Performance Studies Network

Third International Conference

Faculty of Music
University of Cambridge
17 to 20 July 2014

Provisional programme
as of January 2014
THURSDAY AFTERNOON 17 JULY

From Webern to Fineberg (CMPCP session, chaired by Nicholas Cook)

Concert Hall

Nicholas Cook Shadows of meaning: Webern's Piano Variations on record

Strict serialism or structured improvisation? The performance practice
Sean Williams inherent in the technical realisation of Stockhausen's Studie II and Gesang der
Jünglinge
Michael Hooper Confusion in the service of discovery
David Kopp Reimagining the familiar: on learning Fineberg's Veils

Music in sound
Recital Room

Caroline Traube Documenting the work and skills of performers as creators of sound
Julie Fuchs The virtuoso violist's sound creation: modalities and strategies
Imagined sound in performances of nineteenth-century piano music: an
Hamish Robb
embodied approach
Victoria Theorising sound quality in piano performance: the music of Morton Feldman,
Tzotzkova the teaching of Heinrich Neuhaus, and real-time experience of piano sound

Performing notation
Lecture Room 2

Charise Hastings Score-learning as creative problem-solving: a basis for diverse performances

Emily Payne Creativity within constraint? Perspectives on notated performance
Imaginary bars: from the score to the performance, issues on meaning
Sara Carvalho
construction
Jennifer
MacRitchie and Filling the creative gap between contemporary composer and performer
Massimo Zicari
THURSDAY EVENING 17 JULY

Bartók and Ligeti

Concert Hall

Kornelia Perchy Bartók and the cabaret singer

How many times should I play it? The problem of rep. ad libitum in Béla
Yusuke Nakahara
Bartók's Mikrokosmos No. 103, 'Minor and Major'
Bianca Temes Performance into composition: Ligeti's appropriation of Romanian folk music

Experience and meaning in performance

Recital Room

Charles D. Living in the present: experiencing temporal elasticity in Keith Jarrett's Sun
Morrison Bear Concerts

Special session
Martin Clayton
Experience and meaning in music performance

Opera
Lecture Room 2
Singing is being: a ripple in the god'. Opera singers' creative embodiment in
Margaret Medlyn
Verdi
Ferenc Janos Performance style of the operetta embodied in operatic performance practice.
Szabo An analysis of Elza Szamosi's 1908 recording of 'Mi chiamano Mimi'
Andrew Blake Wagner reloaded
FRIDAY MORNING 18 JULY

Composer/performer collaborations (CMPCP session, chaired by Eric

Clarke)
Concert Hall

Andrew Robson Beyond Brigg Fair: music making with Grainger's Ghosts
David Gorton
and Peter
The Exchange Project: distributed creativity as artistic strategy
Sheppard
Skaerved
Eric Clarke and At His Majesty's Pleasure? Martyn Harry and His Majesty's Sagbutts and
Mark Doffman Cornetts
Tom Armstrong
and Jane Inside the box: performing, composing and devising in music theatre
Chapman

Listener perspectives
Recital Room

Daphne Leong
Framing new music: the effect of preparatory conditions on audience response
and Robert
to Morris' Clear Sounds (2013)
Morris
Miguel-Angel
Challenging the listener: the music programmer as curator
Marin

followed by

Perspectives on musical creativity (Part 1)

Recital Room

Juniper Hill Economic motivators and inhibitors of musical creativity

Anthony Gritten Underneath creative performance

Ensemble performance
Lecture Room 2

Edward Klorman Multiple agency and the performance of classical chamber music
Caroline
Creativity in ensemble performance: a case of intense co-performer empathy
Waddington
Amanda Bayley Analysis of cross-cultural collaborations with the Kronos Quartet
Stephen Marotto Temperature and gender markings in Jonathan Harvey's Second String Quartet
FRIDAY AFTERNOON 18 JULY

The recital
Concert Hall

Michael Halliwell Re-imagining the song recital

Francesca Arranging and performing Recital I (for Cathy): a practice-led approach to
Placanica twentieth-century monodrama based on primary sources

Stephen Special session

Emmerson To bE: a contemplation

Perspectives on musical creativity (Part 2)

Recital Room

Sarah Day-
Creative fidelity: insights on musical performance via translation theory
O'Connell
Catarina Leite
Domenici and Beyond the work-concept: a case study of shared creative processes in music
Alan Taylor
Simone New Music Festivals as laboratory of musical creativity: a comparative
Heilgendorff perspective on Warsaw Autumn, Festival d'Automne in Paris, and Wien Modern
Zheng Yuan Creativity in piano performance and pedagogy: a Chinese perspective

Historical performance
Lecture Room 2

Ana Lombardia Re-creating lost music: José Herrando's Tocatas in performance

Andrew
A seicento sense of humour: wine, women and song in La morte d'Orfeo
Lawrence-King
Performing the operatic storm topos in eighteenth-century Italian sacred
Alan Maddox
music

followed by

Research reports
Lecture Room 2

Marcos Vinicius Entering in flow state during practice through self-regulated behaviour: an
Araujo exploratory study
The big data of shaping music: an online platform for musical performance
Yang, Jian
studies
Argibel Euba
Ttakun: approaching txalaparta performance
Ugarte
FRIDAY EVENING 18 JULY

Drinks Reception

Combination Room
St John’s College

Conference Dinner

Hall
St John’s College

followed by a Musical Coda

SATURDAY MORNING 19 JULY

Embodiment
Concert Hall

Stefan Östersjö
Go to Hell: merging choreography and composition through musical
and Nguyen
performance
Thanh Thuy

Mine Doğantan-
The body in artistic pianism: what is it like?
Dack

Pedro dos Santos

Playing the viola today: materiality, affordances, embodiment and cognition
Boia
Mary Hunter Death, life and the performance of Classical music

Improvisation (Part 1)
Recital Room

Murphy McCaleb Inter-reaction as creative process in improvisation

What could be universal about musical improvisation? Situating the cognitive
Andrew Goldman
approach
Improvisation contra composition: redefining the terms of music made in
Steve Tromans
performance
Resistance in the rehearsal of improvised music: the case of the Instant
Floris Schuiling
Composers Pool

Creative learning and teaching (Part 1) (CMPCP session, chaired by John

Rink)
Recital Room

Jeffrey Swinkin Teaching by example: toward a theory of performance pedagogy

Simon Zagorski-
Thomas and Amy Performance in the studio: an educational workshop
Blier-Carruthers
Mark Doffman
Contemporary music in action: performer–composer collaboration in the
and Jean-Philippe
conservatoire environment
Calvin
Daniel Barolsky Structuring silence: music history pedagogy and the absence of performance
SATURDAY AFTERNOON 19 JULY

Practice and performance

Concert Hall

Elaine Chew Multiple sense making: when practice becomes performance

How students' performances take shape over time: the development of
Jane Ginsborg
performance cues
Special session
Darla Crispin Multiple reflections: a collaborative model for using reflective musical practice
as a means of transcending conformity in musical performance

Improvisation (Part 2)
Recital Room

Cesar Marino
Villavicencio The rhetorical side of free improvisation
Grossmann
Stéphan Schaub
The vocabulary of time in free and in non-idiomatic improvisation: a
and Rogério
systematic approach
Costa

followed by

Shaping music (CMPCP session, chaired by Daniel Leech-Wilkinson)

Recital Room

Alink Greasley
Shaping popular music
and Helen Prior
Helen Prior Multi-modal understandings of musical shape

Creative learning and teaching 2 (Part 2)

Lecture Room 2

Negotiating artistic desired outcomes in music performance: preliminary

Gilvano Dalagna
results
Strategies and creative processes involved in the work underlying a musical
Isabelle Heroux
interpretation by expert musicians

followed by

French music
Lecture Room 2

James Parakilas Performing incongruity of genre: the Debussy Etudes

Being faithful to the collaborative past: Marguerite Long (1874–1966) and her
Natsuko Jimbo
'traditions' of three French composers
SATURDAY EVENING 19 JULY

Keynote Session

The Academy of Ancient Music

in rehearsal and in concert

Led by Pavlo Beznosiuk

Recital Room
SUNDAY MORNING 20 JULY

Parallel sessions

Music and the virtual

Robinson Chapel

The musical performativity of a cursor: embodied creativity in

9.00-9.45 Vincent Meelberg
performing with music software
9.45-10.30 Freya de Mink Prodigies within the virtual world of YouTube
10.30- Exploring and expanding improvisatory knowledge in musical
Karin Johansson
11.15 practice

Orchestral performance (CMPCP session, chaired by Tina K. Ramnarine)

Robinson College Auditorium

Object-directed gesture as epistemic stance: a case study of

9.00-9.45 Katharine Parton orchestra–conductor interaction with the printed musical score
during rehearsal
Mekala Creative practices and narrative significance: keyboard
9.45-10.30
Padmanabhan instruments in Tamil film orchestras
10.30- Whatever works: musical communication in the context of
Eldad Tsabary
11.15 interdisciplinary, networked laptop orchestra

Performance analysis
Robinson College Umney Theatre

9.00-9.45 Elad Liebman A phylogenetic approach to music performance analysis

Extreme interpretation: observations on emergent forms in
9.45-10.30 Lasse Thoresen Rachmaninoff's version of Chopin's Ballade in A-flat major, Op.
47
Sylvain Caron,
10.30- Caroline Traube Comparative analysis of expressive timing variations in eleven
11.15 and Sebastien performances of a Scarlatti sonata
Bel

11.15-11.45 Break

Plenary sessions
Robinson Chapel

Andrew
11.45- A new work for pipe organ and live electronics: creating a new
Blackburn and
12.30 instrument and performance space
Jeremy Thurlow

12.30-
CONFERENCE WRAP-UP, led by John Rink
13.00