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