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Presentations

Daniel Leech-Wilkinson

  • Sight and Sound’, King’s College London (May 2015) [round table]
  • Music and infantilisation’, Conference on ‘Music and consciousness’, Oxford (April 2015)
  • Music and infantilisation’, Reflective Conservatoire Conference, Guildhall School of Music and Drama (March 2015)
  • Classical music as enforced utopia’, Humboldt University, Berlin (January 2015)
  • Classical music as enforced utopia’, Orpheus Institute, Ghent (November 2014)
  • Classical music as enforced utopia’, University College Cork (November 2014)
  • Classical music as enforced utopia’, Arts & Humanities Festival, King’s College London (October 2014)
  • Classical music: utopia or police state?’, Conference on ‘Performing under pressure’, Munich (May 2014)
  • The dreadful implications of early recordings’, University of Edinburgh (April 2014)
  • The dreadful implications of early recordings’, Orpheus Institute, Ghent (March 2014)
  • The dreadful implications of early recordings’, University of Stavanger (March 2014)
  • The dreadful implications of early recordings’, Royal College of Music, London (March 2014)
  • The dreadful implications of early recordings’, Guildhall School of Music and Drama (February 2014)
  • The dreadful implications of early recordings’, University of Oxford (November 2013)
  • Objections to objects’, CRASSH seminar, University of Cambridge (November 2013)
  • Radical performance’, lecture-recital, University of Surrey (October 2013) [with Mine Dogantan-Dack]
  • Ontology and aesthetics of musical performance: towards a paradigm shift or radical practice’, Conference on ‘Music & Philosophy’ King’s College London (July 2013)
  • How creative can a musical practice be?’, Institute of Musical Research, London (April 2013) [with Mine Dogantan-Dack and Giana Gilchrist]
  • Reperformance’, Seminar on ‘Reperformance’, CRASSH, University of Cambridge (April 2013)
  • Two responses to early recordings’, Tallinn, Estonian Academy of Music and Theatre (March 2013)
  • RIP (&) the composer’, Canterbury Christ Church University (November 2012)
  • Towards a radical performance’, Liszt Academy, Budapest (November 2012)
  • Cortot’s music box’, the 30th Anniversary meeting of the Society for Music Analysis ‘A Celebration of Analysis’ King’s College London (September 2012)[invited paper]
  • A question of Cortot’s Berceuse’, 9th International Symposium on Computer Music Modeling and Retrieval (CMMR): Music and Emotions, Queen Mary University of London (June 2012)
  • RIP (&) the composer’, Stanford University (April 2012) Creativity in music’, The British Academy (March 2012)
  • Improvising faithfulness’, Guildhall School of Music & Drama (March 2012)
  • Synaesthetic traces: digital acquisition of musical shapes’, Conference on ‘Supporting digital humanities: answering the unaskable’, Copenhagen (November 2011) [Mats Küssner, Nicolas Gold, Dan Tidhar, Helen Prior and Daniel Leech-Wilkinson.]
  • Alfred Cortot and the shaping of performance’, University of Sheffield (February 2011)
  • Musicology and recorded performance: CHARM and beyond’, Annual conference of the Austrian Musicological Society, ‘Soundrecording. Musikalische Interpretationen im Vergleich’, Salzburg (October 2010) [keynote]

Eric Clarke

  • Sytematically studying the unsystematic: creativity and empathy’, SysMus2015, Leipzig (September 2015) [keynote]
  • Distributed creativity in contemporary concert music’, Guildhall School of Music & Drama (November 2014)
  • Private view: researchers as audience’, Conference on ‘Composers, performers, and their audiences’, Guildhall School of Music & Drama (March 2014)
  • Collaborative creativity in contemporary concert music’, University of Jyväskylä (January 2014)
  • Introduction’, Invited talk for Researching Music as Process, RMA Study Day, University of Oxford (November 2013)
  • Distributed creativity in musical performance’, Performa Conference, Porto Alegre, Brazil (May 2013) [keynote]
  • Performance – interpretation or identification?’ Humanitas Symposium, Oxford (May 2013)
  • Distributed creativity in musical performance’ Distinguished Lecture in the Science and Technology of Music, McGill University (April 2013)
  • Distributed creativity in contemporary concert music’, Bath Spa University (January 2013)
  • Distributed creativity in contemporary concert music’, University of Huddersfield (January 2013)
  • Distributed creativity in musical performance’, Keble Creativity lecture series, Keble College, Oxford (April 2012)
  • Distributed creativity in Liza Lim’s Tongue of the Invisible’, 3rd Reflective Conservatoire Conference, Guildhall School of Music and Drama, London (March 2012)
  • Distributed creativity in musical performance’, Symposium for Performance of Electronic and Experimental Music, Oxford (January 2012) [keynote]
  • New work, old instruments: At His Majesty’s Pleasure – a collaboration between Martyn Harry and His Majesty’s Sagbutts and Cornetts’, Performance Studies Network Third International Conference, Cambridge (July 2014) [with Mark Doffman]
  • Ouija: improvisation, collaboration and history’, Tracking the Creative Process in Music Conference, McGill and University of Montreal (October 2013) [with Mark Doffman]
  • Creativity, collaboration and development in Jeremy Thurlow’s Ouija’, Performance Studies Network Second International Conference, Cambridge (April 2013) [with Mark Doffman]
  • Investigating distributed creativity’, SEMPRE 40th anniversary conference, London (September 2012) [with Mark Doffman]
  • Distributed creativity in Tongue of the Invisible’, ICMPC, Thessaloniki (July 2012) [with Mark Doffman]

Helen Prior

  • Synaesthetic traces: digital acquisition of musical shapes’, Conference on ‘Supporting digital humanities: answering the unaskable’, Copenhagen (November 2011) [Mats Küssner, Nicolas Gold, Dan Tidhar, Helen Prior and Daniel Leech-Wilkinson.]

John Rink

  • Analyzing Chopin: the shape of performance’, Chopin Festival, Edward Aldwell Center, Jerusalem (January 2010) [invited lecture]
  • Analyzing motive in performance’, C4DM Theme Meeting: Performance and Expression, Queen Mary London (July 2013) [invited lecture]
  • Brahms in performance’, Brahms Study Day 3: Brahms in Perspective, Kings Place, London (June 2012) [invited lecture]
  • ‘Changing the musical object: towards a musicology of recordings’, with Nicolas Cook, Eric Clarke and Daniel Leech-Wilkinson, Joint IAML Conference and IMS Symposium Music: Notation and Sound, Amsterdam (July 2009)
  • Chopin in performance’, Chopin Cometh Festival, Seoul National University, Seoul (October 2010) [invited lecture]
  • Introduction to Research on Individual and Group Creativity’, Research Seminar, Universidade de São Paulo, São Paulo, Brazil (February 2014) [invited lecture]
  • Musical performance as creative practice’, Research Seminar series, Canterbury Christ Church University (December 2014) [invited lecture]
  • Musical performance as creative practice’, La recherche-création en musique: Objets, savoirs, discipline’, Université de Montréal (October 2011)
  • New perspectives on musical performance’, Shanghai Conservatory of Music (March 2013)
  • Performance studies and musicology’, Performing Music: A Comparative Approach, Fondazione Giorgio Cini, Venice (June 2014) [invited lecture]
  • Performance studies as creative practice’, Research Seminar Series, Hull University Department of Music (February 2013)
  • Roundtable contribution’, ‘Tracking the creative process in music’, Lille (September 2011)
  • Towards a musicology of performance’, Study Day on ‘La musicologie de l’interprétation’, Université de Montréal (May 2013)
  • Towards synthesis: performance analysis as creative practice’, XXII Congreso de APPNOM, João Pessoa, Brazil (August 2012) [keynote paper]
  • Musical creativity and/as performance’, International Exchanges on Music Theory and Performance, Paris (December 2010)
  • Stepping out of the shadows: practitioners becoming researchers’, organised by SEMPRE, Trinity-Laban and Guildhall; Guildhall School of Music & Drama (April 2011) [roundtable contribution]
  • The (f)utility of performance analysis’, ICMPC-ESCOM12, Thessaloniki, Greece (July 2012) [keynote paper]
  • The practice of performance studies’, Royal Musical Association Postgraduate Study Day on ‘Performing musicology’, City University London (June 2011) [keynote paper]
  • Towards synthesis: performance analysis as creative practice’, ANPPOM 22 (Associação Nacional de Pesquisa e Pós-Graduação em Música), João Pessoa, Brazil (August 2012) [keynote paper]
  • What difference does research really make?’, Postgraduate Study Day, Royal Northern College of Music (November 2011)

Karen Wise

  • Creative performers – creative performances: constructs and processes’, Research Seminar Series, Hull University Department of Music (October 2012), Colloquium Series, University of Cambridge Faculty of Music (November 2012), Birmingham Conservatoire Research Seminar Series (January 2013)
  • Learning to be a creative performer: developing mixed methods to understand teachers’ and students’ approaches and constructs’, International Symposium on Performance Science, Toronto, Canada (August 2011)
  • Researching and reflecting on creative processes in instrumental teaching and learning’, Symposium on Creative Learning at the MusicLearninglive! Conference, Institute of Education, London (March 2012)

Mats Küssner

  • Synaesthetic traces: digital acquisition of musical shapes’, Conference on ‘Supporting digital humanities: answering the unaskable’, Copenhagen (November 2011) [Mats Küssner, Nicolas Gold, Dan Tidhar, Helen Prior and Daniel Leech-Wilkinson.]

Mark Doffman

  • New work, old instruments: At His Majesty’s Pleasure – a collaboration between Martyn Harry and His Majesty’s Sagbutts and Cornetts’, Performance Studies Network Third International Conference, Cambridge (July 2014) [with Eric Clarke]
  • Ouija: improvisation, collaboration and history’, Tracking the Creative Process in Music Conference, McGill and University of Montreal (October 2013) [with Eric Clarke]
  • Creativity, collaboration and development in Jeremy Thurlow’s Ouija’, Performance Studies Network Second International Conference, Cambridge (April 2013) [with Eric Clarke]
  • Investigating distributed creativity’, SEMPRE 40th anniversary conference, London (September 2012) [with Eric Clarke]
  • Distributed creativity in Tongue of the Invisible’, ICMPC, Thessaloniki (July 2012) [with Eric Clarke]
  • Being in the zone and music’, BITZ Workshop, Open University London Centre (February 2014)
  • What are the challenges in researching processes? Investigating musicians at work’, RMA Study Day, Oxford (November 2013)
  • Being in the zone in music performance’, One-day workshop at University of Exeter (October 2013) [co-organiser]
  • Ouija: collaboration, improvisation and history’, City University, London (May 2013)
  • Contest and collectivity in improvisation’ panel, RMA Music and Philosophy 2nd Annual Conference, King’s College London (July 2012) [invited respondent]
  • Connecting notes and contexts’, ‘Music, methods and the social conference’, Centre for Research on Socio-Cultural Change and The Open University, Leicester (May 2012)
  • Creative ownership in Tongue of the Invisible’, BFE, Durham University (March 2012)
  • musikFabrik: rehearsal process and administrative structures’, CMPCP project workshop, London (September 2011)
  • Contemporary music in action: performer-composer collaboration in the conservatoire environment’, Performance Studies Network Third International Conference, Cambridge (July 2014) [with Jean-Philippe Calvin]
  • Collaboration?’, Grove Research Seminar, Royal College of Music, London (May 2014) [with Jean-Philippe Calvin]

Mirjam James

  • Creative performers – creative performances: constructs and processes’, Conference of the German Society of Music Psychology, Bremen, Germany (September 2012)
  • Kreative Performer – kreative performance: konstrukte und prozesse’, Hochschule für Musik und Theater, Munich, Germany (May 2013)
  • Learning to be a creative performer: an investigation of one-to-one lessons’, Colloquium Series, MARCS Auditory Laboratories, University of Western Sydney, Sydney, Australia (March 2012)

Tina K. Ramnarine

  • Orchestras crossing borders’, British Forum for Ethnomusicology and Société Française d’Ethnomusicologie joint conference, Paris, Museé du Quai Branly (July 2015) [panel convenor]
  • Comparative reflections on orchestras in two decolonising contexts’, British Forum for Ethnomusicology and Société Française d’Ethnomusicologie joint conference, Paris, Museé du Quai Branly (July 2015)
  • ‘Ethnographic reflections on musical performance, European integration and interculturalism’, Seminar on ‘Borders, mobilities and cultural encounters’, University of Eastern Finland (December 2014) [keynote]
  • Orchestras and “new histories” in the cultures of decolonisation’, Balzan programme workshop on ‘Towards a global history of music’, University of Vienna (October 2014)
  • Orchestras, comparison and the politics of decolonisation’, Seminar on ‘Cross-cultural and comparative studies research theme’, University of Otago (April 2014)
  • Storytelling as a trope in researching orchestras’, Music Research Symposium, Goldsmiths, University of London (June 2014) [keynote]
  • Public forum on ‘Documenting and mapping intercultural arts practices: disrupting and challenging intercultural arts research’, Commonwealth Intercultural Arts Network, Faculty of Education, University of Cambridge (September 2013) [speaker]
  • Ethnographic memory and reflexivity: a case-study on the youth orchestra’, ‘Current trends in ethnomusicological research, fifth international doctoral workshop’, Center for World Music at the University of Hildesheim & Hanover University of Music, Drama and Media (June 2013) [keynote]
  • Revisiting comparative research: examples from “The orchestra in global perspective” project’, Music Research Symposium, Goldsmiths, University of London (March 2013) [keynote]
  • Creativity and politics in orchestras’, Performance Studies Network Second International Conference, University of Cambridge (April 2013) [chair and panel convenor, invited panel speakers – Steve Cottrell, Fiona Palmer, Shirley Thompson]
  • Orchestras, decolonisation and the politics of musical memory’, Institute of Musical Research, School of Advanced Study, University of London (February 2013) [public lecture]
  • Postcolonial orchestrations and the politics of memory’, Musicological Society of Australia Conference 2012 on ‘The politics of music’, Canberra (December 2012) [keynote]
  • Ethnographic and interdisciplinary approaches to music and the social: a case-study on timbre and Trinidadian steel orchestras’, Seminar on ‘Music, methods and the social’, Open University, Leicester (May 2012)
  • Global futures: musical circulations, identity politics and cultural capacity’, Institute for Cultural Diplomacy Conference on ‘A three-piece puzzle: the relationship between culture, international relations and globalisation over the next two decades’, London (August 2011) [keynote]
  • Connecting musical traditions in the Baltic Sea Region’, ‘Baltic musics and musicologies’ conference, Canterbury Christ Church University with Sounds New Music Festival 2011 ‘Baltic+’ and the Institute of Musical Research, Canterbury (May 2011) [keynote]
  • Interacting orchestras: on new communities, social relevance and digitial technologies’, Conference on ‘The symphony orchestra as cultural phenomenon’, University of Leeds in association with the Institute of Musical Research, University of London (July 2010) [keynote]
  • Symphony orchestras in the twenty-first century: betweeen social relevance and digital technologies’, ICTM Hanoi (July 2010)
  • Applied ethnormusicology, cultural heritage, social relevance’, ICTM Hanoi (July 2010) [panel convenor]
  • Musical performance as creative practice’, Alumni Festival, University of Cambridge (September 2014) [invited lecture]