Session 1A Learning/pedagogy

• Henry Stobart, Chartwell Dutiro, Hyelim Kim, Mary Stakelum, Cheng Yu: Performance pedagogies: crosscultural approaches to learning.
• Henrique Meissner:  Stimulating thinking, enhancing expressiveness: dialogic teaching as an instructional strategy for facilitating children’s learning of expressiveness in music performance.
• Anne Power:  Catching a glimpse of the future: developing the young community orchestral string player.

Session 1B  Musical communities and audiences

• Jennifer Cable:  Leading from the sidelines: the contributions of amateur women musicians in the establishment of musical communities in the US during the early 20th century.
• Mary Broughton, Liam Viney and Anna Grinberg:  Audience development for contemporary classical music performance: a three-pillared approach incorporating empathy, creative collaboration, and new technology.
• Simon Paton:  Hindrances and enhancements to sub-cultures: an analysis to observe the effects of self organised musical activities onto the finished creative product.
• Verica Grmusa:  Making national song: sopranos, their composers and Yugoslavism (1904-1930)
• Yan Zou:  Performing dynamic signs in context: a case study of ‘forte’ in the first movement of Beethoven’s Piano Sonata in G, Op.14 No. 2

Session 1C Opera

• Joshua Neumann:  Creating royalty: modelling temporal-textual analysis in Turandot  (paper; slides)
• Jenny Wollerman:  Kiri Te Kanawa: grace, beauty, and the shaping of diva vocality
• Joseph Browning and Jane Davidson: Creativity and affect in the production of a contemporary pasticcio opera
• Lee Scott:  The mediated voice: Autonomous Sensory Meridian Response as a new mode of operatic expression.

Session 2A Constructing and re-constructing performance

• Francesca Placanica:  ‘Neither’ in performance: background study and notes for an experimental product.
• Marilyn Wyers and Mark Wraith: What does it take to make a dance/ music work? Exploring the role of intersubjectivity in the collaborative process.
• Randall Harlow: The ecological construction of performance

Session 2B Performance and Listening

• Alan Dobson, Andrew M. Friedman and Victoria Tzotzkova:  Special session: Performance as experience Respondent: John Rink (paper; slides)
• Adam Paul Cordle: Choreographing physical gesture to enhance structural experience listening.

Session 2C  Electronic/electroacoustic music

• Terri Hron:  Studying performance through portraiture: the case of Portrait Collection
• Michael Clarke, Frédéric Dufeu and Peter Manning:  Performing works with instruments and real-time electronics. An analytical and interactive perspective from the TaCEM project.
• Sean Williams:  Stockhausen concerts database

 Session 2D Improvisation

• Vincent Meelberg:  Improvising touch: musical improvisation considered as a practice of touch
• Clément Canonne:  Rehearsing free improvisation?
• Andrew Goldman:  Do experienced improvisers perceive music differently from nonimprovisers?