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