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 - Rogério 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