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

11.45-12.30

Andrew Blackburn and Jeremy Thurlow

A new work for pipe organ and live electronics: creating a new instrument and performance space

12.30-13.00 CONFERENCE WRAP-UP, led by John Rink