groups construct a platform for reflection on learning, creative processes, and democratic participation, and, in this way, help to recast established understandings of collective musical improvisation, and its meanings and potential for music-making and music education. Eeva Siljamäki (MMus) is a doctoral candidate and research assistant at the University of the Arts Helsinki, Finland. She is also an active member of the university’s Academic Council and Ethical Board. Her research interests are in the field of musical improvisation, improvisation pedagogy and choral participation. She has recently collaborated in a cross disciplinary project with the Finnish Student Health Service to create a new choral environment applying improvisation for students suffering from social anxiety. Siljamäki also works in the field of popular music as a freelance singer, choral conductor, and arranger of choral works. Additionally, she has an established career as a musical improviser in the field of theatre and music.
Giuseppe Silvestri (session 3a) Conservatoire of Music Vincenzo Bellini, Palermo presidente@conservatoriobellini.it
Please see Professor Leonella Grasso Caprioli for abstract Giuseppe Silvestri, scientist, Professor emeritus of the University of Palermo, has been active, in the last years, inside the European University Association (EUA). As Rector (1999 – 2008) developed a strong educational interaction of the University with the Palermo’s Conservatoire. As member of the EUA Board (2009 – 2013), was appointed ex officio to the Steering Committee of the Council for Doctoral Education and as component of the Research Policy Working Group. His interests lie in the field of international cooperation among higher education and research institutions and in particular in the area of doctoral education. He is President of the Conservatoire of Palermo.
Francisca Skoogh (sessions 2c & 4e) Malmö Academy of Music francisca.skoogh@mhm.lu.se
Please see Dr Karin Johansson for abstract (session 2c) Communication with the listener: only a matter of mastery? General questions concerning the communication between musicians and audiences form the background to this PhD artistic research project. I am an established concert pianist, a trained psychologist, and teach at an Academy of Music. Considering the lack of systematic, research-based studies of musicians’ communication from inside perspectives, this project is designed as an introspective, longitudinal, case study with a focus on musical creativity, interpretation and knowledge development. The aims are to (i) investigate my artistic practice and communication with different categories of listeners, and (ii) develop working methods for introspective studies, to be used by other pianists and instrumentalists. 207