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Thursday 14 July 2011

Session 1A: Improvisation 1

  • Louise Gibbs
    How creative is musical improvisation? (text/video)
  • 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)

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

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

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)

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)

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)

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)