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Thursday 14 July 2011 | Friday 15 July 2011 | Saturday 16 July 2011
Improvisation 1 | Composer–performer collaborations | Instruments and contexts |
Recording | Contemporary music performance | Performing recitative | Shaping sound Session 1A: Improvisation 1
- Louise Gibbs
How creative is musical improvisation? (text)
- Danae Stefanou
Towards a practical philosophy of collectively improvised space (text)
- David Dolan (working with Vivian Lee, Jenny Lewisohn & Oscar Perks)
Improvisation as a teaching and learning tool: creative performance and real-time analysis (special session) (text)
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Session 1B: Composer–performer collaborations
- Mieko Kanno & Sam Hayden
Live performance, the interactive computer and the Violectra (slides; text; sound 1; sound 2)
- Michael Hooper
Tracking the process of innovation: improvisatory moments in the early stages of collaboration
- David Gorton & Stefan Östersjö
'Forlorn Hope': tracing the dynamics of composer–performer collaboration (slides; text)
- Sheila Guymer
Experimental music in Melbourne, Australia: a case study
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Session IC: Instruments and contexts
- Christopher Redgate
Reinventing the oboe: responding to technical challenges and creating new horizons
(text)
- Murphy McCaleb
Communication of interaction? Applied environmental knowledge in ensemble performance (text)
- Clare Hammond
Creative responses to disability and the performer's prerogative in Benjamin Britten's Diversions, Op. 2
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Session 2A: Recording
- Stephen Johns
Recording: live in the concert hall or dead in the studio? (text)
- Amy Blier-Carruthers
From stage to studio ( . . . and back again) (text)
- Gaia Varon
Performing performances: some considerations on the role of the filming and recording crews in classical music videos (text)
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Session 2B: Contemporary music performance
- Martin Iddon
Praxis and Poiesis in indeterminate music: the case of David Tudor
- Roger Heaton
Contemporary performance practice and tradition
(published in the CMPCP/PSN special issue of Music Performance Research)
- Peter Cornish
Improvisation in the performance of notated music (text)
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Session 2C: Performing recitative
- Jane Davidson, Andrew Lawrence-King, Steven Player & Katerina Antonenko
Il corso del ragionare [Italy, circa 1607]: reflections on rhythm, recitative and rehearsals (special session)
- Alan Maddox
The performance of affect in recitativo semplice
(published in the CMPCP/PSN special issue of Music Performance Research)
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Session 2D: Shaping sound
- Mathieu Barthet, Philippe Guillemain, Richard Kronland-Martinet & Sølvi Ystad
The way timbre shapes musical preference: a clarinet performance case study (slides)
- Victoria Tzotzkova
Obtaining the right sound, or elements of extemporising in performing Debussy's Des pas sur la neige
- Mats Küssner
Music and shape: preliminary findings from performers' visualisations of sounds
(research report) (slides)
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