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Friday 15 July 2011

Session 3A: Optimising performance potential

  • Marilyn Wyers & Neil March
    Shaping music, shaping you: optimising music performance potential through body movement/dance (special session)(text; score)

Session 3B: Improvisation 2

  • Amir Eslami & Hooshyar Khayam
    A new approach to improvisation in Persian music (lecture-recital)

Session 3C: Shape, gesture, enactment

  • William Brooks, Catherine Laws & Damien Harron
    Sounded gestures and enacted sounds (text; slides)
  • Helen Prior
    Exploring the experience of shaping music in performance (text)
  • Jane Davidson & Sharon Chung
    Taking shape over time: a case study approach to the development and use of facial gesture and bodily expression in contemporary interpretations of Liebestraum by Franz Liszt
  • Deniz Peters
    Letting the body decide: creativity, gesture and musical emodiment in space as a virtual instrument (text; video 1; video 2; video 3)

Session 3D: Jazz

  • Marc Duby
    Teaching and assessing jazz ensemble performance: a South African perspective (slides)
  • Kathy Dyson
    Learning jazz improvisation from a schema perspective (text)
  • Garry Hagberg
    Jazz improvisation, group attention, and collective intention
  • Kai Stefan Lothwesen & Klaus Frieler
    Shaping jazz piano improvisation: the influence of tempo, tonality and expertise on improvised musical structures (slides)

Session 4A: Performers and (or) composers

  • Amanda Glauert, Colin Lawson & Cavaleri Quartet
    The performer’s mind and spirit: reflective practice ‘alla tedesca’ (text)
  • Mary Hunter
    Trying (or not) to ‘do right by them’: performance and the conception of the composer
  • Jonathan Pitkin
    Creating the illusion of improvisation: a composer’s perspective (text; score)

Session 4B: From score(s) to performance(s)

  • Cristina Capparelli Gerling
    Creative performance within the boundaries of the score (slides; text)
  • Zelia Chueke
    Mystery and innovation in performances of Mozart’s Fantasy KV 475: following the guidance of three great twentieth-century masters (text)
  • Scott Murphy
    One performance, multiple scripts: the peculiar case of the fifth bar of Brahms’s ‘Double Concerto’ (slides)
  • David Kopp
    Performing the unique: Messiaen’s Petites esquisses d’oiseaux

Session 4C: Historical performance/recordings/Bach

  • Chia Wei Lin
    Echoes of nineteenth-century improvisation: a view from a historical recording by Egon Petri (text)
  • Daniel Bangert, Dorottya Fabian & Emery Schubert
    Bach performance: a case study of musical decision-making
  • Dario Sarlo
    Studying concert performances: the iconic career of Jascha Heifetz
  • Abigail Dolan
    Rubato and the creative performer: between freedom and structure (slides; text)