction in cello-piano duos during ensemble
rehearsal and performance. Since then, she has developed her
research into different aspects of performance, especially in
ensemble contexts. Recent projects include investigations into
musicians’ roles in quartet rehearsals, motivations of University
music student performers, breathing patterns in solo piano
performance, and gestures in vocal-piano duo rehearsals. She is
Conference Secretary for SEMPRE (The Society for Education, Music
and Psychology Research), an ordinary member of Council for the RMA
(Royal Musical Association), and she is a founder member of the
editorial board for the journal British Postgraduate Musicology.
She is co-organiser of the First and Second International
Conferences on Music and Gesture (August 2003 and July 2006). As a
cellist, Elaine studied at the Royal Academy of Music, and she
continues to perform widely in chamber ensembles and
orchestras.
Research interest
- Performance studies
- Psychology of music
- Music analysis
Publications
Please note that the material dated pre-2003 is published under
Elaine's maiden name (Goodman).
Books
Articles/Chapters
- ‘Ensemble Performance’ in J. Rink, ed., Musical
Performance: A Guide to Understanding (Cambridge: Cambridge
University Press, 2002), pp.153-167
- (with Jane Davidson) 'Strategies of Ensemble Practice' in A.
Williamon, Enhancing Musical Performance (Oxford: Oxford University
Press, 2004)
- 'The Roles of Student Musicians in Quartet Rehearsals',
Psychology of Music, April 34/2 (2006), pp. 263-283
- 'Collaboration and the Study of Ensemble Rehearsal', in S.
Lipscomb, R. Ashley, R. Gjerdingen and P. Webster, eds.,
Proceedings of the Eighth International Conference on Music
Perception and Cognition (Chicago,
Illinois: Northwestern University Press, 2004)
- 'Supporting Gestures: Breathing in Piano Performance', in A.
Gritten and E. King, eds., Music and Gesture (Aldershot:
Ashgate, 2006), pp. 142-164.
- (with Jane Ginsborg) ‘Expertise versus Partnership in
Collaborative Rehearsal', in K. Maimets-Volk, R. Parncutt, M. Marin
and J. Ross, eds., Proceedings of the Third Conference on
Interdisciplinary Musicology (Tallinn: Estonian AMT, August
2007)
- (with Jane Ginsborg) ‘The roles of expertise and partnership in
collaborative rehearsal', in A. Williamon and G. Coimbra (eds.)
Proceedings of the International Symposium on Performance Science
(Utrecht: AEC, November 2007)
- (with Jane Ginsborg) ‘Collaborative Rehearsal: Social
Interaction and Musical Dimensions in Professional and Student
Singer-Piano Duos', in E. Schubert, K. Buckley, R. Eliott, B.
Koboroff, J. Chen and C. Stevens (eds.) Proceedings of the
International Conference on Music Communication Science (Sydney:
HCSNet, December 2007)
- (with Jane Ginsborg) 'Gestures and Glances: Interactions in
Ensemble Practice', in A. Gritten and E. King, eds., New
Perspectives on Music and Gesture (Aldershot:
Ashgate, 2011)
- ‘The development of working relationships in music ensembles’,
in E. King and H. Daynes, eds., Music and Familiarity
(Aldershot: Ashgate, forthcoming)
- (with Jane Ginsborg) ‘Rehearsal Talk: Familiarity and Expertise
in Singer-Pianist Duos’ (Musicae Scientiae, in
press)
Reviews
- Report on TAGS Day, May 1997, Royal Holloway, University of
London, Newsletter of the Society of Music Analysis 11
(1997), pp. 6–8
- ‘Review of New Music and the Claims of Modernity, A.
Williams (Aldershot: Ashgate, 1997), Brio 35/2 (1998), pp.
120–21
- ‘Review of Chopin: The Piano Concertos, J. Rink
(Cambridge: Cambridge University Press, 1997), Brio 35/1
(1998), pp. 35–38
- Report on the Tenth International Conference on
Nineteenth-Century Music, July 1998, University of Bristol,
Newsletter of the Royal Musicological Association 1/2
(1998), p.6
- ‘Review of Composition, Performance, Reception: Studies in
the Creative Process in Music, ed., W. Thomas (Aldershot:
Ashgate, 1998)’, Brio 36/1 (1999), pp. 82–83
- ‘Review of Rethinking Music, eds., N. Cook and M.
Everist (Oxford: Oxford University Press, 1999)’, Brio
36/2 (1999)
- ‘Review of Musical Performance: A Philosophical Study,
S. Godlovitch (London: Routledge, 1998)’, Music and
Letters 81/1 (2000), pp. 74–76
- 'Review of "Ways of the Hand: A Rewritten Account" by David
Sudnow', Music Analysis, 22/iii (2003), pp. 367-374
- Review of ‘“Reading Musical Interpretation: Case Studies in
Solo Piano Performance” by Julian Hellaby’, Music and Letters (in
press)
Recent conference papers and invited lectures
- ‘Playing together: Analysing the ensemble in music
performance’, Paper presented at the TAGS Day, University of
Oxford, Oxford (May 1997)
- ‘1 + 1 = 2? The ensemble performance of Chopin’s Cello Sonata’,
Paper presented at the Tenth International Conference on
Nineteenth-Century Music, University of Bristol, Bristol (July
1998)
- ‘Ensemble rehearsal: Analysis and psychology in practice’,
Paper presented at the SMA and SRPMME Study Day, University of
Reading, Reading (March 2000)
- ‘Performers’ discourses: The nature of musical interaction in
cello–piano duo rehearsals’, Paper presented at the 35th Annual
Conference of the Royal Musical Association, University of
Southampton, Southampton (April 2000)
- 'Methods and Techniques of Practice', Paper presented at The
Birmingham Conservatoire, Birmingham (January 2002)
- 'How Musicians Rehearse', Paper presented at the Berkshire
Association Meeting of the British Federation of
Women Graduates (February 2002)
- 'Risk in Performance', Paper presented at the 10th Anniversary
Conference of the European Society of the Cognitive Sciences of
Music (ESCOM), University of Liege, Belgium (April 2002)
- 'On Performance Studies', Postgraduate Taught Seminar, Bedford
Square, Royal Holloway, University of London (October 2002)
- 'Techniques of Ensemble Rehearsal', Paper presented at the
University of Leeds (January 2003)
- 'Analysis of Ensemble Rehearsal' Paper presented at the
University of Huddersfield (February 2004)
- 'Defining the roles of musicians in ensemble rehearsal', Paper
presented at the International Conference on Musical Collaboration,
The Open University, Milton Keynes (April 2004)
- 'Collaboration and the study of ensemble rehearsal', Paper
presented at the Eighth International Conference on Music
Perception and Cognition (ICMPC8), Northwestern University,
Evanston, Chicago, IL (August 2004)
- 'Evaluating musicians' roles in ensemble rehearsal', Paper
presented at the Royal Northern College of Music (February
2005)
- 'When do pianists breathe?', Paper presented at the Royal
Northern College of Music (January 2006)
- 'Breathing in piano performance', Paper presented at the
International Conference for the Society for Education, Music and
Psychology Research ('The Reflective Conservatoire'), Guildhall
School of Music and Drama (February 2006)
- 'Role-play in ensemble rehearsal', Birmingham Conservatoire,
May 2006
- 'Understanding team roles in chamber ensemble rehearsal', Royal
College of Music, September 2006
- 'Understanding role-play in chamber ensemble rehearsal',
Sheffield University, February 2007
- 'The evaluation of team roles in ensemble rehearsal', CIRCLE
seminar series, Roehampton University, London (May 2007)
- (with Jane Ginsborg) 'Expertise versus partnership in
collaborative rehearsal', Poster presented at the Third Conference
on Interdisciplinary Musicology (CIM07), Tallinn, Estonia (August
2007)
- (with Jane Ginsborg) 'The roles of expertise and partnership in
collaborative rehearsal', Poster presented at the International
Symposium on Performance Science (ISPS), Casa da Música, Porto,
Portugal (November 2007)
- (with Jane Ginsborg), 'Collaborative rehearsal: Social
interaction and musical dimensions in professional and student
singer-piano duos', Paper presented at the International Conference
on Music Communication Science, Sydney, Australia (December
2007)
- 'Analytical considerations in the study of performers' physical
gestures', Paper presented at the Institute of Musical Research in
the 'Directions in Musical Research' Seminar Series, London,
June 2009
- (with Jane Ginsborg), 'Gestures and glances: The effects of
familiarity and expertise on singers' and pianists' bodily
movements in ensemble rehearsals', Paper presented at the Seventh
Triennial Conference of the European Society of the Cognitive
Sciences of Music (ESCOM), University of Jyvaskala, Finland, August
2009
- (with Jane Ginsborg), 'The effects of familiarity on non-verbal
communication in ensemble rehearsal', Paper presented at the
Society for Education, Music and Psychology Research (SEMPRE)
Conference on 'Music and Familiarity', University of Hull, October
2009
- 'Live Performance Analysis', Seminar presented at the Institute
of Musical Research for the Research Training in Music Day School
on 'Studying Sound and Performance', London, March 2010
- ‘Motivations in University student performers’ (with C. Botton
& N. Wright), Paper presented at the International Conference
for the Society for Education, Music and Psychology Research
(‘Empirical Musicology II: Approaches to Performance’), University
of Leeds, April 2010
- ‘Psychological approaches to Performance’, Seminar presented at
the Institute of Musical Research for the Research Training in
Music Day School on ‘Performance Studies’, London, January
2011
- ‘Empirical Approaches to Performance: The Study of Pianists’
Gestures’, Paper presented at the Royal Musical Association Annual
Conference, University of Sussex, July 2011
- ‘The Development of Creative Relationships in Music Ensembles’,
Paper presented at the First International Performance Studies
Network Conference, University of Cambridge, July 2011
Unpublished Writings
- 'Narrative and dialogue in Benjamin Britten's "Sonata in C for
cello and piano" (Op. 65)' (MMus dissertation, University of
London, 1996).
- 'Analysing the ensemble in music rehearsal and performance: The
nature and effects of interaction in cello-piano duos' (PhD
Dissertation, University of London, 2000).
Departmental Responsibilities
- Director of Postgraduate Studies (including PG Admissions)
- Examinations Officer
- Disability Tutor
- Manager for Instrumental Tuition
- Performance Committee (Music)
Teaching Responsibilities
- Performance I and II (level 5)
- Ensemble Performance (level 5)
- Advanced Performance I and II (level 6)
- Advanced Ensemble Performance (level 6)
- Psychology of Music Performance (level 6)
- Independent supervisor for undergraduate and postgraduate
(Masters and PhD) research in the areas of music psychology,
analysis and education.