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