Colin P McGuire
Writ large, my academic work centres on the locus of music and body. My research currently focuses on music and martial arts, examining transmission processes, tradition/legacy, body-experience, community/identity, and heroic display. I am particularly interested in how being attentive to choreomusical connections between movement and sound can contribute to understandings of being-in-the-world, relationships, values, and beliefs.
Between 2008 and 2016, I conducted participant observation and performance ethnography fieldwork on Chinese kung fu, the lion dance ritual, and percussion music at Toronto, Canada’s Hong Luck Kung Fu Club. This research project was the subject of my PhD dissertation, and is now being revised and expanded for a book. Through investigations of intertextual meanings, transnational identity construction, and resistance to oppression, I aim to contribute to wider discussions of embodiment and diaspora.
As a composer and sound artist, I have worked with dancers and choreographers like the Little Pear Garden Dance Company and Ballet Creole’s Patrick Parson. Under the DJ/producer pseudonym Ronin E-Ville, my eclectic electronic dance music has been in the Top 20 of Canada’s !Earshot radio charts for electronica and was also licensed to the Gemini Award-winning TV show Departures.
Supervisors: Postdoc: Jonathan Stock, PhD: Louise Wrazen, MA: Michael Coghlan, and BFA: Robert Simms
Phone: +353 (89) 987 2144
Between 2008 and 2016, I conducted participant observation and performance ethnography fieldwork on Chinese kung fu, the lion dance ritual, and percussion music at Toronto, Canada’s Hong Luck Kung Fu Club. This research project was the subject of my PhD dissertation, and is now being revised and expanded for a book. Through investigations of intertextual meanings, transnational identity construction, and resistance to oppression, I aim to contribute to wider discussions of embodiment and diaspora.
As a composer and sound artist, I have worked with dancers and choreographers like the Little Pear Garden Dance Company and Ballet Creole’s Patrick Parson. Under the DJ/producer pseudonym Ronin E-Ville, my eclectic electronic dance music has been in the Top 20 of Canada’s !Earshot radio charts for electronica and was also licensed to the Gemini Award-winning TV show Departures.
Supervisors: Postdoc: Jonathan Stock, PhD: Louise Wrazen, MA: Michael Coghlan, and BFA: Robert Simms
Phone: +353 (89) 987 2144
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Articles & Essays by Colin P McGuire
Résumé: Le club de kung fu Hong Luck de Toronto met de l'avant, depuis 1961, les arts martiaux, la danse du lion et la musique à base de percussions. À partir du travail de terrain que j'y ai effectué, j'avance dans cet article que ces pratiques structurent—et sont structurées par—une approche combattive du rythme. Les étudiants commencent par les arts martiaux et s'entraînent sans musique, mais les percussions qui accompagnent les démonstrations publiques créent une situation inédite que je situe comme une phase distincte du processus de transmission. Les performances d'arts martiaux sont alimentées par l'énergie de la musique en même temps qu'elles sont contrariées par l'exigence de rester asynchrones à celle-ci. Par contre, ceux qui effectuent la danse du lion se servent des schémas rythmiques comme de signaux pour coordonner leurs manoeuvres sur ce champ de bataille qu'est la représentation.
In my fifteen plus years of experience as a producer, I have worked with a variety of gear from analogue to digital and hardware to software. As technology changes, so does studio technique. The creative possibilities that are afforded by the latest piece of equipment or software are intimately linked to the evolution of EDM genres. This forward drive in studio technology is also a key factor in a finished track being, in some ways, un-reproducible.
When I started producing music, it was in a hybrid hardware/software studio. Working with tape delays or programming analogue synthesizers meant that each pass of a recording was often different. Lately I have been using a totally software-based studio, which is more sonically stable. Nonetheless, there is now the risk of programs being vulnerable to obsolescence as computer hardware and operating systems change. While finished recordings can be exactly and infinitely duplicated, the studio environments used to created them are actually quite ephemeral.
Dissertation & Thesis by Colin P McGuire
Book Reviews by Colin P McGuire
Books by Colin P McGuire
Papers by Colin P McGuire
Résumé: Le club de kung fu Hong Luck de Toronto met de l'avant, depuis 1961, les arts martiaux, la danse du lion et la musique à base de percussions. À partir du travail de terrain que j'y ai effectué, j'avance dans cet article que ces pratiques structurent—et sont structurées par—une approche combattive du rythme. Les étudiants commencent par les arts martiaux et s'entraînent sans musique, mais les percussions qui accompagnent les démonstrations publiques créent une situation inédite que je situe comme une phase distincte du processus de transmission. Les performances d'arts martiaux sont alimentées par l'énergie de la musique en même temps qu'elles sont contrariées par l'exigence de rester asynchrones à celle-ci. Par contre, ceux qui effectuent la danse du lion se servent des schémas rythmiques comme de signaux pour coordonner leurs manoeuvres sur ce champ de bataille qu'est la représentation.
In my fifteen plus years of experience as a producer, I have worked with a variety of gear from analogue to digital and hardware to software. As technology changes, so does studio technique. The creative possibilities that are afforded by the latest piece of equipment or software are intimately linked to the evolution of EDM genres. This forward drive in studio technology is also a key factor in a finished track being, in some ways, un-reproducible.
When I started producing music, it was in a hybrid hardware/software studio. Working with tape delays or programming analogue synthesizers meant that each pass of a recording was often different. Lately I have been using a totally software-based studio, which is more sonically stable. Nonetheless, there is now the risk of programs being vulnerable to obsolescence as computer hardware and operating systems change. While finished recordings can be exactly and infinitely duplicated, the studio environments used to created them are actually quite ephemeral.