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Abstracts

Keynote Lectures

Laudan Nooshin, The Elephant and the Blind Men: Myth-Making, Musical Tracking and the Creative Process

Gianmario Borio, The ‘Serial Generation’: Compositional Processand Theoretical Discourse

 

Session 1A: Writing and reporting the creative process

Anna Stoll Knecht, “In the beginning, there was nothing...”: Genesis and creation myths

Tasos Zembylas, Writing and its Various Contexts in the Creative Process 

Karlin Love, What about the Muse? An investigation of composers’ reported experiences of influences beyond their conscious control 

 

Session 1B: Cognition 

Joseph Browning, Jane W. Davidson, Roles, works and reflexivity: reproducing and reconfiguring creativity in Western art music 

Ivan Jimenez, Tuire Kuusi, Associative Listening as a Creative Act in Composition, Improvisation, and Analysis 

Ulla Pohjannoro, Antti M. Rousi, Music information entities in composer’s thinking. Composing as information processing 

 

Session 1C: Ethnomusicology and Studio Production in the Digital Era 

Leila Adu-Gilmore, Studio Improv as Compositional Process Through Case Studies of Music Production in Accra 

Emmanuelle Olivier, Musical creation and recording studio in ethnomusicology. A reflection from Bamako (Mali) 

Amandine Pras, Incorporating improvisation processes into the art of studio production 

 

Session 2A: Stravinsky 

Maureen A. Carr, The many voices of Stravinsky’s Babel (1944) 

Mai Ikehara, Compositional process in Stravinsky’s Requiem Canticles: a shift in his attention from parts into a whole

 

Session 2B: Parametric Approaches 

Nathalie Hérold, Timbre Analysis in the Mirror of Compositional Process: A Case Study of Chopin’s Berceuse Op. 

Stijn Vervliet, Tracking the performer’s creative space: Tempo, rubato and expressive timing in Recordings of Alexander Scriabin’s Early Piano Preludes 

 

Session 2C: Songwriting 

Chris Whiting, Observing and Theorising the Songwriting Praxis through Autoethnography 

Jake Arthur, “Always Keep a Diamond in Your Mind”: Musical Genesis, Lyric Distillation, and Inebriated Travelogues in Tom Waits 

 

Session 3A: Early Music 

Charulatha Mani, Across four centuries and a cultural divide – Engaging in co-creativity with Monteverdi 

Hugo Sanches, Exploring the evidence of the compositional process in 17th century Portuguese vernacular repertoire – the case study of a romance in Musical Manuscripts 229 and 235 of the Coimbra University General Library 

 

Session 3B: 20th Century 

Shigeru Fujita, After the dodecaphonism: Dutilleux’s free writing inTout un monde lointain and Timbres, Espace, Mouvement 

Pablo Fessel, Rsch: Escenas - Eusebius. A collage by Gerardo Gandini

 

Session 3C: Technological Setups 

Úna Monaghan, Prioritising performance: Technology, tradition and a performer-composer 

Si Waite, The Use of Metaphor in Interactive Systems for Singer-Songwriters 

 

Session 4A: Dance 

Stephanie Jordan, Dissolving Boundaries: The Choreographer-Composer Duo Jonathan Burrows and Matteo Fargion 

Stephanie Schroedter, Artistic Research in Interdisciplinary Collaborations: The Challenge of Counterbalanced Dialogues 

Kara Yoo Leaman, From Music to Dance: How George Balanchine Begins Ballets 

Nana Wang, Translator, Architect and Creator: a study of piano response to the Ballet of the Nuns 

 

Session 4B: Performance Practice of Technology 

Julie Mansion-Vaquié, From disc to stage: creative and re-creative stakes in Nosfell

Cyril Délécraz, When technology meets the orchestra to manage dramaturgy: the example of Maria Republica, “opera for seven singers, fifteen musicians and technology” (François Paris, 2016) 

Pascal Decroupet, Jean-François Trubert, Brian Ferneyhough’s Time and Motion Study II. Possibilities and limitations of a gestural realisation in live electronic context – a practical observation 

Andrea Giomi, For a phenomenological approach to interactive musical gesture. Embodied metaphors and multimodal feedbacks in digital mediated creative processes 

 

Session 4C: Jazz 

Marta Casals Balaguer, Creativity and Professionalization on Jazz Musicians 

Pei Ann Yeoh, Self-portraits in Jazz

 

Session 5A: Ethnomusicology 

Jacqueline Zinale Bullindah, Creative processes in generating music for plays in Kenya 

Donnacha M. Toomey, The compositional practice of Irish singer-songwriters. A grounded theory in ethnography 

 

Session 5B: Sketch Studies 

Fabian Czolbe, ‘Scriptural recycling’ as creative act in music writing

Stefanie Steiner-Grage, Creating connections. The sketches for Max Reger’s Sonata for violin and piano op 139 (1915) 

Federica Di Gasbarro, Cross-readings of Schoenberg’s sketches for op. 16 and Varèse’s functional diagrams for Amériques. Figural and formal developments toward a pitch-space based “free atonal” compositional theory 

Mylène Gioffredo, From the sketches to the scene: Exotica für aussereuropäische Musikinstrumente by Mauricio Kagel (1971-72) 

 

Session 6A: Collective Performance 

Philip Thomas, Martin Iddon, Christopher Melen, Emily Payne, ‘... a solo or a part in an ensemble, symphony, or concerto’: documenting performer perspectives on John Cage’s Concert for Piano and Orchestra (1957–58)

Stefano Kalonaris, Silence and sound as notional trust: Bayesian games in networked music performance 

 

Session 6B: Electroacoustic Music 

Sean Williams, Reinterpreting Koenig’s Funktion pieces: historic reconstruction and recontextualisation

Laura Zattra, Origins, dynamics and evolution of collaboration at the Studio di Fonologia della RAI in Milan (1955-1983) 

Michael Clarke, Frédéric Dufeu, Peter Manning, Tracking the creative process of musical works with 3D sound spatialisation: the case of Natasha Barrett’s Hidden Values (2012) 

 

Session 7A: Contemporary Music 

Landon Morrison, Technomorphic Transcriptions in Philippe Leroux’s M (1997), m’M (2003), and AMA (2009) 

Clément Himbert, Creating with Gérard Pesson: a performer’s account

 

Session 7B: Improvisation 

Jean-Charles François, Protocols in collective invention with heterogeneous groups of improvisation 

Clément Canonne, Improvising a modus operandi: an ethnographic study of a collaboration between a composer and an improviser collective 

 

Session 8A: Collaborations 

Laura Dallman, The Collaborative Compositional Processes of Michael Daugherty and Jennifer Higdon 

Andy Battentier, Technical intermediaries in music production 

Baptiste Bacot, A case study of distributed creativity in electronic dance music: High Tone’s versioning strategy for composition 

 

Session 8B: Electronic and Electroacoustic Music 

Filipa Magalhães, The importance of the electronic component in seeking creative processes in music 

Isabel Pires, On the trace of the creative processes inscribed on electroacoustic music 

Andreia Nogueira, On Documentation: Rediscovering the creative process of Libera me 

 

Session 9A: Source Criticism 

Luca Cossettini, Bruno Maderna’s electronic works in motion. The creative process of the different version of Dimensioni II/Invenzione su una voce and of the electronic parts of Hyperion 

Angelo Orcalli, Creative process and writings forms in formalized mixed music. Jour, Contre-jour by Gérard Grisey 

Alessandro Olto, Mixed music and digital sources. The reconstruction of the creative process of Fausto Romitelli’s EnTrance

 

Session 9B: Acousmatic Interpretation 

Pierre Couprie, Technologies and methods to analyse acousmatic interpretations

Nathanaëlle Raboisson, Understanding performance gesture in acousmatic interpretation 

François-Xavier Féron, Guillaume Boutard, Crossed perspectives on automated re-enactments: studying the creative process of acousmatic performances 

 

Session 10A: Examining the creative process of Hans Tutschku’s Zellen-Linien for piano and live electronics (2007) 

Friedemann Sallis, From performance to composition and back again

Martin Ritter, Capturing a musical performance using ambisonic technology

Jeffrey Boyd, The study/interpretation of recorded audio data using computer vision technology

 

Session 10B: Social Interactions 

Amanda Bayley, Developing an intercultural performance practice from creative interactions surrounding notated and oral traditions 

José L. Besada, Distributed creativity in pre-compositional situations: cognitive metaphors, long-term genesis and micro-social dynamics 

Wendy Spitzer, Vulnerability, Trust and the Social Dynamic in Creative Musical Collaboration: An Arts-Based Research Perspective 

 

Session 11: Film / Video 

George Marshall, “Do Not Pass Go...”: Identifying layers of verification and refinement in the composition and production of three short film scores 

Giacomo Albert, Conceptions of sound, silence, material and authorship through experimental music and video art: reconsidering A Tribute to John Cage by Nam June Paik 

 

Session 12: Tracking the Creative Process in Howard Skempton: a tripartite methodological study 

Matthew Head, Origins and archaeologies of Howard Skempton

Pwyll Ap Siôn, Influencing: Howard Skempton as teacher of composition 

Esther Cavett, The interviewer and the interviewed: Howard Skempton’s narratives and compositional strategies 

 

Posters 

Vincent Caers, LS Live: Towards an extended and interdisciplinary contemporary percussion performance

Angelo Pinto, Mahler’s search for lost time: a ‘genetic’ perspective on musical narrative 

 

Evening Events 

John Bryan, Alison Crum, Roy Marks, Varieties of Viols

Linda Jankowska, Pablo Vergara, Linda Jankowska, Violin. Works by Pablo Vergara and Yoshiaki Onishi