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Thursday 4 April 2013

Session 1A: Vocal practices

  • Andrew Lawrence-King
    Opera at the cutting edge: Tasso’s text, Monteverdi’s music, Agrippa’s action (text; slides)
  • John Sloboda
    How does it strike you? Obtaining artist-directed feedback from the audience at a site-specific performance of a Monteverdi opera (text; slides)
  • Kathryn Whitney
    Singing in duet with the listener’s voice: a dynamic model of the joint shaping of musical content in live concert performance
  • Johanna Devaney
    A study of intonation tendencies of solo versus ensemble singing (slides)

Session 1B: Creativity and politics in orchestras (CMPCP session)

  • Tina K. Ramnarine, Fiona M. Palmer, Shirley Thompson and Stephen Cottrell
    Reflexive perspectives on the symphony orchestra: issues around diversity and unity
  • Cayenna Ponchione
    Creativity and performance in large ensembles
  • Bianca Temes
    Internet symphony no. 1: rethinking the orchestra as a virtual community

Session IC: Improvisation and collaboration

  • Liza Lim
    A mycelial model for understanding distributed creativity: collaborative partnership in the making of ‘Axis Mundi’ (2013) for solo bassoon (text)
  • Steve Tromans
    Composing notated parts for improvisers, and the affective dimension of music-making in performance
  • RogĂ©rio Luiz Moraes Costa
    Free improvisation and the expansion of contemporary performers’ listening and playing techniques (slides)
  • Wendy Hargreaves
    Jazz vocal improvisation: the effect of role conflict

Session 2A: Creative resistance

  • Michael Byrne
    Creativity and re-creativity within dance: reconstructing Helpmann’s Miracle in the Gorbals
  • Sarah Callis, Neil Heyde and Olivia Sham
    Creative resistance: towards a performative understanding of ‘distributed creativity’

Session 2B: History and/of performance

  • Claire Holden
    The effect of period parameters on artistic decision-making
  • Andre Redwood
    Mersenne and the art of delivery: rhetoric as performance in the Harmonie universelle
  • David Chung
    Interpretation of BWV 903: a case study in creativity and composer–performer collaboration

Session 2C: Performance, production, race (CMPCP session)

  • Steven Rings
    Schema and variant in Bob Dylan’s vocal practice
  • Myles Eastwood
    The art of listening: tracing the creative processes of George Martin, Joe Meek and Shel Talmy in 1960s records
  • Ross Cole
    Race, representation, and railroads: the blues and gospel train at ‘Chorltonville’ station, 1964
  • Nicholas Cook
    The signifying body: Hendrix, 31 August 1970, 2 am