Programme
27-29 October 2017
Muziekgebouw aan 't IJ
Piet Heinkade 1
1019 BR Amsterdam, The Netherlands
Friday, October 27
9.00-9.30
Registration
9.30-10.00
Opening by the symposium committee
Theme 1: Instruments of Performance Research
Session 1
10.00-11.00
'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
11.00-11.30
Break
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
13.00-14.30
Lunch
Theme 2: Sources of Performance Knowledge
Session 1
14.30-16.00
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
16.00-16.30
Break
Session 2
16.30-18.30
'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
10.00-11.00
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)
11.00-11.30
Break
Session 2
11.30-13.00
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
13.00-14.30
Lunch
Theme 4: Institutional Cultures and Collaborations
Session 1
14.30-16.00
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 Improvisations Michalis Cholevas
Analytical procedures regarding improvisational forms on Makam music
Juliano Abramovay
16.00-16.30
Break
Session 2
16.30-18.00
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
18.00-21.00
Symposium dinner (Muziekgebouw aan 't IJ, Restaurant Zouthaven)
Sunday, October 29
Theme 5: Power, Prestige, and Embodied Knowledge
Session
10.00-11.30
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
11.30-12.00
Break
Session 2
12.00-13.30
Keynote Address: The New Discipline & SELF-CARE
Jennifer Walshe, composer/vocalist
Andreas Borregaard, accordeon