16 July 2016

Session 5A  Composer-performer collaborations

Marlou Peruzzolo Vieira:  Collaboration between non-guitarist composer and guitarist on the performer’s perspective

Morgan Buckley and Eoin Flood:  Communicating with the Orishas: exploring crossculturation and the creative process in two commissions on Yorubian Bata drumming music (slides)

Emily Payne:  Developing (and disrupting?) skilled practice: the historicalbasset clarinet in creative collaboration (slides)

Session 5B Gestural meaning in performance

  • Sara Carvalho and Henrique Portovedo:  Imaginary performances: exploring gestural meanings
  • Liz Pipe:  The use of expressive gesture and non-verbal communication skills in popular music performance pedagogy
  • Fabrice Marandola, Farrokh Vahabzadeh and Marie- France Mifune:  Studying instrumental gesture: a multidimensional and crosscultural perspective

Session 5C Multiple performances

  • Abigail Dolan:  Exercises in style: on developing multiple performances
  • Ellen Winhall: Cathy Berberian, Stripsody, and transforming identities
  • Sarah Callis and Daniel-Ben Pienaar:  ‘Antiprogramming’: the cycle as creative catalyst
  • Elaine Chew, Susanne Beer and Ian Pressland:  2xPiazzolla: towards analytical models of the repertoire of possibles in music performance

Session 5D  Learning/pedagogy II

  • Sadie Fields Advanced learning and the language of music: a case study (paper; audio)
  • Murphy McCaleb: Playing together: developing ensembles through musical play (paper)
  • Anthony Gritten: Dismantling the pedagogy of constraint

Session 6A  From score to performance

  • Philip Thomas, Martin Iddon, Emily Payne and Christopher Melen:  Performing at the limits: John Cage’s Solo for Piano
  • David Gorton, Stefan Östersjö, Dirk Moelants and Esther Coorevits:  Towards a multimodal understanding of musical performance in David Gorton’s Austerity Measures I for ten-string guitar

Session 6B  Performing cultural identity

  • Yuiko Asaba:  Tango in Japan: performance, identity and new expressivity
  • Maiko Kawabata: Virtuosity now: an analysis and historiography of performance styles (slides)
  • Charles Wiffen: Putting the trance into transcendental: a cross-cultural approach to virtuosity in performance

Session 6C Authorship and agency

  • Diane Hughes:  The singersongwriter as cultural narrator
  • Edward Klorman:  Performers as creative agents; or, musicians just want to have fun

Session 6D  HIP and Werktreue

  • Martyn Shaw: The ‘Nicholsonian effect’: tone colour in the flute performance practices of nineteenth century England
  • Terumi Kurokawa: Re-examining the Issues of ‘historically informed performance versus modern performance’ from the perspective of modern orchestra players on conductors’ approaches (slides)
  • David Kjar: Other performance: toward a more relevant performance philosophy for the Early Music Movement
  • Mary Hunter: The language of Werktreue in practice: obligation and agency

Evening Keynote:  Neil Heyde, with the Kreutzer Quartet, Roger Heaton, Michael Finnissy and Laurie Bamon: ‘Inventing an ensemble identity’