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?