27-29 October 2017
Muziekgebouw aan 't IJ
Piet Heinkade 1
1019 BR Amsterdam, The Netherlands

Friday, October 27


Opening by the symposium committee

Theme 1: Instruments of Performance Research

Session 1

'Not for a thousand ducats':
Historical improvisation at the intersection of memory and creativity

Catherine Motuz (speaker), voice and Renaissance trombone, McGill University (Canada)
Josué Mélendez (speaker), cornetto
Maria Morozova, organ

Individual titles

Improvised Counterpoint in the Twenty-First Century:
The Musical Memory Bank as a Cure for Paralysis by Analysis

Catherine Motuz

Cadenze per Finali e Finali Diversi
Josué Mélendez


Session 2
11.30- 13.00

Cor alto & cor basse: To blend or not to blend
Teunis van der Zwart (speaker), cor basse, Conservatorium van Amsterdam (Netherlands)
Kathryn Zevenbergen (speaker), cor alto, University of Regensburg (Germany)
Olga Pashchenko, fortepiano, Conservatorium van Amsterdam (Netherlands)

Individual titles

The Myth of the Ideal Horn Sound
Kathryn Zevenbergen

Favouring the cor basse, a matter of diversity?
Teunis van der Zwart

Lecture-recital: Cor Alto and Cor Basse; to blend or not to blend
Kathryn Zevenbergen
Teunis van der Zwart
Olga Paschenko


Theme 2: Sources of Performance Knowledge

Session 1

Towards an interdisciplinary sound:
The Italian imitative and interdisciplinary musical ethos of the 16th century

Tímea Nagy (speaker), recorder, Geneva University of Music (Switzerland)
Nuno Atalaia (speaker), recorder, Leiden Universiteit (Netherlands)
Julie Stalder, gamba and lirone, Seconda Pratica (Netherlands)
Sofia Pedro, soprano, Seconda Pratica (Netherlands)
Jonatan Alvarado, tenor and lute, Seconda Pratica (Netherlands)
João Luís Veloso Paixão, baritone and declamation, Seconda Pratica (Netherlands)

Individual titles

L’imitazione meravigliosa: 
Translatability and transposition between the art of painting and music

Tímea Nagy

A voice for the recorder:
Singing, declaiming and speaking as instrumental practice

Nuno Atalaia

Brush, verse and melody: Performing and listening as an interdisciplinary experience
Tímea Nagy
Nuno Atalaia 
Seconda Prat!ca


Session 2

'Emotional pedagogy' in the 21st century:
Linking sources and performance in early music

Skip Sempé (speaker), harpsichord
Saraswathi Shukla (speaker), UC Berkeley (USA)
Lillian Gordis, harpsichord

Individual titles

Beyond Standardization and Packaging:
A Treatise is Not a Grant Application

Skip Sempé

A History of Harpsichord Touch in France:
Performance Practice from the Periphery

Saraswathi Shukla
Lillian Gordis

Transcriptions, Subjectivity, Invention
Lillian Gordis, harpsichord

19.00 - 21.00
Reception offered by the symposium committe

Saturday, October 28

Theme 3: Scholars and Performers Interacting

Session 1

An empirical research on the interaction between analysts and performers:
Analyzing and playing Chopin’s Nocturne op. 27 n. 1

Luca Marconi (speaker), Luisa D’Annunzio Conservatory, Pescara (Italy)
Stefano Malferrari, piano, Giovanni Battista Martini Conservatory, Bologna (Italy)


Session 2

Resonances: Collaborating on Crumb's Nocturnes
Daphne Leong (speaker), piano, University of Colorado Boulder (USA)
Steven Bruns (speaker), University of Colorado in Boulder (USA)
Michiko Theurer (speaker), violin, University of Colorado Boulder (USA)

Individual titles

Cross-disciplinary collaboration: shared items, objectives, and agents
Daphne Leong

Transtextuality in George Crumb’s Scores and Sketches
Steven Bruns

Resonant Openings: George Crumb's Four Nocturnes and the poetry of Federico García LorcaMichiko Theurer


Theme 4: Institutional Cultures and Collaborations

Session 1

Learning from an absent teacher
Job ter Haar (speaker), cello, Codarts University of the Arts (Rotterdam, The Netherlands)
Michalis Cholevas (speaker), Yayli Tanbur, Ney, Tarhu, Codarts University of the Arts; University of Macedonia (Greece)
Juliano Abramovay, fretless guitar, Codarts University of the Arts

Individual titles

Alfredo Piatti – learning from a dead teacher
Job ter Haar

Locally rhythmical and metric organization of music phrases in free rhythm Taksim ImprovisationsMichalis Cholevas

Analytical procedures regarding improvisational forms on Makam music
Juliano Abramovay


Session 2

Preparing music students for a public recital: Applying principles of practice from sport sciences and other disciplines
Frank Bakker (speaker), Conservatorium van Amsterdam; Vrije Universiteit Amsterdam (The Netherlands)
Raôul Oudejans (speaker), Hogeschool van Amsterdam; Vrije Universiteit Amsterdam (The Netherlands)
Valle González Martin, oboe, Conservatorium van Amsterdam

Individual titles

Anxiety, stress and focus of attention
Raôul Oudejans

Practicing music with an external focus of attention – demonstration of playing music with different foci of attention. Assessments by the audience.
Frank Bakker and Valle Gonzalez Martin

Symposium dinner (Muziekgebouw aan 't IJ, Restaurant Zouthaven)

Sunday, October 29

Theme 5: Power, Prestige, and Embodied Knowledge


Knowing the world through music in southern Africa
Barbara Titus (speaker), Universiteit van Amsterdam (The Netherlands)
Shishani Vranckx (speaker), vocalist/songwriter, Namibian Tales (The Netherlands)
Bart Fermie (speaker), percussion, Conservatorium van Amsterdam; Codarts University of the Arts

Individual titles

Folded modes of musical knowing: 
Performing research in post-apartheid South Africa

Barbara Titus

The Namibian Tales Project
Shishani Vranckx

Bart Fermie in feedback and play with Shishani Vranckx – 
Embodied musical knowledge transmission

Bart Fermie


Session 2

Keynote Address: The New Discipline & SELF-CARE
Jennifer Walshe, composer/vocalist
Andreas Borregaard, accordeon