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Saturday 6 April 2013

Session 5A: Performers and recordings

  • Amy Blier-Carruthers
    What is the performer’s place in the process and product of recording? (text)
  • Simon Zagorski-Thomas and Amy Blier-Carruthers
    Special session: Performance in the studio

Session 5B: Performers and recordings

  • Catarina Leite Domenici
    Three instances of composer–performer collaboration: the performer’s point of view
  • David Gorton and Christopher Redgate
    Exploring new sounds: composer/ performer dialogues in the search for new sonorities
  • Nicole Canham
    Permutations: digital technology and distributed creativity in artistic practice
  • Emily Payne
    ‘Engineering’ performance: musicians’ (de)constructions of creativity

Session 5C: Creative learning, teaching and assessment (CMPCP session)

  • Jane Ginsborg, Helena Gaunt and Helen Prior
    First encounters of the musical kind: strategies for teaching and learning music (slides)
  • Mirjam James, Karen Wise and John Rink
    Practising creativity (slides)
  • Scott Harrison, Don Lebler, Gemma Carey, Paul Sabey, Jessica O’Bryan and Melissa Cain
    Assessing musical performance: institutional approaches to acknowledging, documenting and verifying creative practice
  • Anna Reid
    Time, materials and learning

Session 6A: Gesture and shape

  • Mats Küssner
    How musicians’ and non-musicians’ approaches to gestural representations of sound and music differ: findings from a motion-capture experiment (slides)

Session 6B: Developing musicians

  • Juniper Hill
    Knowledge of the self in creative musical performance: empowering young musicians in South Africa (slides)
  • Lynne Rogers
    Remaking musical traditions: voice, performance and gender in the cathedral girls’ choir (text)

Session 6C: Communication and collaboration

  • Renee Timmers
    Creative interaction in rhythmic improvisation
  • Robert Fulford
    Verbal and non-verbal communication during rehearsal and performance between musicians with and without a hearing impairment

Session 6D: Rhythm, metre and musical time

  • Kirsten Paige
    Multiplicity of meaning in Richard Wagner’s Tannhäuser: understanding and performing vocal naturalism
  • David Kopp
    Is there a future for musical performance and analysis?

Session 6E: The practice of keyboard performance

  • Jane Ginsborg, Roger Chaffin and Alexander Demos
    Different roles for prepared and spontaneous thoughts: a practice-based study of performance from memory (slides)
  • Cristina Capparelli Gerling
    Appeasing demons and conjuring angels: preparing to play Schubert’s Wanderer Fantasy
  • Andrew Blackburn
    The organ and realtime dsp – new music for an ancient instrument: changing perceptions and performative techniques of an organist – a practice-based research study (text)
  • Salve Marquez & Alfonso Mendiz
    Creative practices in instrumental teaching: a case study of Heinrich Neuhaus (slides)

Keynote session: Musicians from the Britten Sinfonia

  • John Rink: Convenor and chair
  • Britten: Six Metamorphoses after Ovid (solo oboe)
  • Britten: Tema Sacher (solo cello)
  • Bridge: Two Old English Songs
  • Ryan Latimer: Divertimento for oboe, harp, two violins, viola and cello