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Thursday 17 July 2014

Session 1A: Music in sound

  • Caroline Traube
    Documenting the work and skills of performers as creators of sound
  • Hamish Robb
    Imagined sound in performances of nineteenth-century piano music: an embodied approach (slides)
  • Victoria Tzotzkova
    Theorising sound quality in piano performance: the music of Morton Feldman, the teaching of Heinrich Neuhaus, and real-time experience of piano sound

Session 1B: From Webern to Fineberg (CMPCP session)

  • Nicholas Cook
    Shadows of meaning: Webern’s Piano Variations on record
  • Sean Williams
    Strict serialism or structured improvisation? The performance practice inherent in the technical realisation of early electronic music in the WDR Studio, Cologne
  • Michael Hooper
    Confusion in the service of discovery (video)
  • David Kopp
    Reimagining the familiar: on learning Fineberg’s Veils

Session 1C: Performing notation

  • Charise Hastings
    Score-learning as creative problem-solving: a basis for diverse performances (text; slides)
  • Emily Payne
    Creativity within constraint? Perspectives on notated performance
  • Sara Carvalho
    Imaginary bars: from the score to the performance, issues on meaning construction
  • Jennifer MacRitchie and Massimo Zicari
    Filling the creative gap between contemporary composer and performer

Session 2A: Experience and meaning in performance

  • Charles Morrison
    Living in the present: experiencing temporal elasticity in Keith Jarrett’s Sun Bear Concerts (text)
  • Martin Clayton, Laura Leante, Mark Doffman and Byron Dueck
    Experience and meaning in music performance (slides 1; slides 2)

Session 2B: Bartók and Ligeti

  • Kornelia Perchy
    Bartók and the cabaret singer
  • Yusuke Nakahara
    How many times should I play it? The problem of rep. ad libitum in Béla Bartók’s Mikrokosmos No. 103, ‘Minor and Major’ (text; sound)
  • Bianca Temeş
    Performance into composition: Ligeti’s appropriation of Romanian folk music

Session 2C: Opera

  • Margaret Medlyn
    ‘Singing is being: a ripple in the god’. Opera singers’ creative embodiment in Verdi
  • Ferenc János Szabó
    Performance style of the operetta embodied in operatic performance practice: an analysis of Elza Szamosi’s 1908 recording of ‘Mi chiamano Mimi‘ (text; sound 1; sound 2; sound 3; sound 4; sound 5)
  • Andrew Blake
    Wagner reloaded