Post on 01-Mar-2023
Performance Studies NetworkThird International
Conference
Faculty of MusicUniversity of Cambridge
17 to 20 July 2014
Provisional programme as of January 2014
THURSDAY AFTERNOON 17 JULY
From Webern to Fineberg (CMPCP session, chaired by Nicholas Cook) Concert Hall
Nicholas Cook Shadows of meaning: Webern's Piano Variations on record
Sean WilliamsStrict serialism or structured improvisation? The performance practice inherent in the technical realisation of Stockhausen's Studie II and Gesang der Jünglinge
Michael Hooper Confusion in the service of discoveryDavid Kopp Reimagining the familiar: on learning Fineberg's Veils
Music in sound Recital Room
Caroline Traube
Documenting the work and skills of performers as creators of sound
Julie Fuchs The virtuoso violist's sound creation: modalities and strategies
Hamish Robb Imagined sound in performances of nineteenth-century piano music:an embodied approach
Victoria Tzotzkova
Theorising sound quality in piano performance: the music of Morton Feldman, the teaching of Heinrich Neuhaus, and real-time experience of piano sound
Performing notation Lecture Room 2
Charise Hastings
Score-learning as creative problem-solving: a basis for diverse performances
Emily Payne Creativity within constraint? Perspectives on notated performance
Sara Carvalho Imaginary bars: from the score to the performance, issues on meaning construction
Jennifer MacRitchie andMassimo Zicari
Filling the creative gap between contemporary composer and performer
THURSDAY EVENING 17 JULY
Bartók and Ligeti Concert Hall
Kornelia Perchy Bartók and the cabaret singer
Yusuke Nakahara
How many times should I play it? The problem of rep. ad libitum in Béla Bartók's Mikrokosmos No. 103, 'Minor and Major'
Bianca Temes Performance into composition: Ligeti's appropriation of Romanian folk music
Experience and meaning in performance Recital Room
Charles D. Morrison
Living in the present: experiencing temporal elasticity in Keith Jarrett's Sun Bear Concerts
Martin Clayton Special sessionExperience and meaning in music performance
Opera Lecture Room 2
Margaret Medlyn
Singing is being: a ripple in the god'. Opera singers' creative embodiment in Verdi
Ferenc Janos Szabo
Performance style of the operetta embodied in operatic performance practice. An analysis of Elza Szamosi's 1908 recording of 'Mi chiamano Mimi'
Andrew Blake Wagner reloaded
FRIDAY MORNING 18 JULY
Composer/performer collaborations (CMPCP session, chaired by Eric Clarke) Concert Hall
Andrew Robson Beyond Brigg Fair: music making with Grainger's GhostsDavid Gorton and Peter Sheppard Skaerved
The Exchange Project: distributed creativity as artistic strategy
Eric Clarke and Mark Doffman
At His Majesty's Pleasure? Martyn Harry and His Majesty's Sagbutts and Cornetts
Tom Armstrong and Jane Chapman
Inside the box: performing, composing and devising in music theatre
Listener perspectives Recital Room
Daphne Leong and Robert Morris
Framing new music: the effect of preparatory conditions on audience response to Morris' Clear Sounds (2013)
Miguel-Angel Marin Challenging the listener: the music programmer as curator
followed by
Perspectives on musical creativity (Part 1) Recital Room
Juniper Hill Economic motivators and inhibitors of musical creativityAnthony Gritten Underneath creative performance
Ensemble performance Lecture Room 2
Edward Klorman Multiple agency and the performance of classical chamber musicCaroline Waddington
Creativity in ensemble performance: a case of intense co-performer empathy
Amanda Bayley Analysis of cross-cultural collaborations with the Kronos QuartetStephen Marotto
Temperature and gender markings in Jonathan Harvey's Second String Quartet
FRIDAY AFTERNOON 18 JULY
The recital Concert Hall
Michael Halliwell Re-imagining the song recital
Francesca Placanica
Arranging and performing Recital I (for Cathy): a practice-led approach to twentieth-century monodrama based on primary sources
Stephen Emmerson
Special sessionTo bE: a contemplation
Perspectives on musical creativity (Part 2) Recital Room
Sarah Day-O'Connell
Creative fidelity: insights on musical performance via translation theory
Catarina LeiteDomenici and Alan Taylor
Beyond the work-concept: a case study of shared creative processes in music
Simone Heilgendorff
New Music Festivals as laboratory of musical creativity: a comparative perspective on Warsaw Autumn, Festival d'Automne in Paris, and Wien Modern
Zheng Yuan Creativity in piano performance and pedagogy: a Chinese perspective
Historical performance Lecture Room 2
Ana Lombardia Re-creating lost music: José Herrando's Tocatas in performanceAndrew Lawrence-King A seicento sense of humour: wine, women and song in La morte d'Orfeo
Alan Maddox Performing the operatic storm topos in eighteenth-century Italiansacred music
followed by
Research reports Lecture Room 2
Marcos Entering in flow state during practice through self-regulated
Vinicius Araujo behaviour: an exploratory study
Yang, Jian The big data of shaping music: an online platform for musical performance studies
Argibel Euba Ugarte Ttakun: approaching txalaparta performance
FRIDAY EVENING 18 JULY
Drinks Reception
Combination RoomSt John’s College
Conference Dinner
HallSt John’s College
followed by a Musical Coda
SATURDAY MORNING 19 JULY
Embodiment Concert Hall
Stefan Östersjö and Nguyen Thanh Thuy
Go to Hell: merging choreography and composition through musical performance
Mine Doğantan-Dack The body in artistic pianism: what is it like?
Pedro dos Santos Boia
Playing the viola today: materiality, affordances, embodiment andcognition
Mary Hunter Death, life and the performance of Classical music
Improvisation (Part 1) Recital Room
Murphy McCaleb Inter-reaction as creative process in improvisation
Andrew Goldman What could be universal about musical improvisation? Situating the cognitive approach
Steve Tromans Improvisation contra composition: redefining the terms of music made in performance
Floris Schuiling
Resistance in the rehearsal of improvised music: the case of the Instant Composers Pool
Creative learning and teaching (Part 1) (CMPCP session, chaired by John Rink)Recital Room
Jeffrey Swinkin Teaching by example: toward a theory of performance pedagogy
Simon Zagorski-Thomas and AmyBlier-Carruthers
Performance in the studio: an educational workshop
Mark Doffman and Jean-Philippe Calvin
Contemporary music in action: performer–composer collaboration in the conservatoire environment
Daniel Barolsky
Structuring silence: music history pedagogy and the absence of performance
SATURDAY AFTERNOON 19 JULY
Practice and performance Concert Hall
Elaine Chew Multiple sense making: when practice becomes performance
Jane Ginsborg How students' performances take shape over time: the development of performance cues
Darla Crispin
Special sessionMultiple reflections: a collaborative model for using reflective musical practice as a means of transcending conformity in musicalperformance
Improvisation (Part 2) Recital Room
Cesar Marino Villavicencio Grossmann
The rhetorical side of free improvisation
Stéphan Schauband Rogério Costa
The vocabulary of time in free and in non-idiomatic improvisation: a systematic approach
followed by
Shaping music (CMPCP session, chaired by Daniel Leech-Wilkinson) Recital Room
Alink Greasleyand Helen Prior
Shaping popular music
Helen Prior Multi-modal understandings of musical shape
Creative learning and teaching 2 (Part 2) Lecture Room 2
Gilvano Dalagna
Negotiating artistic desired outcomes in music performance: preliminary results
Isabelle Heroux
Strategies and creative processes involved in the work underlyinga musical interpretation by expert musicians
followed by
French music Lecture Room 2
James Parakilas Performing incongruity of genre: the Debussy Etudes
Natsuko Jimbo Being faithful to the collaborative past: Marguerite Long (1874–1966) and her 'traditions' of three French composers
SATURDAY EVENING 19 JULY
Keynote Session
The Academy of Ancient Musicin rehearsal and in concert
Led by Pavlo Beznosiuk
Recital Room
SUNDAY MORNING 20 JULY
Parallel sessions
Music and the virtual Robinson Chapel
9.00-9.45 Vincent Meelberg
The musical performativity of a cursor: embodied creativity in performing with music software
9.45-10.30 Freya de Mink Prodigies within the virtual world of YouTube
10.30-11.15
Karin Johansson
Exploring and expanding improvisatory knowledge in musical practice
Orchestral performance (CMPCP session, chaired by Tina K. Ramnarine) Robinson College Auditorium
9.00-9.45 Katharine Parton
Object-directed gesture as epistemic stance: a case study of orchestra–conductor interaction with the printed musical score during rehearsal
9.45-10.30
Mekala Padmanabhan
Creative practices and narrative significance: keyboard instruments in Tamil film orchestras
10.30-11.15 Eldad Tsabary Whatever works: musical communication in the context
of interdisciplinary, networked laptop orchestra
Performance analysis Robinson College Umney Theatre
9.00-9.45 Elad Liebman A phylogenetic approach to music performance analysis
9.45-10.30 Lasse Thoresen
Extreme interpretation: observations on emergent formsin Rachmaninoff's version of Chopin's Ballade in A-flat major, Op. 47
10.30-11.15
Sylvain Caron,Caroline Traube and Sebastien Bel
Comparative analysis of expressive timing variations in eleven performances of a Scarlatti sonata
11.15-11.45 Break
Plenary sessionsRobinson Chapel