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Saturday 19 July 2014

Session 5A: Improvisation (Part 1)

  • Murphy McCaleb
    Inter-reaction as creative process in improvisation
  • Andrew Goldman
    What could be universal about musical improvisation? Situating the cognitive approach
  • Karin Johansson
    Exploring and expanding improvisatory knowledge in musical practice
  • Floris Schuiling
    Resistance in the rehearsal of improvised music: the case of the Instant Composers Pool

Session 5B: Embodiment

  • Stefan Östersjö and Nguyen Thanh Thuy
    Go to Hell: merging choreography and composition through musical performance
  • Mine Doğantan-Dack
    The body in artistic pianism: what is it like?
  • Pedro dos Santos Boia
    Playing the viola today: materiality, affordances, embodiment and cognition
  • Mary Hunter
    Death, life and the performance of classical music

Session 5C: Creative learning and teaching (Part 1) (CMPCP session)

  • László Stachó
    The ability of real-time navigation in the musical flow: theory and pedagogy
  • Simon Zagorski-Thomas and Amy Blier-Carruthers
    Performance in the studio: an educational workshop
  • Mark Doffman and Jean-Philippe Calvin
    Contemporary music in action (CMIA): performer– composer collaboration in the conservatoire environment (slides)
  • Daniel Barolsky
    Structuring silence: music history pedagogy and the absence of performance

Session 6A: Improvisation (Part 2)

  • Cesar Marino Villavicencio Grossmann
    The rhetorical side of free improvisation (text)
  • Stéphan Schaub and Rogério Costa
    The vocabulary of time in free and non-idiomatic improvisation: a systematic approach (slides)

Session 6B: Shaping music (CMPCP session)

  • Helen Prior
    Modelling musicians’ understandings of musical shaping (slides)
  • Alinka Greasley and Helen Prior
    Shaping popular music (slides)

Session 6C: Practice and performance

  • Elaine Chew, Peter Child and Lina Viste Grønli
    Multiple sense making: when practice becomes performance
  • Jane Ginsborg
    How students’ performances take shape over time: the development of performance cues (slides)
  • Håkon Austbø, Darla Crispin, Olaf Eggestad and Ellen Ugelvik
    Multiple reflections: a collaborative model for using reflective musical practice as a means of transcending conformity in musical performance

Session 6D: Creative learning and teaching (Part 2) (CMPCP session)

  • Gilvano Dalagna
    Negotiating artistic desired outcomes in music performance: preliminary results
  • Isabelle Héroux and Marie-Soleil Fortier
    Strategies and creative processes involved in the work underlying a musical interpretation by expert musicians

Session 6E: French music

  • James Parakilas
    Performing incongruity of genre: the Debussy Etudes
  • Natsuko Jimbo
    Being faithful to the collaborative past: Marguerite Long (1874–1966) and her ‘traditions’ of three French composers (slides)

Keynote session: The Academy of Ancient Music in rehearsal and in concert