Friday 18 July 2014
Session 3A: Listener perspectives
- Daphne Leong and Robert Morris
Framing new music: the effect of preparatory conditions on audience response to Morris’ Clear Sounds (2013) (text; handout; slides; performance video) - Miguel Angel Marin
Challenging the listener: the music programmer as curator (slides; video 1; video 2; video 3; video 4; video 5)
Session 3B: Perspectives on musical creativity (Part 1)
- Juniper Hill
Economic motivators and inhibitors of musical creativity (text) - Anthony Gritten
Underneath creative performance
Session 3C: Composer/performer collaborations (CMPCP session)
- Andrew Robson
Beyond Brigg Fair: music making with Grainger’s ghosts (text; slides) - David Gorton and Peter Sheppard Skærved
The Exchange Project: distributed creativity as artistic strategy - Eric Clarke and Mark Doffman
New work, old instruments: At His Majesty’s Pleasure – Martyn Harry and His Majesty’s Sagbutts and Cornetts (slides) - Tom Armstrong and Jane Chapman
Inside the box: performing, composing and devising in music theatre
Session 3D: Ensemble performance
- Edward Klorman
Multiple agency and the performance of Classical-era chamber music - Caroline Waddington
Creativity in ensemble performance: a case of intense co-performer empathy (text) - Amanda Bayley
Analysis of cross-cultural collaborations with the Kronos Quartet - Stephen Marotto
Interpreting the extra-musical: temperature and gender markings in Jonathan Harvey’s second string quartet
Session 4A: Perspectives on musical creativity (Part 2)
- Sarah Day-O’Connell
Creative fidelity: insights on musical performance via translation theory - Catarina Leite Domenici and Alan Taylor
Beyond the work-concept: a case study of shared authorship in music (text) - Simone Heilgendorff and Luis Velasco-Pufleau
New Music Festivals as laboratory of musical creativity: a comparative perspective on Warsaw Autumn, Festival d’Automne in Paris, and Wien Modern (slides) - Zheng Yuan
Creativity in piano performance and pedagogy: perspectives from Chinese pianists and teachers
Session 4B: The recital
- Michael Halliwell
Re-imagining the song recital - Francesca Placanica and Douglas Gould
Arranging and performing Recital I (for Cathy): a practice-led approach to twentieth-century monodrama - Stephen Emmerson
To bE: a contemplation
Session 4C: Historical performance
- Ana Lombardía
Re-creating lost music: José Herrando’s Tocattas in performance - Andrew Lawrence-King
A seicento sense of humour: wine, women and song in La Morte d’Orfeo - Alan Maddox
Performing the operatic storm topos in eighteenth-century Italian sacred music
Session 4D: Research reports