Welcome to the Conference I am delighted to welcome you to the 4th international Reflective Conservatoire Conference: Creativity and Changing Cultures, hosted by the Guildhall School of Music & Drama in partnership with the European Association of Conservatoires (AEC), Arts and Humanities in Higher Education, ASIMUT software, Cause4, the Centre of Excellence in Music Performance Education (CEMPE), the Incorporated Society of Musicians (ISM), the Institute of Musical Research (IMR), the Society for Education, Music & Psychology Research (SEMPRE), The Culture Capital Exchange (TCCE) and Conservatoires UK (CUK). The programme is packed with what promises to be inspiring and thought-provoking sessions which we hope will lead and define a paradigm-shift in conservatoire cultures. Our themes are: Creativity, Playfulness and Improvisation; Interdisciplinary Connections; The World in 2020 and Beyond; and Viewpoints on the Developing Artist. We hope to stimulate debate on how reflective conservatoires can bring about change and innovation to established creative practice as well as preparing students for a professional world with open-ended possibilities. The keynote presentations will focus on reflection on creative processes in both music education and in the making of artistic work, with Ricardo Castro talking on Brazil’s NEOJIBA youth music training programme and Liz Lerman on the Critical Response Process, a feedback system for developing work in progress. The opening keynote, ‘The artist as maker - current issues and future prospects’ will draw on perspectives from across the performing arts, open up fundamental questions about artistic freedom and creativity, and provoke debate. I hope that you find much to discuss, debate and reflect upon over the next few days and that you take advantage of the many social opportunities to forge new professional ties and friendships with fellow conference participants from the global conservatoire community. Finally, I would like to thank all of the presenters for their contributions to the conference.
Professor Barry Ife CBE FKC FBbk HonFRAM FRCM
Principal, Guildhall School of Music & Drama Conference Chair
Research at the Guildhall School Research at the Guildhall School is an important element in a dynamic culture of artistic excellence and innovation across music, drama and technical theatre. Through research, staff and students experiment with creative processes in making and performing, and explore fundamental questions relating to the development and impact of our artistic and professional practice in society. Undertaking systematic enquiry into and through the arts plays an increasingly prominent role in promoting artistic depth and stimulating originality, and in enabling artists to make a difference in the world. In recent years, research strands have emerged around the themes of: Understanding Audiences, Words becoming Music and The Creative Stage. Through these themes and through thinking about the role of research in the conservatoire, researchers have sought to address some of the following questions: What repertoire should we create and perform, and how should we perform it? What is and will be the role of the performing arts in society and how can we help to shape their future? What roles do creativity and originality play in shaping artists of the future? How do performers learn and prepare for professional life? How can teachers in the conservatoire best evolve their practice and engage with research? Research takes place at all levels in the School, from students' guided study at undergraduate level to post-graduate doctoral work supported by research active staff. Seed funding for staff is available to encourage experimental new projects or those new to research, and more established researchers within the School have formed partnerships with artistic institutions such as the London Symphony Orchestra, Royal Opera House and English Touring Opera to create productive synergies between professional artistic practice and our research expertise. For further information about research at the School visit: www.gsmd.ac.uk/research
Schedule at a glance
Full conference programme Thursday 26 February
Friday 27 February
Saturday 28 February
Sunday 1 March
Information for delegates
Performances & workshops
Presenter & chair biographies, & session abstracts
Open house: performances and workshops, including drinks reception and canapés (Milton Court Foyer level 1)
4e. Critical artistry Silk Street Room 210
3f. Developing ‘performance platforms’ to enrich and deepen learning for performers and their peers (14:00 – 16:00) Silk Street Lecture Recital Room
2h. Move well play better: an experiential workshop looking at the question ‘why think about the body?’ Silk Street Room 150
4f. Navigating through harmony, new strategies for the creative use of harmony in tonal improvisation Milton Court Theatre
3h. ‘Don’t say it, play it!’: group free improvisation as musical encounter Silk Street Room 209
SEMPRE AGM Silk Street Room 209
3g. Voice games Silk Street Room 208
L1e. Teaching methods for young musicians Silk Street Room 208
2f. Approaches to vocal training (11:00 - 13:00) Silk Street Room 251
4d. Children’s instrumental learning and its wider benefits Silk Street Room 209
4c. Current issues in composition and contemporary music Silk Street Room 208
3e. Processes and practices in musicians’ development: case studies from jazz Silk Street Room 210
L1d. Vocal training for choral singers Silk Street Music Hall
Coffee break (Milton Court Foyer level 1) 4a. Conservatoires in 4b. Making Community society through music Silk Street Music Hall Silk Street Lecture Recital Room
Lunch break (Milton Court Foyer Level 1) including themed lunchtime sessions L1a. Launch pad: the L1b. Opera makers L1c. Audience and artist reactions to orchestral musician of Milton Court Theatre repetitions of a piece within the same the future concert: implications for creative Milton Court practice and pedagogy Concert Hall Milton Court Studio Theatre 3c. Entrepreneurship and 3a. Conservatoires 3b. Change in 3d. Individual and the performing arts: in society: the the group creativity in connecting with audiences Italian case conservatoire choral performance: and building community Milton Court Milton Court cross-cultural Milton Court Concert Hall Theatre perspectives Studio Theatre Silk Street
FRIDAY 27 FEBRUARY 2015 Registration and coffee (Milton Court Box Office / Foyer level 1) Keynote: Liz Lerman Feedback, judgement and criticism: creating frameworks for change (Milton Court Concert Hall) Coffee break (Milton Court Foyer level 1) 2b. Becoming 2d. Performance 2e. Performers in 2a. Innovations in 2c. Towards a virtuous equipped: relation to audiences interdisciplinary circle: third cycle artistic issues in perspectives on psychology and Silk Street curriculum research in the musicians’ skills and sports science Room 210 development conservatoire as Silk Street particular Milton Court creative dialogue, performance Room 209 Concert Hall critical reflection and situations discipline development Milton Court Silk Street Room 208 Theatre
1f. Open session/Practical workshop Silk Street Room 208
2g. Enhanced encounters: connecting through improvising together Silk Street Music Hall
1e. Reinvigorating piano pedagogy of canonical works through contemporary music performance and free play Silk Street Room 210
Coffee break (Milton Court Foyer level 1) Keynote roundtable discussion: Christian Burgess, Daniel Evans, Lucy Kerbel, Sean Gregory, Edmund Finnis, Gillian Moore MBE, Agnes Treplin The artist as maker: current issues and future prospects (Milton Court Concert Hall) Opening Reception (Milton Court Foyer level 1)
THURSDAY 26 FEBRUARY 2015 Registration and coffee (Milton Court Box Office / Foyer level 1) 1a. Conservatoires in the 1b. Teaching of practising 1c. Interdisciplinary 1d. Institutional curriculum community Milton Court Studio Theatre perspectives: music and development of Milton Court Theatre drama musicianship and aural Silk Street Music Hall training Silk Street Room 148
15:45–16:30 16:30–18:00 Session 4
14:30–15:45 Session 3
13:15–14:30 13:30–14:15 Lunchtime sessions
11:00–11:45 11:45–13:15 Session 2
13:00–15:00 15:00–16:30 Session 1
Schedule at a glance
09:30–10:00 10:00–11:30 Session 8
16:00–17:45 Session 7
7d. Interdiscplinary approaches to improvisation 2: collaborative projects Milton Court Concert Hall
Coffee break (Milton Court Foyer level 1) Keynote: Ricardo Castro To teach is to learn (Milton Court Concert Hall) Closing lunch (Milton Court Foyer level 1)
8e. Collaborative crossdomain real-time score generation and performance Silk Street Room 252
8f. Kodály demonstration class Silk Street Room 210
7f. Free improvisation workshop Silk Street Room 208
6e. Peer learning in music academies Milton Court Teaching Room 3
7e. New perspectives and critical reflection in conservatoire practices Milton Court Teaching Room 3
6d. Interdisciplinary approaches to improvisation 1: voice Milton Court Rehearsal Room 3
5g. Open rehearsal with Dinis Sousa and Eliot Shrimpton Starts 11:30 Milton Court Gym
L2e. Aural awareness Milton Court Teaching Room 3
5f. Open class with Junior Guildhall students Starts 10:45 Silk Street Lecture Recital Room
L2d. Practical introduction to mindfulness Milton Court Rehearsal Room 3
5e. Perspectives on instrumental/vocal teaching Milton Court Teaching Room 3
E1c. Empowering and enhancing artistic development with yoga for musicians Milton Court Rehearsal Room 3
SUNDAY 1 MARCH 2015 Registration and coffee (Milton Court Box Office / Foyer level 1) 8a. Rethinking skills for 8b. Higher music education 8c. Improvisation: new 8d. Other disciplines applied professional musicians Milton Court Studio Theatre directions in music Silk Street Room 208 Milton Court Theatre Silk Street Lecture Recital Room
Conference pre-dinner drinks (Barbican Conservatory) Conference dinner (Barbican Garden Room)
Rehearsal Room 3
7c. Students and the music profession Milton Court Studio Theatre
Coffee break (Milton Court Foyer level 1) 7b. Composition as 7a. Conservatoires in 2020 collaborative process and beyond Milton Court Theatre Milton Court
14:00–15:30 Session 6
12:45–13:30 Lunchtime Sessions
Lunch break (Milton Court Foyer Level 1) including themed lunchtime sessions L2a. The mouthpiece of the gods L2b. Developing an explicit error L2c. The developing professional Milton Court Concert Hall management in instrumental music Milton Court Studio Theatre education Milton Court Theatre 6b. Musical impact: Conservatoires 6c. The body in interdisciplinary 6a. Realities of post-training UK project to enhance the health professional practice professional life and wellbeing of musicians Milton Court Studio Theatre Milton Court Concert Hall Milton Court Theatre
5d. Research on improvisation Milton Court Rehearsal Room 3
integration: a manifesto for radical change in the education of 21st century musicians Milton Court Concert Hall
Coffee break (Milton Court Foyer level 1) 5b. One-to-one teaching 5a. Creativity, Milton Court Theatre diversity and
10:30–11:00 11:00–12:30 Session 5
E1b. Practical introduction to mindfulness Milton Court Teaching Room 3
SATURDAY 28 FEBRUARY 2015
5c. Practice methodology: mastering the real-time navigation in the musical flow Milton Court Studio Theatre
Registration and coffee (Milton Court Box Office / Foyer level 1) E1a. ICON pathway participants Milton Court Theatre
09:00–09:30 09:30–10:30 Experiential Sessions
Schedule at a glance
Information for delegates Venues The Reflective Conservatoire Conference 2015 is hosted by the Guildhall School of Music & Drama. Three buildings will be used for the duration of the conference: Milton Court 1 Milton Street London, EC2Y 9BH
Silk Street Barbican London , EC2Y 8DT
Barbican Centre Silk Street London , EC2Y 8DS
All registration will take place in Milton Court. There will be an information point in the Silk Street building should you have any queries. Note you should allow 5-10 minutes to walk between the buildings. Please refer to the noticeboard in the Milton Court Foyer for up-to-date announcements throughout the conference.
Transport The Conference venues are within walking distance from Barbican, Moorgate and St Paul’s tube stations. To plan your journey, visit the TfL website: www.tfl.gov.uk/ The nearest train stations are Liverpool Street and Farringdon. Bus Route 153 runs along Chiswell Street, near to the Barbican. There is a taxi rank outside the Barbican Centre. Please ask at Milton Court Reception or Silk Street Reception if taxis are not available.
Delegate Registration Registration takes place at the ground floor box office and conference desk in Milton Court. The main registration times are Thursday 26 February: 13:00—15:00 Friday 27 February: 08:30—09:30 Saturday 28 February: 09:00—09:30 Sunday 1 March: 09:30—10:00 The first conference sessions begin immediately after these times so we encourage delegates to register at the earliest opportunity. Tea and coffee will be provided throughout the registration period and you are warmly invited to take refreshment and meet with other delegates in the foyers once you have registered. Outside of these times please consult the conference desk who will advise you where to collect your ticket and register. 33
Internet access In Milton Court and Silk Street Please switch on your WiFi device (smartphone, tablet, or laptop), select the following network and enter the password below: Network name: Conference2015 Password: reflective In the Barbican Centre The Barbican Centre uses The Cloud network. For network access, switch on your WiFi device (smartphone, tablet, or laptop). Ensure that WiFi is enabled and select The Cloud from the network list. Once you open your internet browser, you will see The Cloud landing page. If you have not used The Cloud before please complete the registration process. Existing users will be asked to log-in to access the network.
Conference session formats Sessions are mainly 90 minutes in length, with some session 45, 60, 75 and 105 minutes. Research paper Spoken presentation of research undertaken, with time for questions. Symposium Curated series of papers relating to particular topic, with time for discussion. Roundtable Curated set of provocations/discussion points followed by chaired discussion. Special session Session with its own individual format, details given in Conference Abstract. Practical workshop Experiential workshop in which delegates participate in the practice, with time for discussion. Open class Demonstration involving classes with students, with opportunities for delegates to observe and ask questions. Open house A rich programme of performances and workshops curated alongside the conference sessions under the broad theme â€˜The Artist as Makerâ€™. The mix of early-evening performances and open classes, plus receptions with drinks and canapes, provides the opportunity for stimulation and exchange.
Lunchtime sessions These will consist of approx. 15 minutes presentation and 30 minutes of chaired discussion, depending on the composition of the session. Note papers relating to these sessions have been uploaded to the conference website (where provided): www.reflectiveconservatoire.org.uk. Access to sessions is on a first come first served basis and delegates must have their delegate badge with them. Moving between panels during a session We would encourage you not to move between rooms during a session, as this may disrupt presentations. Presentations within a session will not always begin and end at the same time across different sessions.
Presenter information If you are giving a presentation, we will already have corresponded with you about this. Presenters are asked to come to the room in which they are presenting 30 minutes before the start of their presentation, in order to familiarise themselves the presentation space and technology. (Presenters in lunchtime sessions, and in sessions 3a, 3b, 3c, 3d, 3g and 3h, should arrive 15 minutes in advance due to the duration of the preceding session.) Please ensure you know how to get to your room in advance of your session. Floor plans are provided in the conference programme and conference hosts and stewards will be delighted to assist you. Milton Court Concert Hall, Milton Court Theatre and Milton Court Studio Theatre have a number of entries: the correct backstage entrance for presenters will be indicated with signage. We hope you will have submitted your PowerPoint presentation (where appropriate) in advance. If you have not done so you should ensure you bring it to the conference on a removable USB memory stick, and please bear in mind that it will not have been tested on our systems. If you have decided to bring the presentation this way it is especially important that you ensure any embedded files, bespoke fonts or other materials referenced by the PowerPoint are saved together with the presentation itself in a .pps file. We would strongly advise you against relying on internet connection for any materials required for your presentation. There will not be time in situ to modify or re-format presentations. It may be possible to accommodate incoming laptops, at the ownerâ€™s risk; however we cannot offer technical support on equipment brought in from outside. Please bring your own VGA adapter cable if you are bringing a Mac and a plug adapter for UK sockets if needed.
Room capacities Milton Court Milton Court Concert Hall: 608 Milton Court Theatre: 200 Milton Court Studio Theatre: 128 Milton Court Teaching Room 2: 60 Milton Court Teaching Room 3: 60 Milton Court Rehearsal Room 3: 60 Milton Court Gym: 60
[Level 1] [Level 1] [Level -2] [Level 2] [Level 3] [Level 4] [Level -2]
Silk Street Music Hall: 196 Lecture Recital Room (LRR): 80 Room 148: 50 Room 150: 20 Room 208: 40 Room 209: 40 Room 210: 40 Room 251: 40 Room 252: 40
Conference announcements Please refer to the noticeboard in the Milton Court foyer for up-to-date announcements throughout the conference.
Conference programme If you would prefer to access this programme online, please visit www.reflectiveconservatoire.org.uk
Conference website, Twitter and blog All delegates are encouraged to join the conversation via social media and to tweet. Any delegates that would like to contribute to the blog on the conference website should send their entry to firstname.lastname@example.org for upload. All delegates are encouraged to comment on the blogs throughout the conference. For the latest conference information and blogs, please visit: www.reflectiveconservatoire.org.uk We are also on Twitter: #RCC2015 https://twitter.com/rconservatoire
Visual artist in residence CreativeConnection will be in residence in the Milton Court foyers to capture and visualise the collective ideas, thoughts and ambitions arising throughout the conference. Given that the conference is a unique gathering, we encourage everyone to take full advantage of the opportunity to dream and express their ambitions! We will aim to incorporate these into the work of our artists which will form part of the legacy of the conference. If you have a burning question before, during or after a session we would encourage you to seek out the CreativeConnection artists.
Photographer in residence A professional photographer will be in residence during the conference. If you would prefer not to be photographed, please alert the registration desk as soon as possible.
Recording and filming of sessions Some of the sessions will be filmed for the documentation of the conference and publicity use. If you have any concerns in relation to this please visit the registration desk. If you are filming a session you must inform the presenters.
Schedule Please note that sessions may be subject to alteration at short notice due to circumstances beyond our control.
Badges Please wear your Conference Badge at all times for admission to all Conference buildings, sessions and refreshments.
Dress code The dress code for the conference dinner on Saturday 28 February is â€˜smart casualâ€™.
Cloakroom The Cloakroom in Milton Court will be available for the duration of the Conference.
Phones Please ensure that you turn off your phone during all sessions and performances.
Hearing Infra-red ear pieces will be available in the cloakroom in Milton Court 37
Trade stands Trade stands will be located in Milton Court foyer during the conference.
Drinks Please note that food and drink is not permitted in the presentation and performance spaces.
Questions If you have any questions at all during the conference, please visit the registration desk on the ground floor of Milton Court or the information point on the ground floor of Silk Street.
Conference personnel Conference Chair
Professor Barry Ife
Professor Helena Gaunt
Geoff Coates Rebecca Cohen Jane Williams
Rosa Abidi Richard Antonel Graeme Booth Sian Brittain David Foister Dr Biranda Ford Esther Fowler Eloise Freeman Kim Lau Marianne Le Gallo Ali McNab Katy McNamara Dr Cormac Newark Marina Papageorgiou David Phipps-Davis Ollie Pickering Professor John Sloboda Chris Wheal Chris White Dr Karen Wise
Artists in Residence
Beatrice Baumgartner Tim Casswell Federica Ciotti Giulia Coppola Lara Popovic Roberto Sitta
Photographer in Residence
Tuomas Auvinen, Sibelius Academy Jane Booth, Guildhall School Christian Burgess, Guildhall School Jeremy Cox, AEC Susanna Eastburn, Sound & Music Professor Helena Gaunt, Guildhall School Jane Ginsborg, RNCM Sean Gregory, Guildhall School / Barbican Centre Eleanor Gussman, Formerly London Symphony Orchestra Ingrid Hanken, Norwegian Academy of Music Reinhard Kopiez, Hochschule f端r Musik und Theater Hannover Bernard Lanskey, Yong Siew Toh Conservatory of Music David Myers, University of Minnesota Mark Pemberton, ABO Professor Julian Philips, Guildhall School Martin Prchal, Royal Conservatoire, The Hague Professor John Rink, University of Cambridge Jeffrey Sharkey, Royal Conservatoire of Scotland Eliot Shrimpton, Guildhall School Professor John Sloboda, Guildhall School Professor Rineke Smilde, Prince Claus Conservatoire Jonathan Vaughan, Guildhall School Donald Wetherick, Guildhall School Tony Woodcock, New England Conservatory
Conference Partners We would like to offer sincere thanks to our conference partners: Arts and Humanities in Higher Education (AHHE) ASIMUT software
Centre of Excellence in Music Performance (CEMPE) ConservatoiresUK (CUK) The Culture Capital Exchange (TCCE)
The European Association of Conservatoires (AEC)
Incorporated Society of Musicians (ISM)
Institute of Musical Research (IMR)
MILTON COURT LEVEL -2
MILTON COURT LEVEL 1
MILTON COURT LEVEL 2
MILTON COURT LEVELS 3 & 4
SILK STREET – GROUND FLOOR
SILK STREET – FIRST FLOOR
SILK STREET – SECOND FLOOR
Keynote speakers Thursday 26 February 2015 Milton Court Concert Hall, 17:00-18:30 The artist as maker: current issues and future prospects Roundtable discussion & performance Drawing on perspectives from across the performing arts, what is essential to us about being creative artists? This roundtable discussion is designed to open up some fundamental questions and provoke debate: •
In what contexts are we making work, who are we working with, and what kinds of relationships with audiences are we developing? What are the different challenges of working - including training - within the different disciplines? In music, theatre, in producing and curating, in learning and teaching, and at different stages of a career, how do we relate to wider issues in society, and where does our sense of ‘self’ come in? What tensions do we experience, creatively and organisationally, when working across our disciplines?
Speakers are Christian Burgess, Vice-Principal and Director of Drama, Guildhall School (Chair), Daniel Evans, actor and Sheffield Theatres’ Artistic Director; composer Edmund Finnis; Barbican/Guildhall Director of Creative Learning Sean Gregory; Lucy Kerbel, theatre director and Director of Tonic Theatre, Gillian Moore; Director of Music at London’s Southbank Centre and designer Agnes Treplin.
Daniel Evans was born in the Rhondda, South Wales, and trained at the Guildhall School of Music & Drama, London, where he was awarded an Honourary Fellowship in 2008. For the Royal Shakespeare Company, Daniel played Flute and Lysander in A Midsummer Night’s Dream, the Boy in Henry V, Angelo in Measure for Measure and Posthumus in Cymbeline. For the Royal National Theatre, Daniel appeared in Peter Gill’s Cardiff East (Neil), Peter Pan (title role), Candide (title role), The Merchant of Venice (Lorenzo) and Troilus and Cressida (Patrocles). At the Royal Court Theatre, © Claire NewmanDa Daniel appeared in the world premières of Other People and Where Do We Williams Live by Christopher Shinn and Cleansed and 4.48 Psychosis by Sarah Kane. Other work includes Osvald in Ghosts (ETT) and Betty/Edward in Cloud Nine (Crucible). Daniel won an Olivier award for his performance as Charley Kringas in Merrily We Roll Along at the Donmar Warehouse, where he also played Otto Kingelein in Grand Hotel. His performance as George in Sunday In The Park With George at the Menier Chocolate Factory/Wyndhams Theatre gained him his second Olivier Award. Sunday In The Park With George transferred to Studio 54, New York, where Daniel received a Tony Award Nomination. Daniel also received the Ian Charleson award for his Ariel in The Tempest at the Sheffield 49
Crucible and the Old Vic Theatre, London. In Wales, he was the recipient of the first Richard Burton award and the Llwyd o’r Bryn award at the National Eisteddfod. His film and television credits include The Passion, Great Expectations, Love in a Cold Climate, Daniel Deronda, The Virgin Queen, To The Ends Of The Earth, Tomorrow La Scala (BBC). In concert, Daniel has sung with Bryn Terfel at the Faenol Festival, with Maria Friedman at the Barbican Concert Hall and with the London Sinfonietta at King’s Place. Daniel is also a director and in April 2009 was appointed Aristic Director of Sheffield Theatres, where his inaugural production was Ibsen’s An Enemy of the People.
Edmund Finnis’ music has been performed internationally at venues including Carnegie Hall and Seiji Ozawa Hall (Tanglewood), at Spitalfields, CrossLinx and Aldeburgh festivals, and as part of Chicago Symphony Orchestra’s MusicNOW series. He has enjoyed close associations with both the London Sinfonietta – who have performed six of his works, including three it commissioned – and the London Contemporary Orchestra, with whom he is Composer-in-Association. Finnis received a Paul Hamlyn Award in 2012. He is one of the inaugural House Composers at English National Opera, and was 2013 Composer in Residence at the Chelsea Music Festival in New York.
Sean Gregory works as a composer, performer and creative producer throughout the United Kingdom and overseas. He leads collaborative arts projects for all ages and abilities in association with many British and international orchestras, opera companies, theatres, galleries and arts/education organisations. His commissions range from chamber works to large scale collaborations in the community and include performances in a huge range of contexts and venues at local, national and international level. Sean is Director of Creative Learning for the Barbican Centre and Guildhall School of Music & Drama. This post, incorporating Barbican Education and Guildhall Connect, has been recently established to develop and deliver a range of world-class creative learning programmes involving music, theatre, visual arts, cinema, dance and literature across the Barbican Centre and Guildhall School in close collaboration with the London Symphony Orchestra, resident and associate companies, and relevant local, national and international partners. The programmes and projects he leads through this Creative Learning division particularly advocate widening participation and embrace a number of partnerships exploring ideas and approaches which aim to develop new modes of good practice in performing and visual arts within the formal and non-formal education sectors. He also leads MAP/Making International, a project dedicated to creating new landscapes in music, art and performance through interdisciplinary and transcultural collaboration. A wide range of projects provide opportunities 50
for participants to develop individual creativity, to extend forms of performance and communication both within and outside the Barbican and Guildhall School, and to foster a shared understanding between people from different cultural backgrounds. Sean is particularly responsible for the development of a number of innovative courses at the Guildhall School, including a Masters in Leadership established to enable arts and education practitioners to develop further the fundamental skills for sustained personal, artistic and professional development in the areas of creativity, flexible performance and communication.
Lucy Kerbel is the Director of Tonic Theatre and an award-winning theatre director. Having begun her career as Resident Director at the National Theatre Studio and English Touring Theatre, Lucy went on to direct a range of classics, new writing and productions for younger audiences. It was while directing around the UK that Lucy became interested in the question of gender equality in theatre. She recognised that the industry would need better support if it were to achieve greater balance in its workforces and repertoires, and so in 2011, with the support of the National Theatre and Royal Opera House's Step Change scheme, Lucy founded Tonic Theatre to go some way towards achieving this. Today, Tonic is partnering with some of the leading theatres in the UK including the Royal Shakespeare Company, Young Vic, Sheffield Theatres, West Yorkshire Playhouse, Chichester Festival Theatre. Tonic is Affiliate Company at the National Theatre Studio. In addition to directing and her work with Tonic, Lucy does consultancy, is a visiting lecturer at Central Saint Martinâ€™s, and works in theatre education. Her first book, 100 Great Plays for Women, is published by Nick Hern Books. Tonic Theatre: www.tonictheatre.co.uk
Gillian Moore is a key figure in classical music and music education in the UK. She is Director of Music at Southbank Centre, having joined the organisation as Head of Contemporary Culture in 2006, before which time she had a long association with both Southbank Centre and the London Sinfonietta. She was the Artistic Director of the London Sinfonietta from 1998 to 2006, combining that post with running the audience development programme Inside Music at the Royal Festival Hall and being a Visiting Professor at the Royal College of Music. In 1998 she was also Artistic Director of the ISCM World Music Days in Manchester. She was Head of Education at the Southbank Centre from 1993 to 1998, developing an approach that integrated educational and artistic activity. For a decade, from 1983, she was the Education Officer at London Sinfonietta, the first such post of its kind in the UK, and she initiated work with contemporary music in schools, prisons and in the wider community. She is a Fellow and council member of the RCM, a council member of the RPS, an Honorary Associate of the RAM, and an Honorary Member of the Guildhall School of Music & Drama. She was awarded the Sir Charles Groves Award in 1991 for services to British music; an MBE in 51
1994 for services to music and education, an Association of British Orchestras Award, and an honorary doctorate from Brunel University. During her career, Gillian has collaborated with many of the great musical and artistic figures of our age, from Luciano Berio to Radiohead, from Harrison Birtwistle to Sir Simon Rattle, from Steve Reich to Akram Khan. She has commissioned many significant new works and pursued her passion for education as well as creating opportunities for artists to reach the widest possible audiences with their work. She writes and broadcasts regularly about music.
Designer Agnes Treplin was born in Germany and has worked on many productions for opera, dance, theatre, musicals and film in the UK and internationally. Her most recent design credits: A Dashing Fellow (New Diorama Theatre, London) Werther. Die Sprache der Liebe, Am Horizont (Hans Otto Theater, Potsdam, Germany), Warsaw Melody (Arcola Theatre, London), Consultants and Man in the Middle (Theatre 503, London) Land of The Gypsies (Grand Theatre, Lebanon) The Marriage of Figaro and Don Pasquale (ETO), The Rise of the Phoenix , Gibran The Prophet and Don Quixote (Byblos International Festival, Lebanon), Al Mutanabbi (Baalbek Festival, Lebanon). She has designed numerous productions at the Guildhall School. She is currently course director for the MA Costume Design for Performance at London College of Fashion and was previously Senior Lecturer in Theatre Design at Central Saint Martin’s College for over ten years. Agnes recently designed and directed the costume performance and subsequent film FLIGHT shown at the National Gallery London and at the ‘Out Of Our Heads’ exhibition at Shoreditch Town Hall in 2014. She is currently designing The 39 Steps for the English Theatre Vienna.
Christian Burgess trained as an actor at the Guildhall School and has extensive professional acting experience in theatre, television and film. He is now Vice-Principal and Director of Drama at the Guildhall School. He has a strong interest in collaboration across the disciplines and has led many initiatives to bring the School’s Acting, Music and Technical Theatre students together, both inside and outside the curriculum. He is a founding member of the École des Écoles group, and works frequently as a teacher and director in Italy and France, notably at TNS Strasbourg and in Fontainebleau.
Performance 108 Images and sounds captured by Rolf Hind and Frances-Marie Uitti See Performances & workshops section for more information on performers.
Friday 27 February 2015 Milton Court Concert Hall, 09:30 -11:00 Feedback, judgement and criticism: creating frameworks for change Liz Lerman The beauty of creative processes and practices is that they involve the need to be both very open and very critical. How do we employ our best capacities to be sure that we're doing both?
Liz Lerman is a choreographer, performer, writer, educator and speaker, and the recipient of numerous honors, including a 2002 MacArthur ‘Genius Grant’ Fellowship, a 2011 United States Artists Ford Fellowship in Dance, and the 2014 Dance/USA Honor Award. A key aspect of her artistry is opening her process to various publics - from shipbuilders to physicists, construction workers to ballerinas - resulting in both research and outcomes that are participatory, relevant, urgent, and usable by others. © Lise Metzger
She founded Liz Lerman Dance Exchange in 1976 and cultivated the company's unique multi-generational ensemble into a leading force in contemporary dance until 2011. She was an Artist-in-Residence and Visiting Lecturer at Harvard University in 2011, the same year that she instigated the National Civil War Project. Her investigation of the impact of war on medicine, Healing Wars, premiered at Arena Stage in mid-2014. Other projects include the genre-twisting work Blood Muscle Bone with Jawole Willa Jo Zollar and Urban Bush Women; teaching her Critical Response Process around the world from the UK (Puppet Animation, Sadler’s Wells Theatre, Guildhall School, the London Sinfonietta, The Federation of Scottish Theatres) to Australia; and an online project called ‘The Treadmill Tapes: Ideas on the Move’. In 2013 she curated Wesleyan University's symposium ‘Innovations: Intersection of Art and Science’, bringing together teams of artists and scientists from North America to present their methods and findings. Her collection of essays, Hiking the Horizontal: Field Notes from a Choreographer, was published in 2011 by Wesleyan University Press and released in paperback in 2014.
Sunday 1 March 2015 Milton Court Concert Hall, 12:00-13:30 To Teach is to Learn Ricardo Castro We experience teaching and learning from our very first contact with another conscious being. The practice of music is an opportunity to create beauty without barriers, offering us the possibility to communicate immediately and without limits. Neuroscience also shows the positive influence of the practice of music on the development of the brain. Given the significance and influence of music, this practice cannot continue to be a privilege restricted to the “talented few”. Several programmes have been created to bring the practice of music to disadvantaged populations, but our leading music schools and top musicians have not changed their views or pedagogy, and have continued to send their best students to the podium – normally by means of a highly competitive game - and the less good ones to the classroom. As we need to understand how the practice of music can become universal, I propose a brainstorm on the best and most efficient way to achieve this and the importance of sharing musical knowledge and opportunity as widely as possible. Born in Vitória da Conquista, Brazil, Ricardo Castro is the creator and director of NEOJIBA – State Youth and Children’s Orchestra Centres. Ricardo established himself in Europe in 1984, where he studied piano with Maria Tipo and Dominique Merlet and conducting with Arpad Gerecz. He won prizes at the ARD competition in Munich in 1987 and the Geza Anda competition in Zurich in 1988 and became a widely recognized international pianist after winning the first prize at the Leeds International Piano Competition. Ricardo Castro started playing the piano aged three and began his music studies at the age of five with Esther Cardoso at the Music School of the Federal University of Bahia (UFBa), an extraordinary accomplishment at that young age. After three years he made his début in a solo recital and as a ten year-old he played as a soloist with the Symphonic Orchestra of UFBa. Ricardo has performed in many prestigious concert halls such as Amsterdam’s Concertgebouw, Vienna’s Musikverein and the Theatre de Champs Elysées in Paris and with renowned orchestras such as Gewandhaus Orchestra Leipzig, BBC London Symphony Orchestra, English Chamber Orchestra, Tokyo Philharmonic Orchestra, Zurich Tonhalle Orchestra, Warsaw National Philharmonic Orchestra, Orchestre de la Suisse Romande and the Symphonic Orchestra of the State of São Paulo. Ricardo Castro has been teaching at the Haute École de Musique de Lausanne in Switzerland since 1992 and since 2005 he has been putting all his efforts into integration and social development initiatives in Brazil, creating many new opportunities for children and young people. Chief Conductor and Artistic Director of the Youth Orchestra of Bahia since its foundation in 2007, in 2013 Ricardo Castro became the first 54
Brazilian to receive the Honorary Membership of the Royal Philharmonic Society – which, since its beginning in 1826, has only been awarded 131 times - in recognition of important services to music. Among the celebrated names on the list are Brahms, Wagner, Tchaikovsky and Aaron Copland. Ricardo Castro’s keynote includes a collaborative performance of the last movement of Mahler’s Symphony No 4, bookended by two short new works especially written for the occasion by the NEOJIBA composer group. The performers, who have worked together over the last few days, are a mixture of NEOJIBA/Youth Orchestra of Bahia and Guildhall School students, including conducting Fellow Dinis Sousa and soprano Anna Gillingham. See Performances & workshops section for more information on performers.
Performances & workshops Thursday 26 February 2015 Milton Court Concert Hall 17:00-18:30 Keynote session performance
108 Images and sounds captured by Rolf Hind and Frances-Marie Uitti Rolf Hind's career has blossomed over twenty-five years in a multitude of directions - establishing him now as a major force as soloist, composer, recording artist, chamber musician, pedagogue, collaborator and concert planner. His work as a recitalist has taken him to many of the leading new music festivals in Europe - by way of Carnegie Hall, Sydney Opera House and tours of Korea, Taiwan and Cuba. He has worked with many leading conductors, including Ashkenazy, Knussen, Rattle, David Robertson and Andrew Davis, and appeared at the BBC Proms seven times. Rolf’s compositions range from solo piano pieces to a piano trio, two string quartets, a piano quintet and a piano concerto, Maya-Sesha, nominated for a British Composer's Award. Much of his music is inspired by a fascination with the culture, mythology, philosophy and music of India, to which he has travelled often. At the same time it draws on the technical adventurousness of certain performers, including himself. He is currently working on a new ‘Mindfulness opera’ for voices, instruments and audience, for Mahogany Opera Group, to be directed by Frederic Wake-Walker, entitled Lost in Thought, to be premiered in the 2015/16 season. The roster of composers who have worked with Rolf or written for him reads like a Who's Who, and includes Tan Dun, John Adams, Helmut Lachenmann, Unsuk Chin, Elliott Carter, George Benjamin and James MacMillan, amongst many others. Peter Maxwell Davies is writing a new solo piano work for Rolf, to be premiered at the Wigmore Hall in April 2016. Composer/performer Frances-Marie Uitti pioneered a revolutionary dimension to the cello by transforming it for the first time into a polyphonic instrument capable of sustained chordal and intricate multi-voiced writing, using two bows in one hand. György Kurtág, Luigi Nono, Giacinto Scelsi, Jonathan Harvey, Richard Barrett, Horatio Radulescu and Lisa Bielawa are among the many composers who have used this technique in works dedicated to her. Collaborating significantly over many years with radical artists including Dick Raaijmakers, John Cage and Giacinto Scelsi, she has also worked closely with Iannis Xenakis, Elliott Carter, Brian Ferneyhough, and countless composers of the most recent generation. She tours extensively as soloist throughout the world having played for audiences from New York City to Mongolia, and appears regularly in such festivals as the Biennale di Venezia, Strasbourg Festival,
Gulbenkian Festival, Ars Musica, Holland Festival and on radio and television in Europe, Japan, and the United States. Her compositions can be heard on ECM records, Cryptogrammophone, JdKrecords, Seraphin, Etcetera, and BVHaast. The University of California Press has commissioned a major treatise from her on Contemporary Cello Techniques, now in the final stages of completion. As a teacher, Frances-Marie Uitti has given lectures and masterclasses at practically all the major European conservatories (Royal Conservatory in Copenhagen, Royal Conservatory of The Hague, Sweelinck Conservatory Amsterdam, Royal Conservatory Brussels, Santa Cecilia Roma, the Hochschule für Musik in Cologne, Hochschule Basel, etc.) and many music schools in the USA, including at the Juilliard School of Music, Yale University, and Northwestern University. She is regularly invited to sit on international composer and performer juries. She has travelled frequently to Bhutan and is founder of the Bhutan Music Foundation, a charitable non-profit organisation set up to promote the music of Bhutan, the musical education of the Bhutanese, and the preservation of Bhutanese indigenous music.
Friday 27 February 2015 Milton Court - various spaces 18:00-20:30 Open House A rich programme of performances and workshops curated alongside the conference sessions under the broad theme ‘The Artist as Maker’. The mix of early-evening performances and Open Classes, plus receptions with drinks and canapes, provides the opportunity for stimulation and exchange. The Open House evening will showcase the Guildhall School’s magnificant new Milton Court building, as well as the different aspects of the School’s offer to artists in training: musicians, actors, stage managers and theatre technicians. Performances: if you choose to attend one of the performances, please remain until the end of a movement or piece. Open classes / rehearsals: feel free to come in and out of the Open Classes / rehearsals. Please note: some events run concurrently.
Milton Court Foyer level 1 18:00-18:30 Pre-performance Drinks Receptions Supported by IMR
Milton Court Foyer level 1 18:00-20:00 Installation Perceptions (MDCXXXVI) Installation created for the Reflective Conservatoire Conference inspired by the architecture of the Guildhall School and how people’s perception of it changes though its use and the effect of the natural environment. This collaboration between Guildhall video design student Alex Uragallo and Chelsea sculpture student Mike McShane uses the growing medium of Projection Mapping to visually incorporate the viewer within its structure and that of the surrounding architecture. An amorphous sculpture that – like the City – has life flowing through and under its skin. Alex Uragallo is in his third year at Guildhall studying Theatre Technology, specialising in video. He has worked in a wide range of video for live events including Projection Mapping, Installations, Corporate Events and Theatre. Video Design credits include: Her Naked Skin (Silk Street Theatre), JDRF (Milton Court Theatre), Hamlet (Riverside Studios). Programming and Projection Mapping credits include The Temple (Glastonbury 2014), The Adventures of Pinocchio (Silk Street Theatre), Hamlet (Milton Court Theatre) Walthamstow Garden Party (William Morris Gallery), Blood Swept Sands and Seas of Red (Tower of London), Park (Jasmin Vardimon Company, Northcott Theatre), Barbican’s Garden Room re-opening (Barbican Centre). email@example.com
Mike McShane is currently in his second year of BA Fine Art at Chelsea College of Art and Design, and has spent the last four months studying sculpture at Kyoto Seika University in Japan. Past Exhibitions: Central St Martins Foundation Show 2013, Backhill, Clerkenwell, London, Interim 2013, Cookhouse Space, Chelsea, London, Temporary Waves 2014 Thames shoreline, Wapping, London, Process 2014 Campbell Works Gallery, Stoke Newington, London, Konton Chaos, Chitejin
Collective 2014 Dead Space Gallery, Kyoto Seika University, Kyoto, Sculpture Show 2015 Risei Elementary School, Kiyamachi, Kyoto. mikemcshaneart.blogspot.co.uk firstname.lastname@example.org
Milton Court Theatre 18:30-19:00 Performance Classical Jam Classical improvisation from leading practitioners. Two pianos, many hands, plus trombone and oboe. David Dolan has devoted an important part of his international career as a concert pianist, researcher and teacher to the revival of the art of classical improvisation. Professor of Classical Improvisation and its various applications to performance at the Guildhall School, David heads its Centre for Creative Performance & Classical Improvisation, which is promoting interdisciplinary projects. He also teaches at the Yehudi Menuhin School, and since 2011 runs a creative performance programme at the Australian-National-Academy, Melbourne. His series of masterclasses and workshops take place world-wide. His Research focuses on the impact of improvisation on creativity, communication and expression in performance. Karst de Jong studied Piano and Music Theory at the Royal Conservatoire of The Hague. He specializes in improvisation and the relation between analysis and interpretation. He is professor at the Royal Conservatoire of Den Haag and also at the ESMUC (Escola Superior de Musica de Catalunya) in Barcelona. He published articles on improvisation and music theory and appeared at numerous conferences and festivals, among them The Piano-Pic festival in the French Pyrenees (2009, 2011) and the Paul Badura-Skoda Music Festival in Vila-seca, Spain (2011, 2013). He released his first CD with solo-piano improvisations. Karst de Jong lives in Barcelona. Trombonist, composer and actor John Kenny has performed and broadcast in over 50 nations as an interpreter of contemporary classical, jazz and early music. Since 1983 he has collaborated with Munich based TNT Theatre Co, writing and performing in music theatre productions which continually tour worldwide. He is also a founder member of the European Music Archaeology Project, and in 1993 became the first person for 2000 years to play the great Celtic war horn known as the carnyx. John Kenny is a professor at both the Guildhall School of Music and Drama and The Royal Conservatoire of Scotland.
The Dutch pianist, organist, improviser and music theorist Bert Mooiman studied at the Royal Conservatoire in The Hague, The Netherlands, where he took his certificates as a solo pianist and organist cum laude. After completing his Music Theory studies in 2003 he started teaching music theory (principal subject), improvisation and piano at the Royal Conservatoire. He performs both on piano (solo, chamber music) and on organ (solo, basso continuo). His work as a researcher and his activities as a performer meet in his lifelong interest in improvisation, which also became the topic of his current PhD research at Leiden University. Simon Parkin was trained as a pianist at the Yehudi Menuhin School and as a composer at the RNCM and Manchester University, from which he has a doctorate in composition He heads the Musicianship department (which integrates aural training with improvisation and practical harmony) at the RNCM, and has taught both improvisation and composition at the Purcell School and the Yehudi Menuhin School. He is active both as a composer and as a duo recitalist.
Christopher Redgate is currently the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and the designer of the Howarth-Redgate system oboe. Since his student days at the Academy he has specialised in the performance of contemporary music and developed significantly several aspects of oboe technique, leading him to a re-evaluation of a number of performance practices. His work in this field has led many composers to write for him. He has recorded many solo CDs, broadcast on Radio Three, and preformed extensively throughout the world. He also gives many masterclasses for oboists and composers and writes extensively for professional magazines and academic books.
Milton Court Gym 18:30-19:30 Open class Presence An open class given by Patsy Rodenburg, one of the world’s leading voice and acting coaches and Head of Voice at the Guildhall School. The class will investigate and work on harnessing ‘Presence’ through greater self-awareness. Patsy will reveal the concept of the three circles of energy and how all human energy moves. First Circle – the circle of self and withdrawal. Second Circle – the energy of connecting where your energy is focused and where you react and communicate best. Third Circle – the circle where all your energy is outward, nonspecific and not targeted. Practical body, breath and voice exercises will show how to improve communication and presentation skills and the way that you engage with others. This is an exceptional opportunity to engage with a world expert in a participatory session.
Patsy Rodenburg Patsy is recognised as one of the world’s leading voice and acting coaches and has worked extensively with actors including Judi Dench, Ian McKellen, Anthony Sher, Daniel Day Lewis, Ralph Fiennes, Nicole Kidman, Ewan McGregor and Keira Knightley. Patsy has collaborated with film directors Franco Zeffirelli, Trevor Nunn, Richard Eyre, Tim Burton, Sam Mendes and Mike Nichols and works with theatre companies all over the world. Patsy is Head of Voice at the © Martin Godwin
Guildhall School where she has been based for 31 years and is on the board of directors with the Royal Shakespeare Company. Patsy was also Head of Voice at the National Theatre for 16 years and in 2005 was awarded the OBE for her services to drama. Patsy has produced a series of DVDs entitled Shakespeare in the Present and is the author of a number of books including The Right to Speak (Methuen 1992), The Actor Speaks (Methuen, 1997), and Speaking Shakespeare (Methuen, 2001.)
Milton Court Rehearsal Room 3 18:30-19:30 Open class Médée: a workshop session An open class devised by Marie Vassiliou (vocal), Sue Dent (instrumental) and Dinah Stabb (drama) exploring the three-way exchange between singing, instrumental and drama expertise, focused around Clérambault’s dramatic cantata of 1710, Médée and involving Guildhall School students from the Historical Performance department and Guildhall graduate actors. For many years, Susan Dent’s specialism in period instruments and historically informed performance, in addition to the valved horn, involved her in extensive concert work and recording worldwide. She was Principal Horn of the Amsterdam Baroque Orchestra and the Orchestre Revolutionnaire et Romantique and the English Baroque soloists, and played regularly with other UK period and modern orchestras and ensembles. She is now happily settled in her working life as a teacher first and foremost, including the Guildhall School of Music & Drama, The Royal College of Music Junior Department, Trinity Laban and the Purcell School. As time allows, she still plays with the Academy of St Martin in the Fields as a longstanding member, The City of London Sinfonia, the Scottish Chamber Orchestra and The Chamber Orchestra of Europe. Dinah Stabb has been a professional actor since 1970. She has been a member of both the National Theatre and the Royal Shakespeare Company and has extensive TV credits. During the last 10 years she has combined this with directing and teaching at the School. She works with young musicians to enable them to play with confidence and ease in performance. She is the Chairperson of the Advisory Board to the 'Ecole des Ecoles', the Association of European Drama Schools. Dinah has been involved in a collaborative teaching project at the School since 2009, encouraging connections to be forged between the Music and Drama departments. Dinah is a Creative Director of the Innovative Conservatoire. 62
Lyric soprano Marie Vassiliou has performed widely in the UK, including all major London concert venues. She has broadcast on BBC Radio 3, 4 and Radio France and made numerous recordings. Noted for her versatility, her operatic work has taken her across Europe and she has had two operas written for her this year. She is particularly noted for her work in Baroque and Contemporary repertoire and has taught at the Guildhall School since 2005.
Guildhall School students and graduate actors: Roberta Diamond, soprano Jenni Harper, soprano Euncho Yeom, recorder Fred Lancaster, actor Rose Reynolds, actor
Milton Court Concert Hall 19:00-20:00 Performance Schoenberg in Hollywood (world premiere performance) A Reflective Conservatoire Conference-commissioned work that draws on Schoenberg's life, music, musical acquaintances and influences, by composer, pianist and professor of composition at the Guildhall School Matthew King and librettist Alasdair Middleton. Performed by the composer with Guildhall School students and soprano Jane Manning. Post-performance roundtable with Matthew King, Alasdair Middleton and Jane Manning, chaired by Armin Zanner, Head of Vocal Studies at the Guildhall School. Schoenberg in Hollywood is a dramatic cantata that Alasdair Middleton and Matthew King have been discussing for quite a long time, but the piece has ended up being written amazingly quickly, especially for today’s performance! The work concerns itself with the extraordinary clash of ideologies that occurred in Los Angeles between 1930 and 1951 as European intellectuals, fleeing to the United States, found themselves confronted by the multi-faceted populism of American culture. Arnold Schoenberg lived in Hollywood from 1934 until his death in 1951, and was on friendly terms with Chaplin, the Korngolds, Max Waxman, Bernard Hermann, Max Steiner and many other prominent figures of the period. Many of these appear fleetingly in our piece. Schoenberg was also George Gershwin’s friend and tennis partner, and a regular guest at his house. The other important topic in Schoenberg in Hollywood is Schoenberg’s preoccupation with numerology, his fear of the number thirteen, and the singular circumstances surrounding his death on
Friday, 13 July 1951, a date he had been dreading because of the concurrence of several numbers which he believed to be inauspicious. Various voices are heard in the piece, including Schoenberg’s own (sung by Gethin Lewis), Frau Schoenberg (sung by Bianca Andrew) and Frau Dieterle (Schoenberg’s friend and astrological mentor). We are very pleased that Jane Manning will be performing this Sprechstimme role, which was composed specially for her.
Matthew King is a composer, pianist and professor of composition at the Guildhall School. He has collaborated several times with Alasdair Middleton: on the operas, The World was all Before Them, On London Fields (winner of a 2004 Royal Philharmonic Award), the cantata Antarctica and the musical, I’ll be Seeing You. Matthew also has a long association with Jane Manning. He was a founder member of Jane’s Minstrels and composed the chamber opera The Snow Queen in 1991, with Jane in the title role. His compositions include Totentango, written for the LSO; string quartets, © Alexi Ward jazz pieces, a pan-pipe trio and a piece for nine piccolos called Una Piccola Sinfonia. Critics have described his work as “music of distinctive beauty with disarming theatre sense” (Independent on Sunday), “exhilarating” (The Sunday Times) and “teeming with ideas…with a Reichlike jauntiness of rhythm and texture” (The Times). His music has been commissioned and performed by many leading performers. Many of Matthew's pieces are site-specific: his Una Piccola Sinfonia (a commission from the Guildhall flute department) was written for an ensemble of nine piccolos; the giant King’s Wood Symphony – written in collaboration with Nye Parry (professor of electronic music at Guildhall) - for 24 horns, percussion, electronics and 16 gramophones, was originally composed for an ensemble dispersed around a forest in Kent in 2007. By contrast, his Sonatas for solo piano, is only one minute long, and quotes from all 32 of Beethoven’s sonatas in chronological order. Alasdair Middleton was born in Yorkshire and trained at the Drama Centre, London. His work as a librettist includes: with Jonathan Dove – The Monster in the Maze (Berliner Philharmoniker, London Symphony Orchestra, Aix-enProvence Festival), Diana and Actaeon (Royal Ballet), The Walk From The Garden (Aegeas Salisbury International Arts Festival), Life Is A Dream (Birmingham Opera), Mansfield Park (Heritage Opera), Swanhunter (Opera North), The Enchanted Pig (The Young Vic, ROH2), The Adventures of Pinocchio (Opera North), and the cantata On Spital Fields (Spitalfields Festival, winner of a Royal Philharmonic Society Award; With Paul Englishby - Pleasure’s Progress (ROH2), Who Is This That Comes (Opera North) and The Crane Maiden (KAAT Yokohama). Other libretti include The World Was All Before Them, On London Fields, winner of an Royal Philharmonic Society Award, A Bird In Your Ear (New York City Opera), The North Wind Was A Woman (A Song Cycle for Dawn Upshaw), Everything Money Can Buy (Selfridges) The Feathered Friend. He has written four plays; Aeschylean Nasty, Shame On You Charlotte, Casta Diva and Einmal.
© Derek Tamea
Jane Manning was born in Norwich and studied at the Royal Academy of Music and in Switzerland with Frederick Husler. She has given more than 400 world premieres, working with such composers as Birtwistle, Boulez, Cage, Carter, Maxwell Davies, Knussen, Lutyens and Weir. Her discography includes the major song cycles of Messiaen, all Satie’s vocal music, and works by Berg, Dallapiccola, Schoenberg and Ligeti with conductors including Boulez and Rattle. She has been Visiting Professor at Mills College, Oakland, and at Keele and Kingston Universities, and has given classes at many of the world’s leading campuses including Harvard, Princeton, Cornell, Stanford, Yale and Columbia.
She is currently writing a third book for Oxford University Press, Vocal Repertoire for the 21st Century. Voicing Pierrot, her study of Schoenberg’s Pierrot Lunaire, was shortlisted for a Royal Philharmonic Society Award. She has also contributed chapters to Cambridge University Press’s ‘History of Musical Performance’ and Faber & Faber’s ‘A Messiaen Companion’. She was awarded the OBE in 1990, holds Honorary Doctorates from the Universities of Durham, Keele, Kingston and York, and is a Fellow of both the Royal Academy and Royal College of Music. Performers Matthew King, piano, director Jane Manning, sprechstimme Frau Dieterle Student performers Julia Sitkovetky, soprano 1 Genevieve Colletta, soprano 2 Bianca Andrew, mezzo soprano 1 (Frau Schoenberg) Freya Jacklin, mezzo soprano 2 Gethin Lewis, tenor 1 (Arnold Schoenberg) James Robinson, tenor 2 Jonathan Hyde, baritone 1 Jake Muffett, baritone 2 Amarins Wierdsma, violin Fraser Keddie, viola Andrew Power, cello Antonia Berg, flute Myles Wakelin-Harkett, clarinet Tom Harrison, trumpet Ian Sankey, trombone Lewis Blee, percussion
Milton Court Theatre 19:15-20:00 Performance Northwind boogy Piano duo Anto Pett and Christoph Baumann â€˜unfold a magical world of mirrorsâ€™ in their free improvisation. Anto Pett and Christoph Baumann have worked together as a free improvising piano duo since 2010, and have performed several concerts in Europe. In 2012, they recorded their first CD. Bart van Rosmalen, a great cellist himself, writes in his short liner notes: "Two grand pianos, the round curves woven into each other. Two focused faces, the master players Christoph Baumann and Anto Pett, unfolding in free improvisation a magical world of mirrors. We hear them as lookalike twins walking with incredibly fast steps through rough city landscapes. They invite us to huge glass buildings with endless reflected images. Here the mirror image starts to live its own life. Here every attack finds its repetition, its counterpoint, its amplification....." Free jazz will never be `easy listening` but this disc is so fascinating because as well as being a display of virtuosity it creates sound pictures that invoke awe, paint vivid colours, and communicate humour and much else that is life affirming and inspirational. Review by Euan Dixon Anto Pett graduated from Conservatoire of Tallinn (now renamed Estonian Academy of Music and Theatre) as a pianist and composer. Since1987 he has been teaching harmony and improvisation in the Estonian Academy of Music and Theatre. In 1988 he discovered that improvisation was to become his main means of artistic expression. Since 2002 A. Pett is a regular professor of contemporary improvisation in the Estonian Academy of Music and Theatre. During his over twenty-five years of teaching A. Pett has developed an original concert improvisation teaching method that works successfully in the teaching process with all instruments and singers. Many of his students have been awarded prizes at the Leipzig Improvisation competition. Anto Pett has presented his teaching method and given masterclasses in many music schools in Estonia and in many music academies and conservatoires abroad, including Helsinki, Stockholm, Oslo, Haag, Utrecht, Hamburg, Odense, Paris, Bordeaux, Marseille, Riga, Vilnius, Antwerp, Cardiff, Glasgow, Warsaw, Krakow, Gdansk, Brigthon, Vienna, Evanston and London.
Christoph Baumann (born 1954) is an improvising musician, pianist, composer and professor for Jazz piano and improvisation at the Music Department of Lucerne University of Applied Sciences and Arts, Switzerland. His artistic activities include a vast field of improvising and composing approaches in which he relates various styles in experimental dramaturgic structures. He composed for various settings and disciplines like film, dance, theatre and radio plays, performed as leader or sideman at festivals around the world and has documented his creative work on various recordings.
Milton Court Studio Theatre 19:15-20:00 Lecture recital & performance Spectral morphology in performance Throughout the late twentieth century, many performers, improvisers and composers have developed and expanded the range of sonorities available from orchestral instruments. The oboe offers a particularly rich range of possibilities as the performer is able to intimately control the double reed and the oboe mechanism offers a wide variety of fingering combinations. Nevertheless, the contemporary repertoire has pushed virtuosity to the limits and it is opportune to revisit the design of the oboe. In 2009, Christopher Redgate began an AHRC-funded research project at the Royal Academy of Music to create a new oboe in collaboration with the British manufacturer Howarth of London. The new oboe is now in production, and ten works have been commissioned for the new instrument. With the addition of several keys, the new oboe vastly increases the range of sonorities available on the instrument from some 800 multiphonics on the conventional oboe to some 2,500 on the new HowarthRedgate instrument. Many of these multiphonics are mobile, and offer exciting opportunities to create a music in flux. Christopher Redgate and Paul Archbold have been engaged in a collaborative research programme for the last decade, making research documentaries examining the contemporary oboe repertoire, writing compositions, and performing new work for oboe and live electronics across the globe. In this paper, Redgate and Archbold discuss the acoustics of the new oboe, and demonstrate the creative possibilities of live spectral morphology in improvisation and in composition. Paul Archbold studied composition at the Royal Academy of Music and at the University of Durham. His compositions have been performed by several of the leading exponents of contemporary music in the United Kingdom including Arditti Quartet, ExposĂŠ, Gemini, Kreutzer Quartet, and have been broadcast in the UK and across the globe. He has held lectureships at the universities of Huddersfield and Durham and is currently Reader in Music at Kingston University London and Director of the Institute of Musical Research, School of Advanced Study, University of London. He is active as a performer of live electronic music, and regularly collaborates with the oboist Christopher Redgate.
Christopher Redgate is currently the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and the designer of the Howarth-Redgate system oboe. Since his student days at the Academy he has specialised in the performance of contemporary music and developed significantly several aspects of oboe technique, leading him to a re-evaluation of a number of performance practices. His work in this field has led many composers to write for him. He has recorded many solo CDs, broadcast on Radio Three, and preformed extensively throughout the world. He also gives many masterclasses for oboists and composers and writes extensively for professional magazines and academic books. Milton Court foyer level 1 20.00-20.30 Post performance drinks reception Supported by IMR
Saturday 28 February 2015
Barbican Conservatory 18:30-19:15 Conference dinner pre-drinks & performance (for delegates with conference dinner
Shakespeare in Songs and Scenes based on A Midsummer Night's Dream and The
Tempest, including Guildhall School musicians and actors. Programmed by Song in the City, Artistic Director Gavin Roberts, Creative Director Dinah Stabb Jean-Max Lattemann, counter-tenor Emily Kyte, mezzo-soprano Fred Lancaster, actor Tom Lincoln, Actor Logan Georges, actor Gavin Roberts, piano Dinah Stabb, creative director
Song in the City is a registered charity that takes classical music out of its comfort zone. Through song, we revolutionise the relationship between classical musicians and their audiences through imaginative concerts, and social projects. For further information and details of upcoming concerts and projects visit www.songinthecity.org Song in the City is supported by the Guildhall School Creative Entrepreneurs Scheme.
Sunday 1 March 2015 Milton Court Concert Hall 12:00-13:30 Keynote Session
To Teach is to Learn Ricardo Castro, pianist, conductor and founder of Brazil’s NEOJIBA youth music training programme delivers his keynote on the nature of learning (see Keynotes section) Ricardo Castro’s keynote includes a collaborative performance of Mahler’s Symphony No 4 (last movement), bookended by 2 short new compositions especially composed for this occasion by the NEOJIBA composer group. The performers, who have worked together over the last few days, are a mixture of NEOJIBA/Youth Orchestra of Bahia and Guildhall School students, including conducting Fellow Dinis Sousa and soprano Anna Gillingham. Ricardo Castro For biography see keynotes section. NEOJIBA Created in 2007 as one of the priority programmes of the State Government of Bahia, NEOJIBA aims to achieve excellence and social integration through collective practice of music. In Brazil, NEOJIBA is the first governmental orchestra training programme for children and youth based on the acclaimed "El Sistema," a Venezuelan programme created 39 years ago. NEOJIBA is an action of the Department of Social Development and Fight against Poverty (SEDES) and its founder director is the conductor Ricardo Castro. NEOJIBA directly benefits over 900 children and young people, members of the Center for Management and Professional Training Programme at the Castro Alves Theater, and Centers for Orchestral Practice in Simões Filho, Feira de Santana and Trancoso, in the extreme south of Bahia, and in Salvador, Itapagipana Peninsula in Bairro da Paz and Nordeste de Amaralina. In addition, NEOJIBA pedagogically supports orchestral projects in the state, offering its achievements to young musicians from more than 20 towns across Bahia. NEOJIBA stands out for its focus on social integration, stimulating interaction between children and young people from various segments of society.
Orquestra juvenil da Bahia The Youth Orchestra of Bahia with musicians aged 13-27 was founded in 2007 as the principal orchestra of the programme NEOJIBA – State Youth and Children’s Orchestra Centres of Bahia, Brazil. The orchestra’s chief conductor and artistic director is Ricardo Castro and the members of the orchestra work regularly with renowned international musicians. In 2009 after only two years since its foundation, the orchestra gave a performance at the 40th Campos do Jordão International Winter Festival, toured the main capitals of Brazilian’s Northeast and took part in a pedagogical exchange with El Sistema in Caracas, Venezuela. In 2010 the orchestra was resident at the Music Festival Santa Catarina and went on its first international tour with performances at the Queen Elizabeth Hall in London and the Centro Cultural de Belém in Lisbon. This was followed by concerts in the Southeast of Brazil and the live recording of their first DVD. In 2011, besides an important concert season at the Teatro Castro Alves in Salvador and performances in cities in the countryside of Bahia the orchestra was the first Brazilian orchestra to perform at the Royal Festival Hall in London, with the world-class Chinese pianist Lang Lang as soloist. August of the same year saw concerts in Berlin and Geneva with the pianist Maria João Pires which were recorded respectively by Deutsche Welle and Radio Suisse Romande. In 2012 the group was resident orchestra at the first festival ‘Música em Trancoso’ in the South of Bahia, side by side with celebrated musicians such as the Labeque sisters and Cesar Camargo Mariano. At the second edition of the festival the following year an important partnership was formed between NEOJIBA and musicians of the Berlin Philharmonic Orchestra. In February 2014 the Orquestra Juvenil da Bahia embarked on its first tour to the United States, conducted by its artistic director and principal conductor Ricardo Castro. The ‘Airily elegant Bahia Orchestra Project’ (LA Times, Feb. 21) had 140 members and performed 12 concerts in 11 cities in the states of Arizona, Missouri, Indiana and California. Soloists included the world-class French pianist Jean-Yves Thibaudet, the young Canadian pianist Stewart Goodyear and maestro Ricardo Castro, also on the piano. Dinis Sousa is the Guildhall School Fellow in Conducting. He graduated in 2014 with Distinction from the Guildhall Artist in Performance Masters programme, studying piano with Philip Jenkins and Martin Roscoe, and conducting with Sian Edwards and Timothy Redmond. He has performed at venues such as the Barbican and Queen Elizabeth Halls and highlights this season include conducting the Southbank Sinfonia at Cadogan Hall and appearing as a soloist with Portugal’s Orquestra do Norte. © Francisco Rivotti
He is artistic director of Orquestra XXI, an award-winning project that brings together Portuguese musicians that live all over Europe to play together in Portugal. The orchestra was founded in 2013 and has since done several tours in Portugal, performing in all the major concert halls to critical acclaim. Described as having 'breathless sparkle' and ‘a bell-like tone’ by The Times, Anna Gillingham recently completed her studies on the opera course at the Guildhall School, where she graduated with distinction. Recent roles include the title role in the UK stage premiere of Donizetti's Francesca di Foix, Salome in Stradella’s San Giovanni Battista and Marguerite Faust. Anna has performed at London’s most prestigious venues, including Wigmore Hall, Barbican Concert Hall, LSO St. Luke’s, Purcell Room as well as in venues across Germany and Italy, and on In Tune 70
for Radio 3. Anna read Music at Queens’ College, Cambridge and graduated with double first-class honours in 2010. Guildhall School students & NEOJIBA instrumentalists: Guilherme Teixeira da Silva, violin* Katherine Meyers, violin Dâmaris dos Santos, violin* Bacem Anas Romdhani, violin Waibun Chan, viola Jhonatan dos Santos, viola* Romana Kaiser, cello Caio Barbosa Cunha de Azevedo, composer, cello* Jose Moreira, double bass Rosemary Bowker, flute Erica Barreto Smetak, oboe* Indira Dourado Monteiro da Costa, clarinet* Sebastiàn Espinosa Carrasco, piano Aline Falcão Novais de Almeida, composer, harmonium* Cássio Fernando Santos Bitencourt, percussion* Dorothy Raphael, percussion Jamberê Ribeiro de Cerqueira, composer (not performing)* *members of NEOJIBA / Youth Orchestra of Bahia With thanks to Eliot Shrimpton, Guildhall School Head of Academic Studies (Drama) Text from Mahler Symphony 4 (sung in German): Das himmlische Leben (aus Des Knaben Wunderhorn)
The Heavenly Life (from Des Knaben Wunderhorn)
Wir genießen die himmlischen Freuden, D'rum tun wir das Irdische meiden. Kein weltlich' Getümmel Hört man nicht im Himmel! Lebt alles in sanftester Ruh'. Wir führen ein englisches Leben, Sind dennoch ganz lustig daneben; Wir tanzen und springen, Wir hüpfen und singen, Sankt Peter im Himmel sieht zu.
We enjoy heavenly pleasures and therefore avoid earthly ones. No worldly tumult is to be heard in heaven. All live in greatest peace. We lead angelic lives, yet have a merry time of it besides. We dance and we spring, We skip and we sing. Saint Peter in heaven looks on.
Johannes das Lämmlein auslasset, Der Metzger Herodes d'rauf passet. Wir führen ein geduldig's, Unschuldig's, geduldig's, Ein liebliches Lämmlein zu Tod. Sankt Lucas den Ochsen tät schlachten
John lets the lambkin out, and Herod the Butcher lies in wait for it. We lead a patient, an innocent, patient, dear little lamb to its death. Saint Luke slaughters the ox
Ohn' einig's Bedenken und Achten. Der Wein kost' kein Heller Im himmlischen Keller; Die Englein, die backen das Brot.
without any thought or concern. Wine doesn't cost a penny in the heavenly cellars; The angels bake the bread.
Gut' Kräuter von allerhand Arten, Die wachsen im himmlischen Garten, Gut' Spargel, Fisolen Und was wir nur wollen. Ganze Schüsseln voll sind uns bereit! Gut' Äpfel, gut' Birn' und gut' Trauben; Die Gärtner, die alles erlauben. Willst Rehbock, willst Hasen, Auf offener Straßen Sie laufen herbei!
Good greens of every sort grow in the heavenly vegetable patch, good asparagus, string beans, and whatever we want. Whole dishfuls are set for us! Good apples, good pears and good grapes, and gardeners who allow everything! If you want roebuck or hare, on the public streets they come running right up.
Sollt' ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sankt Martha die Köchin muß sein.
Should a fast day come along, all the fishes at once come swimming with joy. There goes Saint Peter running with his net and his bait to the heavenly pond. Saint Martha must be the cook.
Kein' Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen. Sankt Ursula selbst dazu lacht. Kein' Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen, Daß alles für Freuden erwacht.
There is just no music on earth that can compare to ours. Even the eleven thousand virgins venture to dance, and Saint Ursula herself has to laugh. There is just no music on earth that can compare to ours. Cecilia and all her relations make excellent court musicians. The angelic voices gladden our senses, so that all awaken for joy.
Artists in residence CreativeConnection, founded in 1985, is a company of artists who specialise in transformative narrative. Their work takes them behind the scenes in many sectors of our society. They will be keynote listeners, recording as much as they can of what is explored, expressed, and exhibited. They will seek to weave threads, themes and thoughts into a work of our making. "We are excited about being part of this unique conference and look forward to engaging with you, investigating, and interrogating, and exploring the revolutionary role of music and drama in the making of consciousness, creativity and culture."
Artists Beatrice Baumgartner Tim Casswell Federica Ciotti Giulia Coppola Lara Popovic Roberto Sitta
Photographer in residence Sarah Hickson is a London based photographer, working in the arts, travel and photo-journalism. Her interest in photography grew as she started to travel in her early twenties. Later she began to consider photography in the context of performance, drawing on her experience of working with artists as a producer and manager. Since Autumn 2009 Sarah has made regular trips to Mali, Burkina Faso, Senegal, Morocco and India, where she has been engaged as a photographer on a range of artistic and documentary assignments, as well developing personal projects. In 2013 and 2014 Sarah undertook assignments in Ladakh (India), at a festival in the Sahara Desert (Morocco), on an 8,000 km train journey around India, in Shoreditch with an architect and his family, and on tour in the UK with the Kinshasa Symphony Orchestra (from the DRC).
Presenter & chair biographies, & session abstracts Robert Adediran (session 4b) London Music Masters email@example.com
Please see Clare Lovett for abstract Robert Adediran has worked for leading arts organisations in the UK and around the world as an educationalist, creative practitioner and programme leader. He led his first music outreach project in Lagos, Nigeria in 2007 and has gone on to work with London Philharmonic Orchestra, Wigmore Hall, Royal Academy of Music, Spitalfields Music and many others. As a practising musician Robert is passionate about enabling people from all backgrounds to make great music and is delighted to be able to do this with London Music Masters as its Executive Director.
Professor Esp. Pamela Cristiana De Almeida (session 2f) Universidade Federal do Piauí firstname.lastname@example.org
Please see Dr Paula Molinari for abstract Professor Esp. Pamela Cristiana De Almeida Brazilian Percussionist and Singer, professor at UFPI - Universidade Federal do Piauí. Head of Latin Theatre International Wolfsohn and Hart Voice Work where she is working with Wolfsohn/Molinari Pedagogy in the last years.
Gretchen Amussen (session 3c) Paris Conservatoire (Conservatoire national supérieur de musique et de danse de Paris) email@example.com Entrepreneurship in the performing arts: connecting with audiences and building community This session proposes to explore an expanded conception of entrepreneurship, integrating the relationship to audiences and the need to build community. Feedback from the European Association of Conservatoire (AEC)’s recently completed Polifonia working group dedicated to entrepreneurship in music will serve as an introduction, after which Angela Beeching will share current approaches in North American conservatoires and universities. Henk van der Meulen, Principal of the Royal Conservatoire of the Hague, will describe how his school seeks to embed entrepreneurial practice into its curriculum, and the impact within the institution on their joint Master on new audiences and innovative practice. 75
Joan-Albert Serra will unveil his project for a European cooperative platform for musicians integrating a cooperative entrepreneurial approach to engagement and interaction with broader audiences. Gavin Roberts, one of the recently appointed “Guildhall Creative Entrepreneurs” will describe his project and approaches to community building and engagement with audiences. The session will include time for small group discussion and debate. Panelists include : Gretchen Amussen (moderator), Angela Beeching, Henk van der Meulen, Joan-Albert Serra and Gavin Roberts. The Franco-American Gretchen Amussen is Director for External Affairs and International Relations at the Paris Conservatoire, where she has helped promote the Conservatoire, its students and teachers through an extensive worldwide network of educational and cultural organizations. Particularly active within European networks, she co-chaired the European Association of Conservatoire (AEC) first thematic working group dedicated to the implications of the Bologna Process (2001-2004), and subsequently co-chaired the AEC’s Polifonia working group dedicated to the music profession. Gretchen served as AEC Vice-President from 20102013 and most recently she chaired the AEC’s Polifonia working group dedicated to entrepreneurship in music. (www.musicalentrepreneurship.eu).
James Andean (session 7d) Sibelius Academy, University of the Arts Helsinki firstname.lastname@example.org Interdisciplinary encounters: transition, mediation, and dissolution in multidisciplinary improvisation The Research Group in Interdisciplinary Improvisation, based at the University of the Arts Helsinki, has been exploring a number of research angles on contemporary improvisation since its inception in September 2011. Initially, the Group's work focused on cross- and inter-disciplinary improvisation between music/sound and dancers; then, for the past two years, this has been expanded to include the full range of performing arts, and beyond. This has brought musicians and sound artists into close collaboration with dance, theatre, film and video, performance art, and studio arts, to bring to light some of the specific issues and challenges involved in interdisciplinary improvisation. These lead directly to the formulation of key research questions, which are explored and developed through a combination of theory and practical work. The group's initial mandate focused on attempts to address key questions in interdisciplinary improvisation, including: Where can common ground be found? Where do we find significant differences in perspective, or challenges in improvised communication? How can these be explained? Are there any broader implications, extending beyond the scope of improvisation practice? Over time, the group's practice, in both performance and research, has come to focus on more targeted issues, including: 76
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communication between disciplines vs. the dissolution of disciplinary categories; contrasts between 'musical' and 'sonic' discourse in the encounter with other disciplines; transitions, translations, and mediations between private and public performance practice(s); variations in the notion and treatment of 'space' across the disciplines, and the practical consequences for the improvising performer; potential differences in the structuring of performances, both in the real-time elaboration of an improvisation, and the post facto recall of a completed improvisation – for example, as 'events-in-space' vs. 'events-in-time'; key issues in cross-disciplinary translation, including mobility, flexible identity, and the use of specialized tools; and, the common and contrasting affordances of improvisation as both object of, and methodology for, research.
This presentation will present observations and findings culled from the Research Group's work and practice. James Andean is a musician and sound artist. He is active as both a performer and a composer in a range of fields, including electroacoustic composition and performance, improvisation, sound installation, and sound recording. He is a founding member of improvisation and new music quartet Rank Ensemble and interdisciplinary improvisation ensemble The Tuesday Group, and one half of audiovisual performance art duo Plucie/DesAndes. He has performed throughout Europe and North America, and his works have been performed around the world. He is a lecturer at the Centre for Music & Technology of the Sibelius Academy/University of the Arts Helsinki.
Professor of Composition and Composer in Residence Julian Anderson (session L1c & 4c) Guildhall School of Music & Drama email@example.com
Please see Professor John Sloboda for abstract (session L1c) On not giving straight answers: contradiction, ambiguity and aporia in my opera Thebans ‘ “They always answer any question I ask.” “What about the questions you don’t ask?” “Ah well, I don’t ask those.” ’ (Yes Prime Minister, Series 1, Episode 6 ‘A Victory for Democracy’, Anthony Jay and Jonathan Lynn, 1986) This paper will examine certain aspects of dramatic contradiction in both the libretto and musical score of my opera Thebans, premiered at ENO in May and June 2014. Taking as the starting point the key character of Creon - the only principle character to appear in all three acts 77
of the work – I propose to examine dramatic and musical devices for envisioning and enshrining ambiguity at all levels of the operatic experience. In particular, aspects of harmonic language will be explored. The basis of the whole opera was an inversion of normal musical syntax: consonances and common triads - traditionally regarded as settled goals and signs of stability – were instead deployed to undermine stability, to evade a clear goal. In parallel with this regular pulse and metre were deployed to depict rigidity, deception and even psychological fascism. This paper will examine the details of this strategy which is quite distinct from usual dramatic irony, being in intention not in the least ironic - and its unfolding through time and the distortion of time that is at the core of Thebans. The relationship between this inverted musical syntax and the re-ordering of the opera’s plot (in which Acts 2 and 3 have their plot orders reversed) will be clarified. It is hoped that new insights into the relationship of drama, words and staging to musical score will thus be revealed, together with some pointers as to how these may be freshly deployed in future dramatic works. The presentation will involve both sound and visual extracts from the opera’s first staging, as well as fragments of both libretto and musical score. Thebans is next to be staged 2 months after the Reflective Conservatoire conference, at the opera house in Bonn, Germany, so there will be a chance for those hearing this paper to witness a staging of the piece in Europe within a short time of this paper being given. Julian Anderson (b.1967) studied with Lambert, Goehr and Murail and first came to prominence when his orchestral Diptych (1990) won the RPS Composition Prize in 1992. He has been composer in residence with the CBSO, Cleveland Orchestra LPO, and currently the Wigmore Hall. He directed the Philharmonia's Music of Today series between 2002 and 2010. His orchestral Fantasias (2009), written for the Cleveland Orchestra, won a British Composer Award and The Discovery of Heaven (2011) was awarded a South Bank Sky Arts Award. He wrote Alleluia for the opening of London's refurbished Southbank Centre in 2007 and Harmony for The First Night of the BBC Proms in 2013. His first opera Thebans based on Sophocles opened at ENO in 2014.
Deborah Annetts (session 2b) Incorporated Society of Musicians (ISM) firstname.lastname@example.org Following studying PPE at Oxford, Deborah Annetts trained as a solicitor and was a partner and head of employment law at Stephens Innocent. Since 2001, Deborah has worked in the third sector as a Chief Executive. In May 2008 Deborah became Chief Executive of the Incorporated Society of Musicians and has led the organisation in a programme of wideranging change. The ISM has 7,000 members from across the music sector, from individuals to institutions (including almost all of the UK conservatoires) and from performance to composition and education. Deborah is Chair of the Educational Recording Agency (ERA), a member of the British Copyright Council and a former Chair of the Music Education Council. 78
Paul Archbold (session 7d) Director, Institute of Advanced Study, University of London email@example.com Paul Archbold studied composition at the Royal Academy of Music and at the University of Durham. His compositions have been performed by several of the leading exponents of contemporary music in the United Kingdom including Arditti Quartet, Exposé, Gemini, Kreutzer Quartet, and have been broadcast in the UK and across the globe. He has held lectureships at the universities of Huddersfield and Durham and is currently Reader in Music at Kingston University London and Director of the Institute of Musical Research, School of Advanced Study, University of London. He is active as a performer of live electronic music, and regularly collaborates with the oboist Christopher Redgate.
Liliana Araujo (session 6b) Royal College of Music, London firstname.lastname@example.org
Please see Professor Jane Ginsborg for abstract Liliana Araújo is Research Associate in Performance Science working on the Musical Impact Project. She studied Psychology at University of Evora and completed her PhD within the Centre for Psychological Research (CIPSI) at University of Minho (Portugal). Her research focused on expert performance and development in dance and science. Liliana has worked in the field of education as psychologist and teacher and has experience as lecturer and supervisor for undergraduate and masters’ degree programmes in the field of psychology and performance science. Liliana’s current research interests include health and wellbeing, expert performance as well as career development for performing artists.
Sara Ascenso (session 6b) Royal College of Music, London email@example.com
Please see Professor Jane Ginsborg for abstract Sara Ascenso is Research Associate in Performance Science and a doctoral candidate at the Royal College of Music. She graduated in piano performance from the National Conservatory of Music, Lisbon, and completed a BMus in collaborative piano at the National Superior Orchestra Academy of the Metropolitan Orchestra of Lisbon. She holds a combined degree (bachelor& masters) in clinical psychology from the University of Lisbon and an MSc in Performance Science from the RCM. Sara has maintained 79
regular professional activity as a collaborative pianist and piano teacher and has worked as a psychologist both in clinical settings and within diverse educational projects. Her PhD research focuses on the wellbeing of professional musicians and music students under the positive psychology framework. She is visiting faculty for the Executive Master on Applied Positive Psychology at the University of Lisbon, for the current academic year.
Louise Atkins (session 6b) Royal College of Music, London firstname.lastname@example.org
Please see Professor Jane Ginsborg for abstract Louise Atkins is Research Associate in Performance Science at the Royal College of Music. After graduating from the Royal Welsh College of Music and Drama with a BMus in clarinet performance Louise went on to be the first student on a new Masters pathway, supported by an EMI Sound Foundation award, at the same institution combining both the art of music and the science of performance. Following the completion of her MMus Louise began cross-faculty doctoral research at the University of South Wales exploring the occupational health and wellbeing practices, policies, and procedures of the UK conservatoire sector, investigating ways towards common approaches in the area. Louiseâ€™s current research interests include the practical application of performance science knowledge in the conservatoire setting and the development of improved teaching and learning in and around the topics of occupational health and wellbeing for musicians. Alongside her academic work Louise is also a qualified Sports Massage Therapist, and works on applying the well-established techniques and knowledge of the sports world to the musical setting. She also continues to be involved in music making and performs regularly with a woodwind trio, who concentrate on outreach projects and taking live music to those who wouldnâ€™t ordinarily have the opportunity to experience it.
Lucy Bailey (session 3b) email@example.com
Please see Professor Paul Alan Barker for abstract Lucy Bailey had early influences with associations from Glyndebourn and Samuel Beckett. She co-founded the Gogmagogs musical theatre company in 1995. After that she was able to work as an assistant director at the Royal National Theatre, Glyndebourne Opera and the Royal Shakespeare Company. She has directed Shakespeare to much acclaim, notably productions at the Globe including Titus Andronicus and Macbeth and at the RSC in Stratford-upon-Avon including The Taming of the Shrew, A Winter's Tale and Julius Caesar.
Imogen Barford (session 2h) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Sarah Newbold for abstract Imogen Barford, MA(Cantab.), DipRAM, LRAM, ARAM, MSTAT, is Head of Harp at the Guildhall School and a qualified Alexander Technique teacher.
Professor Paul Alan Barker (session 3b) Royal Central School of Speech and Drama email@example.com Change in the conservatoire The inherent nature of a Conservatoire may be to conserve but its institutional roots are in Italian hospitals which offered an intense musical education to abandoned, underprivileged children. The world is changing faster now than ever and conservatoires need to be a part of that change, or be left out. Political and social attitudes to the arts tend to:
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diminish or question financial support whilst acknowledging their massive contribution to the GDP; accentuate the vast educational and social benefit of creativity (Robinson) inherent in arts training whilst diminishing its impact as “soft”; accentuate the arts as a commercial, competitive product whilst acknowledging their positive social influence for change, through practise (Lebrecht, El Sistema, Kohn, etc.).
The conservatoire which will survive these challenges needs to reassess its functions and objectives. Many of the accepted shibboleths might be usefully re-examined. Amongst these considerations, the question of disciplinarity within conservatoires might be seen as fundamental. The divisions between the art forms are increasingly redundant in professional practise. The plastic arts have a century or more of tradition of transgression into the performing arts, and a new generation of actors, singers, dancers and musicians freely move between many theatres and many musics. This paper offers an opportunity to propose a new model of what a conservatoire might be: one which reflects the connection between the arts rather than their differences (Midgley); which allows for human need for diversity, flexibility and adaptability to sustain itself; and where excellence itself might gain a new dimension. The conservatoire of tomorrow could become the hub of artistic vision which actively promotes arts practise as well as artists. Paul Alan Barker won all the prizes for a composer and accompanist at the Guildhall School of Music & Drama, and the Royal Philharmonic Society Prize. He has worked extensively in 81
contemporary dance, theatre and opera, in the concert hall and as a composer in residence. Sixteen operas have been performed, recorded and televised internationally. He has received commissions from such as Joan lluna, Tasmin Little and Tambuco. Three CDs of his music are available. His book Composing for Voice is published by Routledge. He is Professor of Music Theatre at the Royal Central School of Speech and Drama. www.paulalanbarker.net
Dr Alison Barrington (session L2c) Guildhall School of Music & Drama firstname.lastname@example.org Finding a job…keeping a job. Establishing new music posts in primary schools in the UK Newly qualified and experienced musicians alike are often faced with creating projects and sustaining new teaching and therapy posts in school settings. This paper presents some of the key issues that musicians need to take into consideration when establishing work in schools. This paper will deliver data gathered from Music Therapists, Head Teachers and other school workers from a research project undertaken in 2014-2015. It considers some of the practical issues, clinical issues and interpersonal issues that music therapists need to be aware of when setting up work. The implications of much of this data goes beyond music therapy work in primary school setting and is relevant for both music therapists and non-music therapists considering how to set up work in a new environment. Alison Barrington studied the flute at Chetham’s School of Music and the Guildhall School of Music & Drama before qualifying as a music therapist in 1991 at Roehampton University. She has worked with children and adults with learning disabilities and emotional/behavioural problems and with adults with palliative care issues. In 1998 Alison gained an MA in counselling and has worked with Relate and for bereavement counselling services. In 2005 Alison also gained a PhD from Durham University. Her thesis, ‘Music Therapy: A Study in Professionalisation’ focusses on the development of music therapy in the UK. She designed and taught an undergraduate course on music therapy in Durham University and has given guest lectures at Cardiff University, Roehampton University, Northampton University and at the Nordoff-Robbins Music Therapy Centre, London. She has been an examiner for the Nordoff-Robbins Music Therapy Centre, London, Queen Mary University of London and Anglia Ruskin University. She is currently the external one of the editors for the British Journal of Music Therapy. Alison has also presented papers at the World Congress (2002), and at the BSMT Annual Conference (2003, 2004) and is the author of numerous scholarly articles.
John Bashford (session 2a) London Academy of Music & Dramatic Art email@example.com
Please see William Glassman for abstract John Bashford trained at LAMDA subsequently worked for Cambridge Theatre Company and Churchill Theatre. He lived in Australia for ten years and is a graduate of the NIDA postgraduate Directors course. He was a founding shareholder of the Belvoir Street Theatre and was Artistic Director of the Warehouse Theatre Company, Sydney. He has directed and taught at Kobe Arts Network, Japan; National School of Drama (New Delhi) and the Film & Television Institute of India. His writing credits include New Australia, Daemons, The Hop Garden, Some Kindaâ€™ Arizona and more recently: Fall Out. He is currently developing a new play: Crossing the Gulf.
Professor Christoph Baumann (session 8c & open house) Lucerne University of Applied Sciences and Arts firstname.lastname@example.org
Please see Bert Mooiman for abstract Christoph Baumann (born 1954) is an improvising musician, pianist, composer and professor for Jazz piano and improvisation at the Music Department of Lucerne University of Applied Sciences and Arts, Switzerland. His artistic activities include a vast field of improvising and composing approaches in which he relates various styles in experimental dramaturgic structures. He composed for various settings and disciplines like film, dance, theatre and radio plays, performed as leader or sideman at festivals around the world and has documented his creative work on various recordings.
Angela Beeching (session L1a & 3c) Manhattan School of Music email@example.com
Please see Jonathan Vaughan for abstract (session L1a) Please see Gretchen Amussen for abstract (session 3c) A leader in the field of music career development, Angela Beeching is author of the acclaimed Beyond Talent: Creating a Successful Career in Music and co-founder of the Network of Music Career Development Officers, the premier organization for the profession. Ms. 83
Beeching has advised hundreds of musicians, coaching them on ways to turn their entrepreneurial ideas into successful projects and career paths. She directs the Center for Music Entrepreneurship at Manhattan School of Music. Previously she directed of the New England Conservatory Career Services Center, and was a consultant to the Indiana University Jacobs School of Music. Ms. Beeching has presented workshops at many educational institutions, as well as for the Association of Performing Arts Presenters, the National Association of Schools of Music, Chamber Music America, and the National Conference on Keyboard Pedagogy. A Fulbright Scholar and Harriet Hale Woolley grant recipient, Ms. Beeching holds a doctorate in cello and is committed to helping musicians create new paths to success. Her popular “Monday Bytes” blog, with weekly career tips and inspiration, is found on the site for her private practice, Beyond Talent Consulting.
Mónika Benedek (session 5d) University of Jyväskylä, Finland firstname.lastname@example.org Teaching piano improvisation and harmony for undergraduate students in music education using combined materials selected from the baroque period and jazz standard repertoire This paper presents a part of a PhD research conducted in a Finnish university. The overall aim of research was to explore how improvisation can be used as a funcional pedagogical tool for a combined teaching of baroque and jazz harmony for undergraduate music education students. The research in particular investigated how improvisation had an effect on learning harmony and the aural skills. The research also looked what sort of elements contribute to making piano improvisation as a functional teaching method for a combined teaching of baroque and jazz harmony, such as students’ existing knowledge of harmony and musical skills, peer versus individual improvisation techniques, development of knowledge and various musical skills during the research period. The last aim of the research was to examine how both individual and peer improvisation skills developed in both genres. Data was gathered through a teaching course over an academic year with five students at Finnish university. Data concerning students’ previous experiences and the progress and challenges to learning harmony during the course were gathered through five questionnaires and three harmony tests, and compared with the researcher’s observations. Data concerning students’ development of piano improvisation skills both individually and with the company of peers were collected through two improvisation tests before and after the course. Furthermore video recordings provided the background data about students’ learning progess and challenges of piano improvisation exercises during the course. Qualitative content analysis used to evaluate all data for each student. The results showed that improvisation, especially in the company of peers, positively influenced the students’ knowledge of harmony in both baroque and jazz styles, and the aural skills. However, improvisation was more applicable to learning harmony once a certain amount of 84
theoretical knowledge and aural and piano skills were first consolidated. The piano improvisation and especially when done with their peers motivated the students the most to learn harmony. Students also found beneficial to learning harmony using such combined materials selected from baroque period and jazz standard repertoire. Mónika Benedek is currently completing her PhD in Music Education at the University of Jyväskylä, Finland. She received her MMus and BMus degrees in Music Education, Music Theory, Solfège and Choral Conducting from the Liszt Academy of Music, Hungary. She has been teaching solfège, music theory & history, and choral conducting for the past 14 years at tertiary level in Finland and at the Hungarian jazz vocational and tertiary program. She was a guest lecturer at the University of Queensland, Australia, Zoltán Kodály Pedagogical Institute, Hungary and at the Berlin Brandenburg International School, Germany. She has been leading classical and jazz choirs and co-writing a harmony book with Professor David Vinden.
Richard Benjafield (session L1c) Guildhall School of Music & Drama email@example.com
Please see Professor John Sloboda for abstract Richard Benjafield's studies were at the RNCM, University of Ghana and Tanglewood Music Centre. For ten years from 1990, Richard led Ensemble Bash, the first established percussion quartet in the UK. As well as commissioning and continually performing over forty new works, many now established as standard repertoire, the quartet toured extensively, performed at the BBC Proms, recorded for Sony Classical and established an influential programme of outreach work for schools. Richard's performing career has included London Sinfonietta, BBC Symphony Orchestra, Nash Ensemble, and Glyndebourne Touring Opera, and many recordings of new music both on CD and for the BBC. Richard has worked closely with musicians such as Steve Reich, Joanna MacGregor, Jane Manning, Melinda Maxwell and Graham Fitkin, and has been a member of the Colin Currie Group since its inception in 2006. A professor at the Guildhall School of Music & Drama since 1995, Richard took up the position of Head of Wind, Brass and Percussion in 2009.
Professor Dawn Bennett (sessions 2e & 6a, & chair session L2c) Curtin University, Australia firstname.lastname@example.org Are programme notes counter-productive? The impact of programme notes on audience reactions to new music (session 2e) Classical music listeners often receive programme notes with information about the historical context of a work, its composer, and the underlying musical thinking. For 85
repertoire in the Western art music canon, audiences often know much of this information before the performance; however for newly composed or rarely performed works the programme note may contain essential information that informs and guides the listening experience. This paper reports findings from a study that explored the impact of this information on the experience of both performers and audience members. The focus here is on listeners. The research adopted the theoretical framework of analytic auto-ethnography. The performers were both experienced musicians: a soprano and viola player who had not previously worked together. The music, Boris Tchaikovsky’s settings of two Rudyard Kipling poems translated into Russian, was new to both performers and audience members. The musicians undertook individual practice sessions and joint rehearsals for six days, annotating their scores to indicate features to which they had attended. This was followed with a performance of the two songs, with each performer playing one song from memory. To explore the nature and meaning of the music and each listener’s own way of listening, audience questions were informed by phenomenological analysis. In this case, audience members’ responses provided the material for analysis. The first performance was an open listening without access to a programme note or other explanatory information. Listeners then responded to questions about the listener experience and the works. Next, the programme note and translated lyrics were shared with listeners before the performance was repeated and a further set of questions was answered. Initial results suggest that listeners with less musical experience and knowledge focus on the ontological meaning of new works. These differ widely: for example, one work was described as “A tale of hardship and toil”; and “… about love and the mood was light and fun”. The ontological meanings of more experienced listeners were often informed by musical elements (semantic meaning): “native drumming represented by the arpeggios”. Once they had the background information, less experienced listeners made semantic (and sometimes syntactical) relationships and adjusted their initial thoughts to align with the known meaning, whereas more experienced listeners often referred to their original meanings: “ … I preferred my first interpretation”. It is hoped that the final dataset will inform the types and modes of information shared with audience members in multiple contexts. How do we make music students employable? Three-minute ‘hot topic’ presentations by leading educators (session 6a) Higher education institutions are responsible for helping students to gain the skills, knowledge and personal attributes required of them in the initial stages of their careers. There is a strong perception that this task is not being done effectively. Ironically, employability skill development is most challenging in the very areas where there is the greatest need: those with ill-defined, difficult-to-enter graduate destinations and rapidly transforming employment contexts. Graduates in these areas commonly experience multiple entry attempts, manage multiple concurrent roles and have to self-manage their career paths.
Music is a prime example of these complex and precarious careers, which are as difficult to track and understand as they are to prepare for. As a result, higher education music institutions are under growing pressure to both define and demonstrate their graduates’ successful entry into the labour market. The majority of creative workers are in roles that are effectively missed by statistical workforce surveys (such as national census collections) which focus mainly on those employed in organisations such as orchestras, art galleries and film companies. Moreover, extant survey and census-based research tends to emphasise workers’ ‘main occupation’ and to understate or overlook other work undertaken in the portfolio of work that is commonplace for musicians and other creative workers. This over-emphasis on established or company-based creative workers results in skewed assessments of creative work. Improving employability for music graduates involves direct teaching of skills together with motivating students to engage in career-relevant activities, and working to change stakeholder perceptions of both graduates and employability itself. It also involves ascertaining the characteristics of employability for each student. This interactive presentation focuses on what students can do in readiness for employability and how teaching staff can identify, develop and assess necessary skills and capabilities. The presentation draws on the findings of research with music students, new graduates and established practitioners in Australia, Europe and North America. It then turns its attention to participants, with a view to establishing an international employability network that incorporates shared data gathering and far greater awareness of employability across the career lifespan. Professor Dawn Bennett is Distinguished Research Fellow and Director of the Creative Workforce initiative with Curtin University, Australia. Her recent research has focused on identity development, employability, graduate transition and creative labour markets, with a particular focus on learner development and impact of identity development during higher education. She is currently leading a major grant focused on graduate employability. A violist, Dawn serves on numerous editorial boards and she convenes the Australian Learning and Teaching Fellows’ network. She is also on the board of directors for the Music Council of Australia and serves as a commissioner with the ISME Commission for Education of the Professional Musician.
Dr Amy Blier-Carruthers (session 2b) Royal Academy of Music email@example.com Studio performance: a professional and paradigmatic approach to preparing musicians for the recording studio Aims and context Classical musicians spend thousands of hours training for the concert platform,but comparatively little time learning how to translate that performance for the recording studio.Either because of the inherent qualities of the product and process of recording, or because of this lack of preparation during their training, many musicians approach the recording studio with trepidation and anxiety. This is true of professionals, but even the technologically-savvy students of today describe recording using words such as: 'perfection, permanent, clean, clinical, not natural, no audience, exposing flaws, daunting' In this paper I would like to present some themes which have emerged from a course that I teach on studio practices for conservatoire students. I will present a learning model which uses elements of collaboration, experiential learning, self-reflection, and is an example of the simultaneous use of Sloboda's concepts of professional and paradigmatic reflection (Sloboda, Reflective Conservatoire keynote 2009 and ISM article 2011). Methodology/process I have been using an ethnographic approach: as a participant observer I have been teaching whilst also researching this learning experience. I will give an account of how the course is taught, highlighting important aspects of the teaching and learning processes as evidenced by my observations, interviews, and the students' own reflective commentaries. The course aims to give students practical experience of the recording studio, as well as opening up for debate ideas about what a recording is in comparison to a live performance, what the problems and opportunities are. An important element is that the students are given the experience of producing a session and choosing their own edits. This act of changing places with the producer gives them a rare chance to experience the challenges of recording from the other side of the control room glass. I would also like to offer an argument that this course is an example of the simultaneous use of Sloboda's concepts of professional and paradigmatic learning, where professional learning is preparing the student for the profession, and paradigmatic learning is the process of questioning or rethinking accepted mores, often resulting in news ways of thinking or doing. When these two concepts are applied simultaneously to teaching it can create a very fruitful creative tension which enhances the students' learning, and might also serve to change the culture of recording as these students feed into the profession.
Key outcomes and implications The session will highlight the benefits of combining Sloboda's concepts, and will offer a model of how teaching the practices of and ideologies associated with recording can not only prepare students for their careers as recording artists, but make them more conscious, enquiring and empowered musicians. Amy Blier-Carruthers holds the post of Lecturer (Postgraduate Programmes) at the Royal Academy of Music, having previously lectured at the Royal College of Music. Her PhD (received from King’s College London), currently being prepared for publication as a monograph, compares live performance and studio recording, using both analytical and ethnographic methods. Her research and teaching interests revolve around subjects involving performance style, recording practices, ethnographic approaches to classical music-making, innovative performer-led concert practices, the history of performance on recordings and the aesthetic and cultural contexts of these. She has recently given papers at conferences in Singapore, Quebec, Vienna, Tel Aviv, London and Cambridge, and is a core member of the AHRC Research Network 'Performance in the Studio'.
Dr Amanda Bolt (session 2a) London Contemporary Dance School firstname.lastname@example.org
Please see William Glassman for abstract Dr Amanda Bolt studied for a degree in Visual and Performing Arts at Brighton University and completed her MA in Dance Studies at Surrey University. Here she studied Laban Movement Analysis which began her interest in phenomenology and reflection in movement practices. She went on to complete a PhD in improvised performance. She took up the position of Head of Critical Studies at Circomedia, where she introduced reflective practice into the curriculum and as a tool for circus training. She is currently supervising BA and MA students at LCDS in practice-as-research dissertations and lecturing on Action Research, phenomenology and Grounded Theory.
Professor Henk Borgdorff (chair sessions 5b & 6c) Henk Borgdorff is Professor (‘lector’) of Research in the Arts at the Royal Conservatoire / University of the Arts, The Hague (The Netherlands). He was professor in Art Theory and Research at the Amsterdam School of the Arts (until 2010) and visiting professor in Aesthetics at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg (until 2013). Borgdorff is editor of the Journal for Artistic Research. At the Royal Conservatoire he focuses on the strengthening of the research culture and infrastructure, in both the degree programmes and on faculty level. His has published widely on the theoretical and political rationale of 89
research in the arts. A selection is published in May 2012 as The Conflict of the Faculties: Perspectives on Artistic Research and Academia (Leiden University Press).
David Braid (session 7b) University of Toronto email@example.com
Please see Dr Lee Tsang for abstract David Braid (University of Toronto) is a recipient of SOCAN Composer of the Year, recognizing his output of over eighty works including compositions for solo piano, jazz ensembles, chamber ensembles, and symphony orchestras. He has released nine recordings, garnering six Juno nominations and two Juno awards; he is also a multi-National Jazz Award Winner and a recipient of the Canada Council for the Arts’ JazzID Award. Combining harmonic intricacies fundamental to European classical music and the spontaneity of American jazz, Braid's original music has been described as ‘refreshingly uncategorizable’ (Paris Transatlantic) and "une force poétique" (Le Soleil).
Dr Stephen Broad (session 2a) Royal Conservatoire of Scotland s.broad@rcs..ac.uk An interdisciplinary approach to Masters study: ‘Critical Artistry’ at the Royal Conservatoire of Scotland The Bologna reforms, and the growing importance of doctoral programmes in conservatoires, have together raised fundamental questions about the nature and purpose of Masters programmes in Higher Music Education. How important is it that these programmes be distinguished from study at the Bachelors level? What might be the defining differences between study at the two levels? To what extent should these second-cycle programmes act as an 'apprenticeship' for doctoral study? Is this role compatible with the Masters' traditional role as the terminal phase of preparation for professional work? And how might we learn from developments in different Higher Arts disciplines? Drawing on the author's work in the recent AEC Polifonia working group on Artistic Research in the Second Cycle, this paper argues that there are particular qualities that define the second cycle, and that it is possible to design programmes that are bivalent, providing an effective preparation for professional life, while also developing attitudes and skills that effectively prepare students for ongoing studies at the doctoral level. Moving from the theoretical to the practical, this paper will report on a new approach to Masters programmes that is being developed at the Royal Conservatoire of Scotland. As a multidisciplinary institution including programmes in music, dance, drama, production and screen, the Royal Conservatoire has undertaken a comprehensive review of its taught curricula, beginning with a full review of all undergraduate programmes and extending to a 90
consideration of taught postgraduate programmes. Our multidisciplinary institutional response to the questions above has crystallised around a notion of 'critical artistry': an attitude and approach that, we plan, will infuse all our new master programmes, supported by a shared module ('Approaches to Critical Artistry') that will bring together all masters students (whatever their discipline) to consider the key issues of critical practice, individual agency and artistic responsibility. Drawing on student feedback and data from focus groups, this paper concludes with an evaluative 'status update' on the Royal Conservatoire's practical approach to resolving the significant questions that surround the nature and purpose of Masters programmes in Higher Music Education. Stephen Broad is Head of Research and Knowledge Exchange at the Royal Conservatoire of Scotland. He holds degrees from the universities of Glasgow and Oxford and maintains research interests across music education, practice-based research and historical musicology. At the Royal Conservatoire, he was part of the team that led a comprehensive reform of the taught curricula. Recent research work includes a special issue of Music Education Research on music in Higher Education (co-edited with John Oâ€™Flynn); a number of musicological essays on Olivier Messiaen; and contributions to a new AEC handbook on Artistic Research in the Second Cycle.
Philippa Bunting (session 1a) firstname.lastname@example.org
Please see Tim Palmer for abstract Philippa Bunting is a teacher of wide experience, having worked in a wide range of environments from whole class instrumental teaching on the Tower Hamlets String Project, to, currently, leading the First String Experience course at the Royal Academy of Music. She also has a strong background in teacher training, presently at the RNCM, where she is a Head of Music Education, with particularly responsibility for the PGCE in Music with Specialist Instrumental Teaching, run jointly with Manchester Metropolitan University. She also works as a freelance music education writer and consultant.
Pam Burnard (session 6a) Cambridge University email@example.com
Please see Professor Dawn Bennett for abstract Pam Burnard holds degrees in Music Performance, Music Education, Education and Philosophy. Her primary interest is creativities research for which she is internationally recognised. She is the author/co-author/editor of 9 books, 21 reports, 36 articles in refereed journals and 45 substantial book chapters. She is regularly 91
invited to give keynote addresses and invited talks nationally and internationally. Pamela is internationally known for her work as an academic, educator, researcher, editor, presenter and workshop facilitator. She is convener of the Commonwealth Creativities in Intercultural Arts Network (http://www.educ.cam.ac.uk/centres/cce/initiatives/projects/cian/), co-convener of the BERA Creativity SIG, Past co-editor of the British Journal of Music Education and the International Journal of Music Education. She serves on numerous editorial boards. Pamela manages an extensive research international and national seminar programme which supplements the Masters in Arts, Creativities, Education and Culture (ACEC), a course she initiated. She has also built extensive networks which link university, industry, school sectors and community arts organisations. Her research supervision encompasses investigations of creative learning and teaching, learning culture, creativity assessment, digital media and musical creativities in higher education, conservatoire and community settings. Her teaching responsibilities include developing creativity in learning and achievement in Higher Degree courses involving arts, culture and educational research training. She lectures on Undergraduate and Higher Degree courses developing creativity in education and music. She is the university link tutor for CPD courses in partnership with Cambridge Curiosity and Imagination (CCI) social enterprise involving artists. She is PGCE tutor and Bye-Fellow of Homerton College where she runs a cultural programme of seminars for students, fellows and guests.
Dr Susanne Burns (session 8a) firstname.lastname@example.org What do you need? Exploring the development needs of artists working in participatory settings ArtWorks: Developing Practice in Participatory Settings is a Special Initiative of the Paul Hamlyn Foundation established in 2011 and continuing to the end of 2014. It is a workforce development scheme that seeks to meet the needs of artists at different stages in their careers â€“ from the aspiring young artist embarking on training, to experienced practitioners who wish to progress their output. It is seeking to build on good practice to enhance the existing development infrastructure. The overall aim of ArtWorks is: To support the initial training and continuous professional development of artists working in participatory settings. This will enhance the quality of peopleâ€™s engagement in arts-led activity and the arts, and create a more professional and confident sector whose work is valued and seen as important. From 2010 â€“ 2015, we have been carrying out extensive research and piloting of new solutions and models and within the programmes of work undertaken by the five pathfinder partnerships, a large body of learning has accrued over the five years of activity. The initiative was designed as an action learning programme and learning has been gained and reported in different ways: 92
Those that have involved the pathfinders partnerships reflecting upon what they know Those that have combined models (like peer mentoring, Action Learning sets) which are meant to have an outcome in their own right, and tweaked the design and used the output from those models to elucidate research questions Those that have undertaken (with a range of approaches) straightforward research, expressed as such to those subjects who are contributing to it, framed formally by research questions, with data collection, analysis and synthesis in a typical format.
An overview of the research will be presented that consider issues surrounding the initial training and ongoing professional development of artists in HE institutions, issues surrounding the market and the demand side of the equation drawn from employer and commissioner related research, preferred modes of learning for artists and the challenges in creating better infrastructure to support artists development. For ArtWorks, relating programme learning about the practice back to the work of artists, employers and training and professional development providers will be key to its success – with the potential to nurture a strong collective voice for what is a strong collective practice. Susanne Burns is a senior arts leader, freelance management consultant and trainer with 30 years of experience in the cultural sector. She is currently Project Director for ArtWorks – a special initiative of the Paul Hamlyn Foundation. She has led several major evaluation projects including the longitudinal evaluation of In Harmony Liverpool and Arts and Health programmes for Merseyside PCT. She has carried out major research programmes including the Dance Mapping work for Arts Council England and was lead adviser for Canada Council for the Arts on their dance mapping programme. She has extensive experience of working in Higher Education and has a professional doctorate from Middlesex University.
Dr Kim Burwell (sessions 1b & 5b) University of New South Wales email@example.com
Please see Professor Harald Jørgensen for abstract (session 1b) Dissonance in the studio. An exploration of tensions within the apprenticeship setting, in higher education music Studio-based learning is held to be central importance in higher education music (Carey 2013, 357; Gaunt 2008, 215; Presland 2005, 237), and on the whole, it has been found to be effective, with confidence in the studio system expressed by students (Burwell & Shipton 2011, 267; Gaunt 2009, 185; Presland 2005, 239) and professional bodies (Music Council of Australia 2011; Association of European Conservatoires 2007). Occasionally in the research literature there are references to studio apprenticeships that have not proved effective for students. Evidence for this tends to be scant, and indeed it is difficult to know how direct data be obtained about ‘dissonant’ studio practices, without contaminating the 93
data in the process: deliberately setting out to identify and investigate instances of student dissatisfaction with studio lessons would seem to be prejudging the situation under investigation. Perhaps as a result, the available evidence has emerged largely in studies focused on other issues, and tends to be anecdotal or oblique in nature, as research participants report their knowledge of other times, or other people who may have experienced dissonant studio practices (Purser 2005; Hays et al. 2000). In several case studies, the original data collection has been broad enough to include the potential for identifying evidence of this kind, without having any explicit aim of investigating student dissatisfaction (Gaunt 2008; Burland & Davidson 2002). The project from which the current study is drawn rested on data collected from the filming of studio lessons, complemented by questionnaires and interviews with 27 participating students and their teachers. The original focus of the project lay on verbal behaviour in lessons, later moving to teacher-student dialogue, and eventually performance and nonverbal behaviour (Burwell 2012). Now, the data was reviewed and mined again, for evidence of dissonance in the studio. Two lessons were identified, in which students had (exceptionally) reported that their teachersâ€™ approaches were inappropriate for their current stage of development. These were treated as nested case studies, using â€˜rich transcriptionâ€™ to analyse aspects of verbal, performance and nonverbal behaviour in studio lessons. The nested case studies are exploratory in nature, taking advantage of the availability of rich data to see what can be learned from individual, purposefully-selected cases. Findings highlight issues of student maturity, independence, and the development of critical thinking, which perhaps do not sit well with the trust and authority essential to the success of studio apprenticeship. Kim Burwell is a pianist and teacher, whose research is focused on areas related to musical performance. After completing her initial studies in Australia, she studied piano with Ronald Smith in England, where she performed particularly as an accompanist and chamber musician, and where she lectured at Canterbury Christ Church University. In 2013 she returned to Australia, where she is currently designing an undergraduate degree pathway focused on instrumental and vocal pedagogy, at the University of New South Wales. Her book, Studiobased instrumental learning, was published in 2012 by Ashgate.
Jacqui Cameron (session 4d) Opera North firstname.lastname@example.org
Please see Professor Graham F. Welch for abstract Jacqui Cameron took up the post of Education Director at Opera North in August 2014. As a member of the Opera North Senior Management Team, Jacqui is responsible for the strategic direction, programme and financial performance of an Education Department which currently consists of 12 office based staff and an extensive
team of high quality music leaders who deliver activity in their base city of Leeds as well as across the North of England; she has strategic oversight for the In Harmony Opera North programme. Prior to joining Opera North, Jacqui was the Young Musicians Programme Manager at Sage Gateshead where she oversaw an extensive programme consisting of a DfE funded ‘Centre of Advanced Training’ for talented young musicians, an open access instrumental training programme and 10 regional youth ensembles encompassing choirs, orchestras, a jazz band and a folk band; within her role at Sage Gateshead she was also involved in the set up of the In Harmony Newcastle Gateshead programme in 2012.
Patricia Shehan Campbell (session 5a) University of Washington email@example.com
Please see Dr David E. Myers for abstract Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, teaching at the interface of education and ethnomusicology. Books and articles include Songs in Their Heads (1998; 2010), Teaching Music Globally (2004), Music in Cultural Context (1996), Free to Be Musical: Group Improvisation in Music (2010), the Oxford Handbook on Children’s Musical Cultures (2013). She has lectured widely in the U.S., in much of Europe and Asia, Australia, New Zealand, South America, and South Africa. Campbell is chair of the advisory board of Smithsonian Institution’s Folkways Recordings.
Nicole Canham (session 6a) University of Queensland, Australia firstname.lastname@example.org Makers versus masters: pathways to new creative domains for developing artists Classical music careers research suggests that developing artists need much more than performance or composition skills in order to establish and maintain sustainable professional careers. A continued emphasis on the mastery of a host of other transferable skills, in addition to high-level performance abilities, is frequently presented as a solution. Many of these skills, however, do not directly address the unique characteristics and opportunities of independent artistic culture (which will be the workspace for many graduates) as opposed to the institutional culture in which most musicians train. Drawing upon key principles of career construction theory proposed by Super (1951) and Savickas (2005), this paper proposes a new perspective on viewing and understanding the place that lessons learned at the tertiary and post-graduate level eventually take in professional creative practice. This collective case study investigated the beliefs, values, work and learning of eight artists who had all received classical music training, with the aim of increasing understanding of the nature of their independent, professional creative practices. The three-phase, focused life history 95
interview process revealed distinctive and highly personal applications of both traditional and non-traditional (informal) approaches to learning and work. Key themes which emerged from the data included a broad listening culture and early encouragement to develop specific artistic interests in independent ways. An ongoing commitment to making one’s own work was central to each participant’s strong sense of artistic vision and identity. Initial findings suggest that a deeper understanding of approaches to professional level independent practice may provide insight into how young musicians might successfully combine their ongoing artistic development with important career construction tasks. Informal learning environments and communities of practice emerged as necessary spaces for growth and development through critical times of creative growth and transition. The distinction between the skills required to maintain a professional artistic practice, as opposed to a commercially successful practice raises questions about the types of skills the developing artist most needs. Implications for education include addressing the ways in which students might acquire the skills needed to build relationships and embed themselves in less formal learning contexts beyond graduation. Maintaining and developing a strong sense of artistic identity based upon core independent beliefs and values challenges assumptions about the perceived need for business skills at the undergraduate level: as one participant expressed it, “the whole point is that you are the artist.” Churchill Fellow, clarinettist and independent artist, Nicole Canham, is a PhD Candidate at the University of Queensland, where she is investigating approaches to sustainable creative practice by independent artists. Specialising in chamber music and collaborations with artists from outside the world of music including theatre, dance, sculpture and technology, Nicole has performed throughout Australia and abroad in the USA, UK, France, Belgium, Germany and Mexico. She has also worked as a freelance musician for the Sydney Symphony, Australian Opera and Ballet, Tasmanian and Canberra Symphony Orchestras. Nicole has been a Move Records artist since 2005. www.nicolecanham.com
Professor Leonella Grasso Caprioli (session 3a) Conservatorio di Musica di Vicenza email@example.com Conservatoires in society: the Italian case The reflection on the function of the musician in the present and future society should be related, in the current political juncture, to the analysis of the model of renewal of the Conservatoires entering into the European Higher Education Area. The roundtable aims first to stimulate a discussion in the Italian environment, providing a contribution of analysis, reflections and evidences on the state of arts education in this european country.The Italian situation is particularly complex due to a number of interfering factors: an historical stratification of a music tradition highly cultivated; the versatile mechanisms of contemporary production, live performing and enjoyment of music; the effects of distorsion caused by the general economic, political, cultural crisis. Furthermore, the purpose of the session is to bring the discussion on the Italian specificity to an
international level, in the belief that the role played by this country - with its huge load of artistic history, current exuberance and capability of expressing excellence and creativity despite the system gaps - affects everyone in Europe and beyond. The round table involves experts, all Italians active in Italy but with international professional experience, able to bring their significant contribution to the topic from different points of view. Leonella Grasso Caprioli (professor of Theatrical disciplines at Conservatoire of Vicenza, musicologist, President of RAMI, associazione per la Ricerca Artistica Musicale in Italia), will focus on the issue of the implementation of the artistic research in the Italian context; Dinko Fabris (Professor of History of music at the Conservatoire of Naples, President IMS) will speak on strategies of exchange between intellectual work and musical practice from the perspective of musicology; Alessandro Melchiorre (composer, Principal Conservatoire of Milan) will introduce the representative case of the Conservatoire of Milan and in relation with national and international perspectives; Federica Riva (Librarian and Professor of music bibliography at the Conservatoire of Florence, President IAML-Italia) will bring the attention to the preservation of the Italian historical archives, development of librarian services and confrontation with new-technological tools; Giuseppe Silvestri (scientist, ex-Rector of University of Palermo and former Board member of EUA, President of the Conservatoire of Palermo) will speak as expert of the development of the research and III cycle at European level. We will invite to participate as special guest and interlocutor of the table Mister Carlo Majer, for his important experience as artistic director of Italian Opera Houses, music festivals and orchestras, and as businessman and patron of arts. Leonella Grasso Caprioli graduated in Musicology (Cremona). She is Head of research and Professor of Theatrical disciplines at the Conservatoire of Vicenza, assistant Professor at the Padua University (Music communication), and PRESIDENT OF RAMI associazione per la Ricerca Artistica Musicale in Italia. In the artistic field, she has experienced as stage director assistant in many Opera Houses, co-author of the doc-film La Fenice, la rinascita (2002), director of musical dramaturgy (Cut-out & Trees, Biennale 2010). She has published essays on Italian vocal style and musical lexicography, in particular the wide research embodied by the database Italian Lexicon of Singing (2014). She is WG member of EPARM (AEC European Platform of Artistic Research in Music).
Associate Professor Gemma Carey (session 5b & 6a, & chair session L2b) Queensland Conservatorium Griffith University firstname.lastname@example.org
Please see Professor Dawn Bennett for abstract (session 6a) Collaborative reflection in studio music teaching For decades, pedagogical studies have underscored the value of teachers reflecting critically on their teaching practices and approach, and more recent research has highlighted the usefulness of undertaking such reflection collaboratively. Systematic research into the challenges and benefits of collaborative reflection among teachers in the unique setting of a tertiary music 97
department, however, remains scarce. In light of the need to develop ‘best practice’ models for one-to-one music pedagogy that incorporate professional growth strategies for teachers (Gaunt, 2007), this presentation reports on a pilot project at one Australian tertiary music institution, in which one-to-one teachers reflected in pairs on video-recordings of their teaching, using a predeveloped framework for characterising pedagogical practices (Carey et al, 2013). In addition, teachers individually undertook a meta-reflection on the experience of undertaking this activity. Within its institutional context, the project aimed to develop in teachers a better understanding of their own one-to-one approach and practices; to encourage them to build upon and improve these existing practices using authentic insights gained through collaborative reflection; and to foster a shared and supportive environment for one-to-one teachers to explore and share ideas about their teaching. The presenters reflect on the extent to which the research achieved these outcomes, and its implications in terms of these objectives. Finally, suggestions are made for implementing future iterations of the project. Gemma Carey is Deputy Director (Learning and Teaching) and Head of Pedagogy at the Queensland Conservatorium Griffith University. Gemma’s expertise and research interests are in the area of Performance Pedagogy, Curriculum and Teaching and Learning. She has presented and published papers in the field of Instrumental Pedagogy both nationally and internationally. Recent publications include “Teacher and student perspectives on one-to-one pedagogy: Practices and possibilities” 2013 (Carey & Grant), “One-to-one pedagogy: developing a protocol for illuminating the nature of teaching in the conservatoire.” 2013 (Carey, Grant, McWilliam & Taylor) “Developing a Collaborative Model of Inquiry” 2012 (Carey, Lebler & Gall).
Professor Morten Carlsen (session 6e) Norwegian Academy of Music email@example.com
Please see Ingrid Maria Hanken for abstract Morten Carlsen is professor of viola and teaches related subjects at the Norwegian Academy of Music. He is a regular visiting teacher at the University of Music in Vienna, where he studied, and the Paris Conservatoire. His career as performer involved orchestral positions, top-level chamber music and solo performances and recordings. Mr Carlsen is fascinated also by the more philosophic aspects of teaching and performing and has written smaller articles and lectured on subjects such as instrumental practice, performer history and talent education. A collection of his advanced exercises for violin/viola, Vademecum, has been published.
Dr Glen Carruthers (session 1a, & chair session 5f) Wilfrid Laurier University firstname.lastname@example.org Community music and the curricular core This study, building on two previous studies entitled ‘Community Music and Higher Education’ and ‘Rethinking the Curricular Core’, considers how best to prepare intending professional musicians for sustainable and socially responsible careers. In the present century, conservatoires have purposefully rethought everything from learning outcomes and program content, to administrative models and governance structures. The motivators have been numerous and varied, from financial exigency to globalization, and from student demand to government legislation. New integrated planning and resource management models have been promulgated widely, partnerships have been forged around interdisciplinary clusters and hubs, and entrepreneurship has moved from the periphery to the curricular core. Nonetheless, research conducted in Canada that compares thirty-five university music programs indicates that only half of them include something other than theory, aural skills, musicology and applied study (including ensembles) in the curricular core. Overall, “other” occupies a tiny part of the curriculum even where it does play a role. It is necessary, based on societal need, to bridge widespread curricular chasms – to design a socially responsible curriculum that includes at its core community music and community service. The current preference for graduate programs over undergraduate programs in community music reflects the propensity to link community music research and practice. This can occur, too, at the undergraduate level by means of capstone projects and community placements. Similarly, the intersection between, for example, music therapy and community music – community music therapy – is amazingly fertile ground for new program development. In the present study the programming in one Faculty of Music in a well-known Canadian university is used to illustrate how the curricular whole can be and must be greater than the sum of its parts. In short, to be accountable to stakeholders in 2020 and beyond, conservatoires must re-imagine their fundamental purpose. This process has been unfolding widely, often in the form of program prioritization (internal to institutions) and differentiation (between institutions). What is evolving is awareness that performing arts disciplines must articulate their relevance, not as economic drivers that have extrinsic value, or by reference to artworks and their supposed intrinsic value, but in terms of the quality of life in a civil society and enduring values of peace, respect for difference, and care for the vulnerable. The study concludes by proposing a curricular core that produces sustainable degree programming that intentionally fosters and furthers the public good. Dr Glen Carruthers is Dean of Music at Wilfrid Laurier University (Canada) and former Chair of the ISME Commission for the Education of the Professional Musician. He served as 99
Dean of Music at Brandon University and Chair of the Department of Music at Lakehead University. He has presented conference papers in Canada, the United States, France, the UK, Ireland, Sweden, the Netherlands, Australia, Malaysia, Vietnam, Italy, Serbia, China, Brazil, Greece and Spain. His articles have appeared in many journals, including Journal of Musicology, Musical Times, Music Review and International Journal of Music Education. He is a past-president of the Canadian University Music Society.
Tim Casswell, CreativeConnection (session 7a & storyboarding throughout the conference) CreativeConnection email@example.com
Please see Marshall Marcus for abstract CreativeConnection
Please see performances & workshops section for information
Professor Kathleen Coessens (session 6c) Royal Conservatoire Antwerp (Music, Dance, Drama) firstname.lastname@example.org Performative sides/sites of performance situations: exploring the corporeal The presence of an instrument or electronic device, of a text or a score, of a dance floor, of an installation, .… and always the presence of a body, an artist's body: these are the constituents on stage for a performance, or rather for different kinds of performance — dance, music, drama. While the media, the gestures, the discourses are particular to each domain, the performative components of the corporeal utterances coincide. Or not? It is that performativity, both the illocutionary force (what the artist is attempting to do in that expression) and the perlocutionary effect (the actual effect the performance of that expression has on the public), that will be the central focus in this presentation. Translating Austin's and Searle's concepts of performativity from the linguistic domain to performance arts, we will consider their implication for different 'artistic utterances'. The research of this presentation is embedded in the work of the collaborative and trans-arts (music-dance-drama) research group CORPoREAL at the Conservatoire of Antwerp — launched Autumn 2013. Postdoc and predoc artist-researchers investigate corporeality in performance from different perspectives of the artist: implicit embodied knowledge in dance (Aline Veiga Loureiro); the impact of the body on (electronic) sound creation (Jan Schacher); the limits of embodied aesthetics of pain (Niko Raes); the corporeality of text in drama (Neal Leemput); the sensorial human potential (Kathleen Coessens). In May 2014, they presented a more than two hours research-performance at LABO21 — international conference on 'thinking bodies, moving minds' (http://www.labo21.eu/). In this collaborative composition 100
and decomposition of paradoxical aspects of the body, we investigated, performed and demonstrated 'the corporeality of words, states and sounds' from our different performancebackgrounds. Positions triggered contra-positions; improvisational interventions alternated with theoretical discussions and artistic demonstrations. This research-performance presentation will draw upon and beyond video-recorded material of CORPoREAL artistic and research performances, investigating the consequences of these interdisciplinary confrontations. Preliminary outcomes point to aspects of performativity that are shared over different art forms. The notions of motion and emotion, sense(s) and sensibility, tension and intention, inside and outside, visible and invisible, corporeality and textuality in performance will be demonstrated, discussed and analyzed through the lens of performativity. Questions that will be addressed are: What are the borders and boundaries of specific artistic embodied utterances? Can different art-forms communicate over these borders? Can different artistic locutionary expressions point to similar aims? Or, differently stated: are there, and if so, which are, shared illocutionary and perlocutionary aspects? Kathleen Coessens is musician and philosopher. She creates, performs and collaborates in artistic projects, merging visual and performance arts and exploring the boundaries between the cultural and the ecological, the sensorial and the aesthetic, arts and life. Supervising PhD students in the arts, she teaches and publishes philosophical and artistic research work (e.g. The Artistic Turn (2009) with D. Crispin and A. Douglas.) at the Vrije Universiteit Brussel, the Orpheus Instituut Gent and the Royal Conservatoires of Antwerp and Brussels. She launched the artistic research group CORPoREAL at the Conservatoire of Antwerp in 2013 and is head of music education at the Koninklijk Conservatorium Brussel since 2014.
Alban Coombs (session 3b) Institute for Orthodox Christian Studies, Cambridge, & Guildhall School of Music & Drama email@example.com
Please see Professor Paul Alan Barker for abstract Alban Coombs is a pianist, priest, theologian, researcher and teacher. Under the name of â€˜Stephen Coombsâ€™, his performing career has embraced many aspects of pianistic activity, including soloist, accompanist, chamber musician and duo-pianist. He has released around thirty commercial CDs mainly on the Hyperion label. Alongside his career as a musician, Alban Coombs is also a priest in the Orthodox Church (Ecumenical Patriarchate). His research interests include interdisciplinary performance art, the 'Silver Age' arts in Russia, theological and liturgical models of artistic performance and Music Theology. He is currently undertaking doctoral research at the Institute for Orthodox Christian Studies in Cambridge.
Detta Danford (session 7b) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Professor Julian Philips for abstract Detta Danford is a performer, composer and project leader whose work involves collaborating, performing, teaching and coaching. She is a cofounder of contemporary music ensemble Jetsam and is a member of MAP/Making, a collective of musicians and visual artists. As a project leader Detta has worked most recently with the BBC Symphony Orchestra, Royal Philharmonic Orchestra, the Barbican Centre, Tokyo College of Music and the New York Philharmonic Orchestra among others. She is a committed teacher, tutor and and coach and is currently teaching at the Guildhall School of Music & Drama, London and as a guest tutor for the Masters in New Audiences and Innovative Practice programme at the Royal Conservatoire in The Hague. Since 2008 she has co-led Future Band, an ensemble dedicated to creative collaborative composition for young people aged 8-18.
Professor Brit Ågot Brøske Danielsen (session 1a) Norwegian Academy of Music email@example.com
Please see Assistant Professor Kjell Tore Innervik for abstract Brit Ågot Brøske Danielsen is Associate Professor in Music didactics at the Music Education and Music Therapy Department, Norwegian Academy of Music. In a varied career, she has been working as an organ player, taught music in primary and secondary schools, conducted choirs, trained music teachers and have since 2009 been employed at the Norwegian Academy of Music. Brøske Danielsen is strongly engaged in a music project for refugee children in Lebanon. Her research focuses on multicultural music education, community music activities, teacher training, student music teachers’ practicum experiences and performing music students’ learning experiences from work practice situations.
Dr Martin Parker Dixon (session 8d) School of Culture and Creative Arts, University of Glasgow firstname.lastname@example.org Posing research questions natively: a phenomenological reading of creative activity The contextual background for this paper is the problem of framing composition and performance as research activities that can, with justification, make a contribution to a ‘research community’ or add to a body of knowledge. At the institutional and ideological level, this ‘problem’ is, perhaps, much less of an issue than it 102
once was. But calling composition ‘research’ is both exciting and daunting, and for all the opportunities it might open up, are musicians able to structure or even accept what they do – or are trying to do – as research? Is there an untraumatic way of switching identities between being-a-musician to being-a-researcher? In approaching these and related questions, what is at stake, I will be arguing, are the types of descriptions we deploy and the values they bring into being. Beyond superficial observations about the nature of outputs or presentation, it is not immediately clear, for example, what justifies one kind of activity being called ‘creative’ and another ‘scholarly’ or ‘scientific’, or why one set of institutional arrangements and expectations apply to one and not the other. To gain a foothold here, I will consider activities from the ‘inside’: we have to re-pose some old questions relating to how and why humans make, think, imagine or enquire into themselves and the world. In short, we have to enquire into consciousness. To that end I will be returning to the phenomenological thinking of Heidegger and Sartre in order to describe human consciousness in, and of, action. Some of the key terms I will bring to bear on artistic making are freedom, angst, imagination, self, and nothingness. Sartre in particular can help us understand how we think about our own motivations, what it means to act according to a ‘plan’, how we attempt to justify our actions, how we fake our behaviour, and how artistic consciousness can struggle to keep hold of the unwritten, unrealised project. My arguments have two major implications: One is that bringing musical practice into relation with research is an opportunity not for transformation, but to re-assert the core experiences of ‘creative’ work, and establish ‘research questions’ natively. Secondly, the basic description of human action expands and deregulates what goes by the phrase ‘creative activity’. If composition and performance have moved closer to research, a countermove is also evident: research can discover moments in itself which are closer to composition and performance. Martin Parker Dixon is a Lecturer in Music at the School of Culture and Creative Arts, University of Glasgow. He has a special research interest in the philosophical interpretation of the creative process and in liminal forms of academic writing.
Dr David Dolan (sessions 2g & 8c, chair sessions L2a & 4f, & open house) Guildhall School of Music & Drama email@example.com
Please see Bert Mooiman for abstract (session 8c) Enhanced encounters: connecting through improvising together Jazz musicians would often get together only shortly before a performance is due to play and improvise together, even if they have not played together previously. However, in the classical music scene - both within conservatoires and in professional circles, this practice is less common, and “proper” rehearsals have to take place before performing (mostly written works). Needless to say, in both jazz and classical contexts, variety of performance styles is vast. 103
The aim of the proposed workshop & discussion is to explore the reasons for the abovementioned phenomenon, as well as ways in which classical music-conservatoire students who do not know each other could connect through improvising together, and to examine whether an ‘improvisational state of mind’ (Jeff Pressing) allows for a greater readiness to explore mistakes, take risks and accept the unexpected and if so, to what extent? Could ensembleimprovisation enhance active listening, openness, and a greater level of exchange, interaction and support within a group of classical music conservatoire students and thus enhance the quality of their experience? The proposed event includes a workshop followed by a panel discussion. During the workshop, two groups of students, who will have had some training in classical improvisation in their home-institutions, will meet and interact. Together, they will take part in exercises of ensemble improvisation as well as working jointly on repertoire works while applying several techniques and approaches of improvisation, guided by David Dolan. One group will be the Ergo string quartet (students from NMH, the Norwegian Music Academy in Oslo), and the other will consist of four post-graduate students from the Guildhall School of Music & Drama in London. The two groups will meet shortly before the proposed workshop. The panel discussion, chaired by Professor John Sloboda, will include the composer & theorist Peter Tornquist (Principal, Norwegian Academy of Music in Oslo), Oboist Christopher Redgate (Research Fellow, Royal Academy of Music, London) and two of the students involved. The general discussion, involving members of the audience, will include observations and thoughts generated from the process presented during the workshop, in the light of the questions mentioned above. Ergo String Quartet Edvard Erdal, violin Brage Blix, violin Stinius Maurstad, viola Bjørn Sanders, cello Ergo String Quartet is a young, aspiring and award-winning ensemble from Norway. They started originally as a trio in 2011. After winning their class of ensembles in the National music competition for youth, they moved on and started to play the wonderful repertoire of string quartets. During their time as a quartet and trio, they have won many national competitions, notably the Sparre Olsen competition and two first prices, as a quartet, in the National music competition for youth. In 2013 they also won in the finals, being nominated as “Musician of the Year”. The ensemble has been playing with various renowned chamber musicians from Norway, England and Austria, notably Are Sandbakken and Geir Inge Lotsberg (Oslo String Quartet), The Maggini quartet, and Johannes Meissl and Hatto Beyerle (European Chamber Music Acadamy)
They have also played at several national and international concerts, notably: chamber music concert in the Norwegian National Opera, Oslo; Malta International Music Festival; European concert in Helsinki, Finland (Temppeliaukion kirkko); Oslo Quartet Series; Horten Chamber Music festival and Trondheim Chamber Music Festival. The Volta Quartet was formed in 2014 by students of the Guildhall School of Music & Drama, working under David Dolan, and also with Alasdair Tait. The quartet’s most recent highlight was a performance of Simon Holt’s Two Movements for String Quartet with the composer in attendance, which was recorded and broadcast by BBC Radio 3, for the Royal Philharmonic Society. As individuals, the members have performed extensively as soloists and chamber musicians throughout the UK, Europe, Asia and Australia, have attended major festivals such as the IMS in Prussia Cove, and won numerous prizes and awards. David Dolan has devoted an important part of his international career as a concert pianist, researcher and teacher to the revival of the art of classical improvisation. Professor of Classical Improvisation and its various applications to performance at the Guildhall School, David heads its Centre for Creative Performance & Classical Improvisation, which is promoting interdisciplinary projects. He also teaches at the Yehudi Menuhin School, and since 2011 runs a creative performance programme at the Australian-National-Academy, Melbourne. His series of masterclasses and workshops take place world-wide. His Research focuses on the impact of improvisation on creativity, communication and expression in performance.
Dr Francis Dubé (session L1e) Université Laval firstname.lastname@example.org The factors that influence independent instrumental teachers to use improvisation and composition activities or music technologies with young beginners The first objective of this research is to identify the factors that influence independent instrumental teachers in the province of Quebec to use improvisation and composition activities, or music technologies with their pupils at the beginning of their musical training. The second objective is to identify, when they are used, which type of creative activities or music technologies they integrate to their teaching. Over the past decades, researchers have demonstrated multiples benefits for music learners by integrating musical creative activities and music technologies in their teaching. For example, musical improvisation would develop the imagination (Berkowitz, 2010), interpretation, auditory and sight reading skills (Azzara, 1992; Thompson and Lehmann, 2004; Whitman, 105
2001), appropriation of musical concepts (McPherson, 1993), as well as musical commitment (Sternberg, 2000). The composition activities promote musical thinking and understanding, and develop higher order thinking skills (Barrett 2003; Gromko, 2003; Hickey 2003; Lewis, 2012). Finally, technologies increase the ways to learn or practice music (Després and Dubé, 2012). Given their importance to build musical learning, we wanted to know “IF, WHY and HOW” independent instrumental music teachers in Quebec use improvisation or composition activities as well as music technologies in their teaching. To collect this data, we sent an online questionnaire in March 2014 to these target teachers who give individual lessons outside the school system (e.g.: private music schools, private studio, etc.). We collected data regarding their personal profile as musicians and teachers (e.g.: gender, age, instrument, experience of teaching, diploma, training in music pedagogy, etc.) and their use of improvisation, composition and music technologies (e.g.: pertinence, frequencies of using them, type of activities done, etc.). In total, 130 teachers responded to the questionnaire. For this communication, we will present two types of results. First, we will explain the significant relations found between our different variables by using Chi-Square, V. de Cramer or Gamma tests in order to indentify the most significant factors that influence teachers to use or not use creative activities or technologies in their teaching (objective 1). Second, we will explain the categorization (content analysis) of improvisation and composition activities and music technologies these teachers use with their beginner learners (objective 2). These results will produce useful knowledge pertaining to what we should implement in music pedagogy training within Faculties of music or Conservatoire in Quebec in order to foster the utilization of musical creative activities and music technologies by independent teachers. Francis Dubé is associate professor in Instrumental Pedagogy at the Faculty of Music of Laval University. His research interests are centered on music technologies, healthy postural attitudes and creativity in instrumental teaching. His research is subsidized by the FRQ-SC and SSHRC. He also received a major grant from CFI to construct a Laboratory of research in Ear training and Instrumental Pedagogy (LaRFADI). Francis Dubé is director of the master’s programme in didactic instrumental and responsible of the Centre for Exellence in Music Pedagogy of his Faculty. In addition, he supervises more than 25 graduate students of master and doctorate degree.
Professor Celia Duffy (sessions E1a & 6a, & chair session 4b) Royal Conservatoire of Scotland email@example.com
Please see Dinah Stabb for abstract (session E1a) Please see Professor Dawn Bennett for abstract (session 6a) Professor Celia Duffy recently retired as a member of the Royal Conservatoire of Scotland’s Senior Management Team where she held institutional responsibilities including Research and Knowledge Exchange and the design and implementation of a new undergraduate 106
curriculum. As the first Head of Research at the Conservatoire she led the team responsible for development of research, consultancy and knowledge exchange activities. Celia chairs the board of Scotland’s leading contemporary music ensemble, Red Note. As a freelancer she is continuing her association with ICON (the Innovative Conservatoire network), is doing the odd research job, and especially enjoying getting back to part-time teaching.
Susanne van Els (session 7a) Royal Conservatoire, The Hague firstname.lastname@example.org
Please see Marshall Marcus for abstract Susanne van Els is Head of Classical Music at the Royal Conservatoire The Hague. Susanne van Els was one of the leading musicians in The Netherlands. She was awarded the Alcuinus Prize of the City of Nijmegen in 1998, for her outstanding merits as a performing artist. Amongst others she was a member of String Trio Holland, Ives Ensemble, Sinfonietta Amsterdam, Schönberg Ensemble. A multitude of composers, including Louis Andriessen, have written solo pieces and concerts for her. A series of 5 remarkable solo CDs was released internationally. Van Els played the Dutch premiere of Ligeti’s solo viola sonata, which she recorded on a Capella Amsterdam CD for harmonia mundi – it was awarded the Deutscher Schalplattenpreis and the Diapason d’Or de l’Année 2009. She played a Carlo Antonio Testore, 1745. www.susannevanels.com
Monica Esslin-Peard (session 8d) University of Liverpool, School of Music email@example.com The Art of Practice: the crossroads between reflection, creativity and action
Co-author (not presenting): Professor Graham Welch (UCL Institute of Education) Keywords: Reflection, Metacognition, Performance, Practice. Overview of Current Research: it is well documented that practice is a key part in the development of musical excellence (e.g. Austin & Haefner-Berg, 2006). Classically trained musicians often report 10,000 hours or ten years of practice to reach professional standards (Ericsson et al.1993). Extensive research has been conducted over the last thirty years by academics into the practice habits of classically-trained musicians. For an overview, see Peter Miksza (2011). More recently, UK universities have introduced reflective journaling into a wide range of courses, for an overview see Higgins (2011) and Ghaye (2011). Leon-Guerrero (2008) points out that students need to develop skills in metacognition and reflection as they learn, 107
and, more importantly, develop their practising skills and deep understanding of music making and performance. The Art of Practice: current research at the University of Liverpool focuses on the relationship between reflective practice diaries, an annual reflective essay and the development of the aspiring professional musician in classical, popular and jazz music. The University of Liverpool is unique in requiring undergraduate musicians on the performance module to write a reflective essay (1,500 to 2,000 words) at the end of each year, documenting and analysing their practice behaviours, which is worth 30% of the final mark. Aims and Methods: the goal of this research project is to discover how student musicians mature and to identify the key factors in that process which point towards professional musicianship. Ethical approval has been gained to access student records, student reflective essays and performance grades for popular and classical musicians for the academic years 2012-2015. By the time of the conference, approximately 200 reflective essays will have been analysed in addition to transcripts from in-depth semi-structured interviews with a selection of students in the cohort. Initial findings from the research suggest that keeping a practice diary and reflecting formally on progress increase levels of participation and retention over the three year undergraduate performance courses. Classical and popular musicians exhibit different behaviours towards practice – in part due to the situated nature of learning in a band versus individual technical practice – and a pattern is emerging which shows that both groups of musicians develop metacognitive practice strategies, albeit in different ways. We have developed an intital model , “Spirals of Reflection” and explain how this links to the biographies and experiences of individual musicians – working in either classical, popular or jazz genres or in a mix of musical styles - to show how practice develops, highlighting the similarities and differences dependent on musical genre, previous musical experience, and the individual musical development journeys. Implications: the initial findings from this research project are relevant for university music departments and conservatoires in the UK and beyond as self-assessment is commonly required of undergraduates. We aim to give some pointers for effective reflection and discuss the implications for the design of performance courses. This presentation is aimed at music academics and researchers, class music teachers, peripatetic music teachers, and anyone interested and involved in the musical development of young people. Monica Esslin-Peard MA(Oxon), MA Mus Ed (London), mPGCE (London), is Head of Music at Acton High School in West London and a part-time doctoral research student at the University of Liverpool School of Music where she is supervised by Tony Shorrocks, Head of Performance, in collaboration with Professor Graham Welch at the Institute of Education. Her research interests include both popular and classical undergraduate musicians and the psychology of musical maturation. She is a regular presenter at SEMPRE conferences and has given papers for SMEI in Dublin, for the AMPF in Germany and at the University of Liverpool. 108
Steven Faber (session 2e) ArtEZ Institute of the Arts, Netherlands firstname.lastname@example.org ArtSEEDZ: preparing students for professional practice in a genuine situation The ArtSEEDZ-Festival is an on-going project in the Master of Classical Music of ArtEZ, Institute of the Arts (Netherlands). Students are challenged to research other then traditional possibilities to perform classical music. They do not only develop their craftsmanship as a musician, but as a group they train their artistic capacities in stage awareness, reflection, crossing borders of the own discipline, and considering art in present-day situations. Also their capacities as entrepreneurs are awakened by addressing skills in organizing, producing, PR, and how to captivate new public. At the end of one cycle, ArtSEEDZ is a small festival, made completely by the students. During three days at three different locations, students present their own productions, collaborating with professional artists from different disciplines. The stages are not only set at the standard venues like concert halls and churches, because the students aim to choose special locations that are often closed for the public. Examples are an airplane hangar, an empty factory, or the cellars of a majestic building. Five or six different performances are offered in a festival atmosphere, and discussion between the audience and students is an important topic. This project is an example of what in Holland is called â€˜authentic (genuine) art educationâ€™: knowledge is constructed in complete and complex situations, learning is focused on the environment of the student, learning is relevant for situations outside school, and communication and collaboration have an important role in learning. The content of this project is tuned to the Dublin descriptors (2004) and the competences of the European Qualification Framework (2013). In this learning process teachers are no longer teachers, but coaching-colleagues of the students, sharing their expertise as musicians, entrepreneurs and artistic researchers. ArtSEEDZ asks the students to share the responsibility for the whole project by creating a sense of ownership. Students discover new facets of themselves. It is not only about the continued development of an artistic identity, but also aspects of education, stage presentation, communication, music programming, media wisdom, knowledge of the musical infrastructure, project management, working together in groups and linking with other genres and disciplines. This prepares the students for the society they enter after finishing their studies. Steven Faber is project manager, piano and theory teacher, accompanist, and research supervisor at ArtEZ, Institute of the arts, Netherlands. He studied piano at the HKU University of the Arts Utrecht. As student and performer he has always been more attracted to song accompaniment, chamber music, contemporary music and music theatre then to piano-solo repertoire. At the Amsterdam School of the Arts he graduated as Master of Education in Arts. During his studies he researched the possible significance of interdisciplinary education 109
programs in conservatoire curriculums, and how final piano assessments are judged in relation to international competences.
Dinko Fabris (session 3a) International Musicological Society email@example.com
Please see Professor Leonella Grasso Caprioli for abstract Dinko Fabris, degree in Musicology (Bologna), PhD Royal Holloway University. Awarded with fellowships in Ferrara, Chicago, Melbourne, Warburg Institute. Professor of History of Music at the Conservatoire of Naples, visiting professor at the Universities of Paris, Melbourne and Lubiana. His researches focuses on Lute music and on Naples (1500-1800). He has published about 130 articles and essays, including books on Falconieri (1987), A. Gabrieli (1998), Purcell (1999), music in Ferrara (1999), Provenzale (2005), Cavalli (2006), Music in Seventeenth-century Naples (Ashgate 2007). Member of several musicological reviews' scientific committees, of Pontificio Consiglio della Cultura and Academia Europaea. He is President of the International Musicological Society.
Dr Biranda Ford (session 8e) Guildhall School of Music & Drama Biranda Ford read music at the University of Oxford (BA Hons and M.St) and violin performance at the San Francisco Conservatory of Music (MA). She completed her PhD on â€˜What are conservatoires for?â€™ at the Institute of Education, University of London, in 2011, with the support of a Wingate Foundation grant. Her research interests include a variety of issues in music education and performance, drawing from social science, performance musicology and theatre studies disciplines on topics such as performer-audience interactions, performance and pedagogy across music and drama and teacher-student dynamics in devised projects. As a professional violinist she has played with small string orchestra and chamber music groups and has undertaken music education work for Royal Ballet, Wigmore Hall and Spitalfields Festival. Biranda has taught at the Guildhall School of Music & Drama since 2002 at junior, undergraduate and post-graduate levels, in a wide range of subjects both practical and academic, including chamber music coaching, harmony, dissertation supervision and doctoral research.
Professor Helena Gaunt (session 2e & 6e, & chair keynote: Liz Lerman) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Dr Karen Wise for abstract (session 2e) Please see Professor Ingrid Maria Hanken for abstract (session 6e) Professor Helena Gaunt (MBA) is Vice Principal and Director of Academic Affairs at the Guildhall School of Music & Drama. The role includes strategic leadership in research, academic development, enterprise and internationalisation. She is a National Teaching Fellow (2009) and Principal Fellow of the Higher Education Academy. Having been a professional oboist and member of the Britten Sinfonia, she has more recently developed research expertise, publishing on one-to-one tuition in conservatoires, orchestral musicians in the 21st century, and collaborative learning. Current research interests focus on ensemble practices in the performing and fine arts, and on creative entrepreneurship. In 2013 she led the launch of Guildhall Creative Entrepreneurs in partnership with Cause4, an incubator dedicated to supporting sustainable business development in the performing arts. Helena is the Chair of the Innovative Conservatoire (ICON) partnership, providing pioneering professional development internationally for conservatoire teachers. She has served on several working groups for the European Association of Conservatoires (AEC), including chairing the Research Working Group of the Polifonia project, 2007-10, and is currently a Visiting Professor at the Sibelius Academy, University of the Arts, Helsinki. She is co-editor of Music Performance Research, a member of the Editorial Board of the British Journal of Music Education, and an associate editor for Arts and Humanities in Higher Education.
Simon Gilliver (sessions 5f & 8c) Guildhall School of Music & Drama email@example.com
Please see Bert Mooiman for abstract (session 8c) Prima Volta Ensemble: a demonstration of classical improvisation in performance (open class) The Prima Volta Ensemble is comprised of three musicians, flautist Simon Gilliver, violist Drew Balch and trombonist Miguel Tantos. We formed Prima Volta in 2007 whilst we are students of Dr David Dolan at the Guildhall School of Music & Drama. In recent years we have given numerous highly successful concerts consisting entirely of improvised classical music. In our concerts, we perform in an array of classical styles. Audience interaction throughout the performance means our improvisations are drawn from their suggestions, and we give some explanation as to how our musical forms are developed. We have drawn on our training from 111
David Dolan, prioritising rhythmic strength and clarity and active listening. This enables us to navigate complex musical and harmonic structures, and for us to stretch what is conceived to be possible for ensemble improvisation. Our work is equally appreciated by novice audience members instinctively responding to the palpable danger and energy, as by experienced concert patrons and active musicians fascinated by the process. Our extensive experience in giving workshops together has also proven classical improvisation to be a powerful educational tool. In the workshop, we will give a sample of items that might appear in a Prima Volta concert. We will perform several short pieces including a prelude and invention, rondo in classical style, a movement in sonata form and a piece of programme music. In one item, we are delighted to be joined by Dr David Dolan, whose teaching was the initial inspiration behind the formation of the group. Prior to each performance we will demonstrate and explain our processes of working. We believe our work represents an innovative type of classical performance, connecting the audience to the process behind making music in a unique way, and that has the potential to attract new audiences to classical music. The effect of improvised music on audiences has been discussed at length in Dolan, Sloboda, Jensen and Feygelsonâ€™s article in the December 2013 edition of the MPR online magazine. We will also be taking questions and will have some time for discussion as part of the workshop. Simon Gilliver teaches for the Centre for Creative Performance & Classical Improvisation at the Guildhall School. Winner of the Albert Cooper Competition in 2006, his orchestral work includes the BBC Concert Orchestra and a year with Soutbank Sinfonia, and he has appeared in numerous television and radio broadcasts. He is equally in demand as a piano accompanist, having collaborated with many high profile artists including Michael Cox, Ian Clarke and Camilla Hoitenga. He also teaches both flute and piano privately.
Professor Jane Ginsborg (session 2e, & chair sessions 5c & 6b) Royal Northern College of Music firstname.lastname@example.org
Please see Professor Dawn Bennett for abstract (session 2e) Musical impact: a Conservatoires UK project to enhance the health and wellbeing of musicians
Proposed by: Aaron Williamon (co-author, not presenting), Emma Redding, Jane Ginsborg (chair) Few pursuits are as dynamic and enjoyable as making music. Physical and mental wellbeing can shape how musicians pursue their art and the pleasure they take from it. The results of recent research, however, suggest that pain and ill health are widespread among musicians and that healthy approaches to training and working in music are far from uniform throughout the profession. Musical Impact is a major, 4-year research initiative of Conservatoires UK, funded by the Arts and Humanities Research Council. Now in its second year, the project is generating new knowledge of the physical and mental demands of music making, contributing insight into chronic and acute health problems and their impact over time, and examining effective 112
strategies for promoting health. While musicians typically have a long history of selfsufficiency in managing the challenges of performing, Musical Impact aspires to complement musicians’ own ingenuity by providing comprehensive, evidence-led resources to help maximise their educational and professional opportunities. In this symposium, we highlight the aims, ambitions and context for the research and present the latest findings across five papers and a discussion session. Musical impact: an overview
Authors: Aaron Williamon, Emma Redding, Jane Ginsborg Musical Impact has three core strands of research: (1) Fit to Perform, a longitudinal study of physical and mental fitness for performance (running for 4 years, 2013-17), (2) Making Music, an investigation of the physical and mental demands of practising and performing (3 years, 2014-17), and (3) Better Practice, a study of health promotion in music education and the profession (3 years, 2014-17). This paper articulates the overall aims, objectives and structure of the project, as well as the distinctive partnership of educational and professional organisations involved and the avenues of dissemination and outreach that it will employ. Fit to Perform I: assessing musicians’ physical fitness for performance
Authors: David Wasley, Liliana Araujo, Louise Atkins, Aaron Williamon For the Fit to Perform research strand, we have developed a health and fitness screening programme for musicians consisting of a sub-maximal cardiovascular fitness assessment, standardised protocols for measuring flexibility and strength, and self-ratings of performancerelated musculoskeletal problems. This paper begins by exploring the content and rationale for the screening programme. We then present emerging results arising from 200 participants at conservatoires from across the UK. At the time of writing, these data are currently being collected, and the data set will be complete by December 2014. Our analyses will focus on relationships between the cardiovascular and anthropometric measures, differences between instrumental groups, and links between the physical measures and self-ratings of performancerelated musculoskeletal problems. The usefulness of such physical assessments for educational and health promotion purposes among musicians will be discussed, specifically compared with those developed for elite athletes and dancers. Fit to Perform II: assessing musicians’ mental fitness for performance
Authors: Liliana Araujo, David Wasley, Louise Atkins, Aaron Williamon Developing mental fitness is of particular benefit for musicians who strive to succeed in a field where competition, stress, and injury are prevalent. In order to excel, musicians must effectively manage and adapt to setbacks and to the fast pace of a changeable occupational landscape. Being mentally fit calls for the efficient use of an array of skills, behaviours and attitudes. This paper describes the content and rationale for a comprehensive psychological screening protocol designed to assess musicians’ mental fitness, paired with the physical screening measures outlined in Fit to Perform I. Specifically, the protocol includes measures of perfectionism, coping skills, wellbeing, health promoting behaviours, and patterns of sleep and fatigue. As with Fit to Perform I, data are currently being collected (to be completed by December 2014), 113
with subsequent analyses focussing on relationships between the measures, differences between instrumental groups, and the links between the wide range of physical and mental fitness measures used across the Fit to Perform research strand. Health, happiness and meaning: a study of professional musicians’ wellbeing
Authors: Sara Ascenso, Rosie Perkins, Aaron Williamon Attempts to describe professional classical musicians’ wellbeing have typically been problemfocused, centred on the experience of performance anxiety and the incidence of performancerelated pain and disorders. Recognising the need to include professional musicians in mainstream wellbeing profiling and to move beyond a focus on the potentially debilitating qualities of the music profession, this study aimed to understand how professional musicians experience wellbeing in the light of positive psychology. Using the PERMA model of wellbeing as a framework – encompassing Positive emotions, Engagement, Relationships, Meaning and Accomplishment – a wellbeing quantitative screening was conducted (Study 1) followed by a follow-up qualitative study (Study 2). In Study 1, 615 professional classical musicians (women=303, men=312) from 41 countries completed the PERMA-profiler. Scores on PERMA components ranged from Positive emotions as lowest (M=8.06±1.58) to Meaning as highest (M=8.63±1.67). When compared with general population indicators, musicians’ scores were significantly higher for all components except Engagement. In Study 2, six musicians representing each musical specialism surveyed in Study 1 (solo, orchestral, choral, chamber, conducting and composing) took part in two in-depth interviews and two weeks of selfmonitoring through diaries. Interpretative Phenomenological Analysis confirmed the questionnaire results, pointing to overall high wellbeing. Moreover, having a clear definition of one’s identity emerged as an overarching sustainer of wellbeing, and the eudaimonic route as the primary pathway for musicians´ flourishing. The results will be discussed in relation to their educational and professional implications. The culture, context and discourse of musicians’ health and wellbeing
Author: Louise Atkins Education establishments around the world have begun to acknowledge that institutional provisions should be increasingly focused on creating environments that promote health and wellbeing, and provide students with the tools for healthy and sustainable professional careers. As a result, much research is now aiming to ensure that health and wellbeing become increasingly core components within the conservatoire setting. However, from an institutional perspective, there are still many questions around how this new area fits into a culture and environment not traditionally focussed on such activities. This paper examines how higher music education institutions currently view health and wellbeing by examining a series of semistructured interviews conducted with 22 members of staff from 8 UK conservatoires. The interviews explore such topics as: current personal investment and connection to strategic institutional policy and practice, future developments and the kinds of challenges and barriers that might be expected. The resulting data demonstrate the complexities in perspectives relating to health and wellbeing from a variety of institutional roles. Discussion will focus on the identified challenges and barriers relating to communication of health and wellbeing topics,
changing institutional culture and engaging with one-to-one teachers. Finally, the possibility of creating a Healthy Conservatoires Forum, where the latest ideas, practices and resources can be shared to maximise the level at which health and wellbeing becomes part of everyday organisational culture, will be assessed. Symposium discussion The Symposium will end with a discussion of key themes to emerge from the papers and other topics related to musicians’ health and wellbeing, as well as an extended question and answer period. Professor Jane Ginsborg is currently Associate Dean of Research, Director of the Centre for Music Performance Research and Programme Leader for Research Degrees at the Royal Northern College of Music (RNCM), Manchester. Winner of the British Voice Association’s Van Lawrence Award in 2002, for her research on singers’ memorizing strategies, she is Managing Editor of Music Performance Research, and holds editorial positions with the Journal of Interdisciplinary Music Studies, Musicae Scientiae and Psychology of Music. She serves as President of the European Society for the Cognitive Sciences of Music until August 2015.
Professor Helene Gjerris (session 1c) The Danish National Academy of Music email@example.com How to improve the musician's stage performance: methods and results The aim of this artistic research project, which has been financed by the Danish Ministry of Culture, is to develop methods to improve the musician’s stage performance. Through different approaches the project investigates mental and physical awareness of the performing musician and tries to establish whether this makes a difference in the artistic expression both from the musician's own point of view and from the audience's. The purpose of the project will ultimately be to describe these methods and techniques in writing so they can be used by teachers and students. The design of the research project has so far been workshops with 4 different types of focus: 1) Imagination, and narration – to encourage creativity in interpretation and expression. 2) Training in different body attitudes – to encourage playfulness and creativity. 3) Breathing the music – to encourage and organic a playful expressivity. 4) Body awareness – to engage the body in playing music. Three performing artists and teachers from different disciplines have conducted these workshops: voice (prof. Helene Gjerris), dance (Tine Damborg,) and theatre (Bent Nørgaard). Each teacher has taken his or her starting point in fundamental techniques belonging to their own art form (e.g. song – and breathing the music) and used them to train students from another art form (e.g. strings and breathing the music). This method of transdisciplinarity has already shown interesting results e.g.: the musicians are getting a closer relationship to a piece by using imagination and narration, the musicians body awareness is helping them to greater spontaneity in a concert situation, training in different body attitudes is opening up for a more playful way to rehearse a piece. It also seems as if some of the methods 115
have a very important influence not only on stage presence but fundamental influence on the music itself. It is expected that these results will be disseminated at the presentation of this paper. Professor Helene Gjerris: Full professor and head of the voice department, at The Danish National Academy of Music. She teaches voice major students on all levels and is responsible for the curriculum of an interdisciplinary course for a mixed group of instrumentalists and singers in the master studies teaching e.g. stage presence. She coordinates interdisciplinary concert projects using various elements of staging and presentation. Helene Gjerris trained at the Royal Danish Academy of Music in Copenhagen and at Ă‰cole Philippe Gaulier, a London-based school of dramatic arts. Helene Gjerris has been working as an opera singer and concert soloist for more than 25 years, singing both classical standard repertoire in opera, oratorio and concert and contemporary music. For her work Helene Gjerris has received a number of awards, notably the Aksel SchiĂ¸tz Prize, the honorary prize of the Danish Composers' Society and The Danish Music Critics Prize."
William Glassman (session 2a) Central School of Ballet firstname.lastname@example.org Preparing future artists: reflective practice in conservatoire training Founded in 2001, the Conservatoire for Dance and Drama is a higher education institution comprising a partnership of eight distinct specialist institutions with international reputations for high quality delivery in their respective fields. Within the Conservatoire there is a balance between the art forms of dance and drama, classical and contemporary styles, complemented by in-depth provision in the field of technical theatre and the only provision for circus arts within higher education. This submission will explore reflective practice within a conservatoire training environment. William Glassman invites a selection of colleagues from across the Conservatoire to share their experiences of, and engagement with, reflective practice from the different perspectives of dance, acting and circus arts. The journeys undertaken by Conservatoire faculty reveal the diversity of routes into the profession. The experience of each art form and institution is not homogenous; whilst training in the three art forms is often shaped by distinct traditions, values and pedagogical approaches, no two artists will automatically understand or engage with their discipline in exactly the same way. The unique connection between the Conservatoire affiliates reveals a strategic mission and ethos that is shared, yet each affiliate takes different approaches to the facilitation and implementation of reflective practice in a mutual endeavour to develop independent, selfcritical artists of the future who, in the transition from student to graduate, will take ownership of their own reflective practice as they embark upon an increasingly diverse portfolio of careers.
Through the format of a panel discussion, members will explore their individual approaches to the nurture and development of reflective practice and its importance within the processes of learning, teaching and assessment, and into employment. The cross-disciplinary viewpoints provided by a range of panel members will engage with current definitions of reflective practice and act as a catalyst for more in-depth interrogation of specific questions, for example: How does the notion of a ‘thinking dancer’ relate to the experiences of an actor or circus artist? How does the distinctive structure and composition of the Conservatoire impact on the way in which reflective practice is engendered? The panel will encourage delegates to share, discuss and evaluate their own approaches and methods, thus providing a valuable insight into disciplinary and cultural approaches to reflective practice. This will assist in the identification of models that are transferable across disciplinary boundaries, and facilitate the sharing of models of best practice. William Glassman, Deputy Director (Central School of Ballet) and Artistic Director (Ballet Central) was chosen by George Balanchine to receive one of the first Ford Foundation Scholarships in 1960 to study at the School of American Ballet. After graduating he danced in the Broadway musical Tovarich, before joining American Ballet Theatre. As a soloist and guest artist he created roles in ballets by Robbins and DeMille, and performed leading roles in ballets by Ashton, Lander, Loring, and MacMillan. He has taught at The Royal Ballet School, London Children's Ballet, and Elmhurst School for Dance, and was appointed Artistic Director of Ballet Central in 2005 and Deputy Director of the School in 2012.
Professor Amanda Glauert (session 3b) Royal College of Music, London email@example.com
Please see Professor Paul Alan Barker for abstract Professor Amanda Glauert read Music at Clare College, Cambridge. After taking her ARCM in violin teaching at the RCM, early teaching appointments took her back to Clare College, Cambridge, to Trinity College, Dublin and the Colchester Institute. After undertaking a PhD at Goldsmiths’ College, she spent 14 years in a number of senior roles at the Royal Academy of Music, before joining the Royal College of Music in 2010. Professor Glauert has extensive experience of running aesthetics and research training programmes for performers. Her research concerns the aesthetics of performativity, particularly in relation to Beethoven and song.
Dr Donald Glowinski (session 4c) Swiss Center for Affective Sciences, University of Geneva firstname.lastname@example.org Gesteme: gesture as a means to understand the fabric of contemporary music In this project, Gesteme, we developed an original perspective on contemporary music by focusing on expressive gesture at the heart of the creative and social processes during the creation of this artistic performance. This two-year project, which culminated in ten days of rehearsal and two public performances, is a collaboration between three academic and artistic institutions in Switzerland and France. The outcomes of this project include a newly available multimodal archive of data that will be freely accessible to the scientific and artistic communities. Gesteme is analogous, gesturally, to the phoneme, the most elementary unit in language in linguistics. By identifying the building blocks of gestural communication, this project aims to distinguish the specificities of the creative process in music performance. Contemporary music has often been criticized for being obscure or inaccessible to audiences due to it’s atonality, unusual instrumentation, or polyrhythmic structures. However, through analysis of expressive gesture, nonverbal communicative process between the musicians, the conductor, and the audience members shed light on the underlying processes related to such complexities. In the Gesteme project we analyzed musical gestures through which a musician's expressivity communicates musical emotions. A collaboration between the Geneva University of Music, the contemporary dance department at the National Conservatory of Music and Dance of Lyon, and the CISA (Swiss Center for Affective Sciences, University of Geneva) allowed researchers and artists to study the involvement of body movement and gesture in the creation of a contemporary musical oeuvre and develop an analysis of how both musicians and listeners use and interpret metaphoric gestures. The performances of Gestème - four seasons in motion involved young talented musicians of the Geneva University of Music orchestra playing four commissioned creations by four composers. A multimodal corpus of 10-day rehearsals and 2day performance has been collected. The data related to the gestures of the director is being annotated and analyzed. This multifaceted, multimodal project tackles both artistic and scientific questions and investigates the link between musical gesture and audience emotions. The virtue of using contemporary music is twofold: this gesture-based approach facilitates the understanding of challenging contemporary music where semantic cues such as familiar tonalities fail. Secondly, this scientific approach will also uncover new didactic aspects which is to offer the audience an unexpected, “prism” through which audience members can approach contemporary music This, in turn, will help in bridge the gap between complex contemporary music and people’s comfort with the genre. Donald Glowinski’s background covers scientific, humanistic academic studies and highlevel musical training. - EHESS (Ecole des Hautes Etudes en Sciences Sociales) MSc, in Cognitive Science, CNSMDP (Conservatoire National Supérieur de Musique et de Danse de Paris) MSc. in 118
Music and Acoustics, Sorbonne-Paris IV MSc. in Philosophy. He completed his Phd in computing engineering at University of Genoa (dir: Professor Camurri). He works now as a scientific collaborator at University of Geneva with Professor Didier Grandjean. He was research fellow at Casa Paganini – InfoMus Intl Research Centre of University of Genoa from 2009 to 2013. He teaches “interactive multimedia” at Conservatorio Paganini (Genoa) and “statistics” at faculty of Psychology (Univ. of Genoa). Chairman of Club NIME 2008, INTETAIN 2011 and Sysmus13 International conferences on music and new technologies. He has been awarded the Prix pour la Vocation by the Bleustein-Blanchet Foundation and the Declic Jeunes award by Fondation de France for his pedagogical projects on music and science. His research interests include the study of behavioural and brain bases of human interaction in musical contexts.
Professor José Carlos Godinho (session 2b) Insituto Politécnico de Setúbal email@example.com Towards artistic development: technical and metaphorical meanings shared by musicians in masterclasses This paper focuses on the concept of artistic development and on the ways it is promoted in conservatoires. The word ‘artistic’ has been widely used in combination with the word ‘technical’, implying that they are different things that do not intersect but whose addition is decisive to achieve quality in diverse art disciplines. Other perspectives, though, have conceived the artistic quality as the use and developmental transformation of various dimensions of body and mind, where technique is involved (Parsons, 1987; Swanwick, 1999). From the literature review, it is here suggested that artistic development is a combination of two opposing psycho-philosophical directions: making one’s body become like the music (developing technique) and making the music become like one’s body (developing metaphor). On the one hand, there is a great deal of physical adaptation in order to play or sing music, which can be represented by the movement of getting “away” from ourselves to become more and more closer to music, more and more like the music; on the other hand, the metaphorical attribution of meaning, that compares music to our bodies, can be represented by the opposing movement of having the music getting away from itself and more and more closer to us, more and more like us. The present study aims to analyse the instructions that are shared in conservatoires and to verify to what extent they exhibit the two-way movement. At this stage of the study, attention has been given to masterclasses led by some renowned classical musicians. A process of content analysis and of categorisation was conducted through the observation of video recordings of excerpts of eight masterclasses. The two-way instructions can be observed at all ages involved in the masterclasses: (a) musicians guide students in correcting technical aspects that have to do with posture, fingering, breath control, etc. and (b) they invite students to imagine stories and dramatic scenes or even to search for the music within themselves. Yet, throughout the 119
different stages, musicians progressively pay more attention to (1) the postural and technical procedures for sound production, (2) the technical adaptation to convey different expressive gestures, (3) the sequential combination of expressive gestures to promote interesting and stylistic ‘storytelling’ and (4) the individual search for personal identification and meaningful commitment and communication. This study might contribute to bring more light both to the nature and to the teaching of artistic development. José Carlos Godinho graduated at Conservatório Nacional de Lisboa and post-graduated at the Institute of Education, University of London, with MA and PhD in music education, under the supervision of professor Keith Swanwick. He is professor in music education at the Escola Superior de Educação, Instituto Politécnico de Setúbal, Portugal, since 1986, where he has coordinated master degrees in teaching music in secondary schools and in conservatoires. He is member of the research group CIPEM (Centro de Investigação em Psicologia e Educação Musical) and has published numerous musical compositions for children and pedagogical materials for music education.
Ati Gottschal (session 2e) ArtEZ, Institute of the Arts, Netherlands firstname.lastname@example.org
Please see Steven Faber for abstract Ati Gottschal currently holds the positions of head of the department of Classical Music, and head of the Master of Music (Classical Music, Jazz&Pop, Music Theatre, Pop Academy & MediaMusic) at ArtEZ, Institute of the Arts, Netherlands. She began her musical career as a flutist after her studies at the conservatoires of Arnhem and Utrecht, and was associated to a pre-conservatoire music school as teacher and manager. Being the responsible coordinator for the projects, she started working for the ArtEZ Master of Music, with a focus on communication with students, teachers and extern contacts. This focus has altered in the overarching organization of the departments.
Professor Didier Grandjean (session 4c) University of Geneva email@example.com
Please see Donald Glowinski for abstract Didier Grandjean is associate professor at the Department of Psychology and Educational Sciences and at the Swiss Center for Affective Sciences at the University of Geneva. He achieved his thesis in 2005 under the direction of Klaus Scherer about the dynamic of appraisal processes using electroencephalographic methods. He published more than 60 peer review articles in international scientific journals in psychology and 120
neuroscience about emotional processes related to emotional prosody perception and production, appraisal processes, the emergence of feelings, music and emotion, olfaction and emotion, and emotional facial expression perception and production.
Dr Catherine Grant (session 5b) University of Newcastle, New South Wales, Australia firstname.lastname@example.org
Please see Associate Professor Gemma Carey for abstract Catherine Grant is Postdoctoral Researcher at University of Newcastle (Australia). Her research interests lie in the areas of tertiary music teaching and learning, the sustainability of music genres, and health and wellbeing for performing artists. She is author of Music Endangerment: How Language Maintenance Can Help (Oxford University Press, 2014).
Karin Greenhead (session 7e) Royal Northern College of Music email@example.com Being music: transformative experience through Dynamic Rehearsal, a phenomenological investigation This paper presents one violinistâ€™s experience of performing in a Dynamic Rehearsal workshop, as described by her in an interview to which she brought two paintings to illustrate her feelings. The revelatory experience she described changed not only her performance at the time, but her perception of herself and music in general and also her subsequent practice and teaching. Dynamic Rehearsal is the authorâ€™s application of the principles and practices of Dalcroze Eurhythmics to the rehearsal and performance of musical repertoire, solo and ensemble and is a situated, embodied, arguably somatic approach to improving performance. A phenomenological approach is used to examine the violinistâ€™s account in relation to a range of relevant literature from the fields of phenomenology, psychology, music education, embodiment, performance and accounts given by other participants in Dynamic Rehearsal workshops, with the aim of bringing to light some of the processes at work. These processes, once revealed, may lead to an understanding of why working in this way is perceived to be effective by performers and listeners alike. They may also offer insights into the nature of music, teaching and learning processes, musical performance and, since these are human activities, they may, by extension, contribute something to the understanding of human nature itself. Dynamic Rehearsal techniques have been developed experimentally by the author since 1992 and applied to singers and instrumentalists of all kinds, mainly from the Western classical
tradition. It has been demonstrated widely in Europe, Asia, Australia and North America. This study forms part of the author’s doctoral research. This work is grounded in the essentially corporeal nature of music-making in all its forms - an assertion made by researchers from a range of disciplines including philosophy, psychology, music education and neuroscience. Musical perception and experience take place in and through the body of the one undergoing the experience and first present themselves to consciousness pre-reflectively: they are unique to that person. The communication and interpretation of experience and the meaning ascribed to it are informed by, among other things, previous experience, culture, language and habits of assimilation developed over time. However, owing to our shared human nature the personal experience of a single individual may be similar to experiences that others have or could have. For this reason the uncovering of a unique experience may have much to offer, in this case to the teaching, learning and performance of music. Karin Greenhead’s primary field of interest lies in the relationships, actual and potential, between music and movement. She is an experienced Dalcroze Eurhythmics practitioner with a background in performance having been at various times a singer, pianist, harpsichordist and violinist. Her wide range of musical activities has also included conducting, composing and arranging. Originally trained at the Royal College of Music, London and the Institut JaquesDalcroze, Geneva she has worked for many years with dancers and musicians in professional training finding each field a source of enrichment for the other. She teaches at the Royal Northern College of Music and for many other institutions, nationally and internationally. Director of Studies, Dalcroze UK she is the author of a number of articles and papers she is now a doctoral student.
Dr Christina Guillaumier (session 4e, & chair session L2e) Royal Conservatoire of Scotland firstname.lastname@example.org Reflection as creative process: perspectives, challenges and practice This paper explores the challenges of embedding reflection in practicebased curricula. Following the curriculum reform project recently completed at the Royal Conservatoire of Scotland, this research presents a reflective analysis of the challenges of presenting reflection as a creative, active and human process. One of the main difficulties that we experience when asking our students to ‘reflect’ on their practice is a deep misunderstanding and mistrust of what this might entail. This paper first presents a working version of reflection as a creative process. In order to demonstrate that creativity and reflection are linked quite inextricably, and more importantly, that they are crucial to the student’s practice, the term itself often needs to be humanised. While written reflection remains a crucial component of our courses, in this paper I will demonstrate three practical ways in which reflection generates creativity and vice versa, drawing on Ken
Robinson’s insightful exploration of the concept and articulating with Kaufman’s demonstration of creativity as a key component of success. Dr Christina Guillaumier is a pianist and musicologist. She is Head of Creative and Contextual Studies at the Royal Conservatoire of Scotland. Previous roles include a Visiting Research Fellowship at Princeton University and a Research Associate role at the Serge Prokofiev Archive in London. Collaborative projects include the reconstruction and world premiere of the original version of Prokofiev's opera 'War and Peace', performed in Russia and Scotland as well as a site-specific opera entitled ‘The Lost Piece’. The recipient of several prestigious awards, she is currently working on a monograph on Prokofiev’s operas under contract with Boydell and Brewer.
Dr Elizabeth Haddon (session 1c) Music Department, University of York email@example.com From ‘stand and sing’ to enhanced delivery: the impact of musical theatre coaching on art song performance This research investigates the creative interdisciplinary application of techniques from musical theatre vocal pedagogy to the presentation of art song. Three university music students were coached on art songs from the classical vocal repertoire in an open workshop by a professor with extensive experience of musical theatre and alternative approaches to vocal coaching. Qualitative data is drawn from subsequent interviews with the three singers, the professor, audience surveys and a focus group of audience members. Through thematic analysis the data reveals the impact of this coaching on areas including the reading of text, the timing and pacing of movement, gesture, gaze, stance, musical structure and analytical memory, as well as communicating the work to the audience. The research delineates techniques employed by the leader to establish and maintain a safe space for this coaching as well as audience perception and development of the work. The viability of this mode of presentation for art song and implications for vocal pedagogy are also discussed. Dr Elizabeth Haddon is a Research Fellow at the University of York, UK, where she also lectures on instrumental pedagogy and teaches piano. Her book, Making music in Britain: Interviews with those behind the notes, was published by Ashgate in 2006, and her other published work includes peer-reviewed journal articles and book chapters on pedagogy, creativity, professional development, intercultural learning, partnership in piano duet rehearsal and performance and the music masterclass. She has presented papers at national and international conferences and is currently researching instrumental/vocal learning in the context of the university music degree and creativity in academic music teaching.
Professor Andrea Halpern (session L1c) Bucknell University firstname.lastname@example.org
Please see Professor John Sloboda for abstract Andrea Halpern received her PhD from Stanford University. Her research interests comprise memory for music, in young adulls as well as healthy and neurologically compromised older adults, and auditory imagery. She is Professor of Psychology at Bucknell University, a selective undergraduate university in Pennsylvania. Teaching interests include the teaching of writing and mentoring of undergraduate researchers, for which she won a national award in 2004. She recently served as President of the Society for Music Perception and Cognition, and is Associate Editor of the journal Music Perception. Her sabbatical in London (2012-13) was partially funded by a Leverhulme Visiting Professorship to Queen Mary, UL.
Professor Ingrid Maria Hanken (session 6e, & chair session 5e) Norwegian Academy of Music/CEMPE email@example.com Peer learning in music academies Overview of the symposium: peer learning in higher education has been the focus of a substantial amount of research during the last decades. Findings indicate that learning from and with peers can be beneficial for students in a number of ways, and many universities are now implementing different strategies to enhance peer learning. Within higher music education, however, the master-apprentice tradition with its dominant one-to-one mode of tuition focuses predominantly on knowledge transmission from teacher to student and less on the role students can play in the learning processes of each other. In this symposium two ongoing projects at the Centre of Excellence in Music Performance Education (CEMPE) will be presented, which both explore peer learning among music students. Morten Carlsen will discuss different issues that might arise when involving students in peer learning, and Kristin KjĂ¸lberg will present her experiences of enabling constructive discussions of student performances within the peer group. Peer learning in music academies is not restricted to students; Teachers can also benefit from engaging in collaborative learning with their fellow teachers. Helena Gaunt will consider the potential and challenges of peer learning between teachers in conservatoire contexts, and ways in which these have been explored through the Innovative Conservatoire seminars. The presentation will draw on several distinct examples of extended staff peer learning projects that have been connected with the Innovative Conservatoire.
The aim of the symposium is to discuss peer learning from a teaching practice as well as a research perspective. It is chaired by Ingrid Maria Hanken, Director of CEMPE, a centre, which is dedicated to enhancing the knowledge base of music performance education. Morten Carlsen: experiencing and developing collaborative learning in higher music education: a modern approach to teaching in music academies should apply a model where teacher and student both contribute to and gain from their collaboration. This implies that the student is co-responsible for the quality of her or his education, it is not provided solely by the institution. Taking this one step further suggests that students might improve their learning by collaborating in groups on their own as well as with a teacher or teachers being present. I have seen this happen on students’ own initiative (e.g. Ensemble Allegria, a chamber orchestra formed and trained at the Norwegian Academy of Music - the orchestra is run by the students, who initially invited teachers as instructors when necessary. The result was much better than any similar project organized by the Academy). The success of such initiatives suggests that the integrative quality of an Academy might be “measured” through the level of more or less spontaneous networking activity of this kind. My project aims to examine and enhance these practices. From autumn 2014 I will delve into what really happens when my students and I assemble for class lessons. I think that important aspects of the communication between teacher and students (or between students) are hardly made conscious, and flawed communication is sometimes the result. A professor of music pedagogy will help to bring such aspects to the fore to help us avoid this. In addition I will organize classes among string students within our master programme with the explicit goal of facilitating peer learning. Certain basic preconditions must be in place for this to happen: the teacher(s) must not be too dominant, and the relations within the group must be characterised by respect and empathy without losing the edge of positive competition. Some questions arise: is there an ideal relationship between performance pressure and mutual support? Is there an optimal number of students for a group to be fruitful? When should a teacher restrict comments? Learning an instrument on a high level involves spending endless hours alone, which easily contributes to a highly charged competitive and hierarchical learning atmosphere. This is not very helpful in terms of personal development; through enticing a basic attitude of cooperation and a sense that we are all in the same boat, my expectation is that we will be able to lay a better foundation for fruitful learning. Associate Professor Kristin Kjølberg: vocal pedagogy students’ artistic identity development
through peer learning. Vocal pedagogy students at the Norwegian Academy of Music study music pedagogy and music performance. They experience that their artistic development often comes second, after the theoretical and pedagogical studies.
The objectives of the project “Vocal pedagogy students´ artistic identity development through peer learning” are to focus on the students´ performances and to explore dialogic tools for their own practising and teaching. Through peer learning, the students, being bachelor students from their first till their fourth year, will share their knowledge, skills and insights, and practice different roles as both learners and teachers. In the group lessons, the students will learn to practice Liz Leman’s method Critical Response Process, (CRP). In the peer-to-peer dialogues of the method the students will explore different roles: as artists, as responders, and as facilitators. The artist, being the learner in the process will use the group to raise artistic questions important for him/her. The responder, having a role close to that of a teacher, will not necessarily respond by providing direct answers and advice. The aim is for the artist to discover his/her own answers and develop new insights through the dialogue. The facilitator´s role is to guide the process in different ways. There will be nine group lessons from September 2014 till May 2015. In the group lessons the students will perform their repertoire for each other as a starting point for the dialogues. One process for one student will last for at least two group lessons, giving him/her opportunities to develop insights further and to make use of the group several times in the progress. The project is also a research project. Through action research I will study the students’ development as artists and singers, how they develop through peer learning, and how they internalise CRP as a method for their own teaching. Their discoveries and reflections through the process will be collected through analysing recordings from video, and my own and the students log notes. This paper aims to presents results from the six first lessons. I will present how the students, in the middle of the project develop skills in the CRP method, how they reflect in the group lessons, how they experience working with peers, and how they experience the artistic identity development through these processes. Professor Helena Gaunt: peer learning amongst higher music educators As we become increasingly aware of the centrality of peer learning in building a vibrant community of learning within Higher Music Education, we are recognizing how the interactions of one-to-one student-teacher relationships may themselves be a source of collaborative learning and mutual exchange. There is real potential for these to complement the multiple opportunities for peer learning that are present within conservatoire environments (Gaunt and Westerlund, 2013). However, the intensity and privacy of 1-2-1 tuition has traditionally made it practically and perhaps also ethically challenging for teachers to establish peer learning amongst themselves as a regular and legitimate dimension of professional practice. Isolation as a one-to-one instrumental/vocal teacher has been an issue regularly voiced. One of the fundamental aims of the Innovative Conservatoire, an international partnership dedicated to exploration and development of practice in Higher Music Education, is to stimulate 126
and facilitate peer learning between conservatoire teachers, and to examine processes and principles of engagement that empower teachers to benefit from and take ownership of peer learning as a central thread within their professional development. This presentation will consider the potential and challenges of peer learning between teachers. In particular it will outline three specific practices that have been adopted by partners within the Innovative Conservatoire, and will discuss the ways in which these enable a creative and reflective process of peer learning: â€˘ â€˘ â€˘
Co-teaching across disciplines Thematic interest research and development groups Collaborative development through peer observation and reflection
Professor Ingrid Maria Hanken has been Director of Centre of Excellence in Music Performance Education (CEMPE) at the Norwegian Academy of Music since 2014. She served as Vice Principal of the Academy between 2006 and 2013. Her main research interest is teaching and learning in higher music education with a special focus on quality enhancement.
Professor Dr Kostis Hassiotis (session 7e) University of Macedonia firstname.lastname@example.org Social and economic changes in 21st century musical Greece: implications and opportunities regarding the curriculum, and teaching strategies for professional musicians Between 1980 and 2004, Greek society experienced a boom in various aspects of its musical life. However, the recent economic crisis revealed that this renaissance had not been constructed on solid foundations. Most music professionals lacked the educational infrastructure to cope with an ever-changing professional environment and they can no more afford to re-educate themselves. Course content and curriculum design in conservatories and music schools remain obsolete with, for example, group teaching being limited and not focused in cultivating ensemble skills, theoretical knowledge being seldom connected with performance and improvisation, sight-reading or psychology of performance being seldom taught. There is also an increasing lack of resources, teaching staff, facilities and supporting services. Under these circumstances, University music departments need to equip their students not only with adequate technical skills, but to link the curriculum with current changes in the profession, and to devise new strategies and programmes to extend the knowledge and training of existing professionals. To this end, a series of initiatives have been undertaken, such as the redesigning of curriculum and course content at both the State Conservatory and at the University, the introduction of teaching strategies such as peer assessment, masterclass coaching, group teaching, etc. The students are furthermore expected to attain several skills collaboratively, such as teaching one-to-one and in groups, presenting orally, recording their lessons and performances and researching. A series of visits to provincial music schools and conservatories have been organised, conducting workshops with both teachers and students on 127
pedagogical issues, repertoire, practising techniques, teaching strategies etc. These activities have increased the students’ critical awareness on performance issues and the attendance at classical music concerts; students at music schools are better informed about the programmes of study offered at the University and the skills needed to attend, and music school teachers are gradually introduced to several aspects of modern music pedagogy. One of the major challenges is to reconcile such activities with the current attitudes of some orchestral performers and instrument teachers, who still believe that they have no further learning needs. The aim of such initiatives is for musicians to start realising that, as artists and art educators, we cannot rely on governmental financial support alone, and that we have to modernise our perception of music education and performance by linking it to our society. Oboist Kostis Hassiotis has performed widely as a soloist and in orchestra and chamber music ensembles in Greece, Germany and England. He has been teaching oboe, chamber music and orchestral wind sections at the State Conservatory and the University of Macedonia (Thessaloniki), currently serving there as Associate Professor. He has presented at international conferences and taught at workshops in Greek music schools. He holds a Bachelor in Oboe Performance (Essen, Germany) and a DMA (City University London). His research interests include: using historical research in performance and teaching, practising/teaching strategies, critical music editing and the social influence/evolution of concert band music.
Caiti Hauck-Silva (session L1d) University of São Paulo email@example.com Voice building for community choirs at Comunicantus: Choral Laboratory of the Music Department of the University of São Paulo This paper describes the results of a Master’s research focused on voice building activities done at Comunicantus: Choral Laboratory of the Music Department of the University of São Paulo, in Brazil. The research aimed to identify and describe elements related, first, to the training of the voice builder, and second, to the strategies used to develop vocal technique in the community choirs Escola and Oficina. In this paper, we will focus on the training of the voice builder. Data were collected through participation in rehearsals of these choirs in 2010 and through analysis of Comunicantus: Choral Laboratory’s protocol documentation. The methodology used was action research. Results suggest that voice building is a complex activity, which involves not only the application of vocal exercises, but knowledge on pedagogy and, mainly, the ability of vocal perception. Caiti Hauck-Silva is a doctoral student at the University of São Paulo. She has a MA in Music (2012) and a BA in Music Education (2008) from the University of São Paulo.
Mary Hawkes (session 2d) University of Sheffield firstname.lastname@example.org Enhancing Performance: a study of performance coaching in practice in a UK conservatoire Music performance research has largely neglected the psychology of the performer and has dwelt on the topic of Music Performance Anxiety. The emphasis has been on finding treatments for this rather than prevention and education of the performer. There has been some research interest in the use of mental skills training, developed in Applied Sports Psychology, as a way to positively enhance the performance of musicians. As an instrumental teacher/ researcher who has previously worked as a sports coach, this seems a more logical approach. The research in this paper forms part of a project specifically investigating the use of an applied sports psychology approach to performance preparation for pianists. In this part of my study, a unique music performance coach working in a UK conservatoire and seven of her pianist clients were interviewed to further understand how this might work in practice. Four female and three male pianists, both jazz and classically trained, volunteered for the study. They were all undergraduate or postgraduate students at the conservatoire at the time of their performance coaching. The data collected reveals how coach and client work together. The coach was able to explain her role and her belief that a sports psychology approach can not only provide solutions to performance problems for elite performers but might also give them a more positive way of working for life. The pianists themselves were able to provide data regarding their individual involvement with the performance coach. Several participants appeared to benefit from an explanation of their own performance psychology, including their perceptions of physiological and cognitive symptoms of anxiety. Some participants felt using the approach of the elite athlete in both physical and mental training could be very helpful to elite musicians. Others had reservations, stemming either from an apparent ignorance of sport and sports psychology or from their beliefs about music as an art form which has little in common with sport. The data also reveals some of the pressures that students perceive on arriving at the conservatoire and, for these participants, how such pressures led them eventually to seek help from the performance coach. One implication of the findings suggests that conservatoire students may need more specific training and education, including positive performance psychology, to help them cope with pressure to succeed in what seems to be a very competitive environment. Mary Hawkes has a BA (Comb Hons) in Music and Physical Education from the University of Birmingham and an MA (distinction) in Psychology for Musicians from the University of 129
Sheffield. She currently holds a Faculty Scholarship for her doctoral studies at the University of Sheffield and is also a part time teacher of Piano and Theory of Music. Before returning to academia she combined work as a piano teacher with that of a sports coach. In her PhD she brings together music and sport, research and practice.
Dr Erin Helyard (session 1e) Australian National University email@example.com
Please see Professor Stephanie McCallum for abstract Dr Erin Helyard: Currently Lecturer in Music at the Australian National University, Erin graduated in harpsichord from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance with Tom Beghin at the Schulich School of Music, McGill University, and received PhD in musicology at the same institution. He was Principal Continuo with the Australian Chamber Orchestra and Ensemble Caprice from 1999 to 2011, is a founder and co-artistic director of the acclaimed Sydney-based Pinchgut Opera, music director of Brisbane Baroque and is a central founding member of the Orchestra of the Antipodes.
Jo Hensel (session 3f, & chair session 1c) Guildhall School of Music & Drama firstname.lastname@example.org Developing â€œPerformance Platformsâ€? to enrich and deepen learning for performers and their peers Weekly Performance Platforms for BMus 1 and 2 students have been held in the Wind, Brass and Percussion Department at Guildhall since 1988. They were conceived as an opportunity for students to come together in a non-competitive atmosphere to support and encourage each other's learning and to develop a language for critically and constructively evaluating performance. They are a safe space where risk taking and exploring boundaries is encouraged and celebrated, recognising that this is how some of the best learning takes place. This performance paper will explore some of the recent developments which have taken place in these platforms, in the light of the work on assessment and feedback, coaching and mentoring and cross arts collaboration which has been taking place in the Guildhall School recently. The aim of these developments has been to enrich and deepen the learning experience which Platforms offer - both to those performing and those evaluating the performance. The response from students and professors to these developments has been overwhelmingly positive, and the learning from this more holistic approach to platforms has fed forward into assessed recitals later in the course. 130
Jo Hensel fell in love with the sound of the French horn at the age of 11, having been a tenor horn player in her local brass band in Dorset since the age of 8, and the youngest member of her local choral society (by about 40 years). She went on to study horn and voice at the Guildhall School of Music & Drama, graduating with a first class degree and the Dove Memorial Prize in 1991. Jo has subsequently enjoyed a fulfilling musical career; touring, performing and recording with many of the UK’s and Europe’s leading orchestras and chamber ensembles including the Chamber Orchestra of Europe, Ensemble Moderne, Composers Ensemble, BBC Symphony and Concert Orchestras. She has been a member of the horn section of the Academy of St Martin in the Fields since 1998, as well as playing an active role in the orchestra’s education and outreach work. Whilst a member of the orchestra of the Birmingham Royal Ballet, Jo studied for a BSc (Hons) in Psychology. She has since combined her passion for music and education in a career which includes work in prisons, schools, hospitals and many other community and corporate settings. Jo spent a formative four years as Head of Brass at Dean Close School and Director of Music at Dean Close Prep School, before taking up the position of Deputy Head of Wind, Brass and Percussion at the Guildhall School of Music & Drama in January 2011.
Isabelle Héroux (session L1e) Quebec University in Montreal email@example.com
Please see Dr Francis Dubé for abstract Isabelle Héroux is a professor at the Arts Faculty from Quebec University in Montreal (UQAM, Canada). Her research interests include pedagogy for teaching musical instrument, analysis and development of educational materials, the creative processes and the gestures involved in the work of interpretation. She is a member of the Laboratory Research in Music Education Music Department at UQAM (Larem) Research Laboratory in Ear Training and Instrumental Learning (LaRFADI) and the Interdisciplinary Centre of Creation and Research in Music (OICRM).
Dr Juniper Hill (session 2b) University College Cork firstname.lastname@example.org Strategies for overcoming inhibitors of creativity This paper examines interventions for increasing creative agency. Using a comparative ethnographic approach, I worked with musicians active in conservatories and professional scenes in Helsinki, Cape Town, and Los Angeles. After identifying common environmental, pedagogical, and psychological factors inhibiting creativity, I investigated strategies designed to help individuals overcome these inhibitions by studying improvisation courses at conservatories, community music therapy 131
programs, and personal journeys. Components included free improvisation, experimentalism, playfulness, collectivity, singing and vocal improvisation, multi-instrumentalism, multidisciplinary expression, intensiveness, patience, safety, scaffolded composition, exposure to new networks and role models, emotional support, bodywork, therapy, and a change of location, teacher, instrument, idiom, and/or learning method. Since factors inhibiting creativity operate at psychological, social, moral, physical, and material levels, the most effective strategies for enabling creativity work at these same levels. At the material level, some programs and lifestyle changes may provide access to resources, such as role models, networks, and learning opportunities that help fill skill deficiencies. At the physical level, switching instruments or doing bodywork may lead to greater body awareness and the establishment of new neural-kinesthetic patterns, which may help individuals circumvent inhibitions that have become physically habitualized. At the moral level -- relating to value judgments of what constitutes correct music-making -- experimental improvisation, exposure to different idioms, and involvement with different musical communities may help musicians realize that their previously internalized conceptions of what constitutes right and wrong are relative, situational, and socio-culturally constructed. Challenging their musical community’s aesthetic judgment system may in turn help them to feel less compelled to conform to socio-idiomatic boundaries and give them more inner resources for coping with negative feedback. At the social level, building supportive social relationships may help to provide a relatively judgment-free space in which musicians experience less anxiety about receiving negative feedback and thus feel freer to explore, experiment, develop new ideas, and take risks. At the psychological level, increased self-esteem and perception of one’s own potential are important for motivation, for challenging preconceived notions of one’s own limitations, for developing the inner resources to cope with negative feedback, and for developing the self-confidence and courage to take risks in one’s creative work. I conclude by discussing how these research findings might be incorporated into conservatory courses or workshops and to what effect. Juniper Hill is Lecturer in Music at University College Cork and Research Associate at the AHRC Research Centre for Musical Performance as Creative Practice at the University of Cambridge. She is the recipient of an ERC Marie Curie Fellowship, two Fulbright Fellowships, and an Humboldt Fellowship. An ethnomusicologist, she has conducted fieldwork in Finland, South Africa, the United States, and Ecuador on topics related to creativity, improvisation, pedagogy, revival, institutionalization, and transnationalism. Her books include The Oxford Handbook of Music Revival (with Caroline Bithell, OUP, 2014) and Becoming Creative: Insights from Musicians in a Diverse World (OUP, in press).
Dr Richard Hoadley (session 8e) Anglia Ruskin University email@example.com Collaborative cross-domain real-time score generation and performance
Delegates are invited to bring instruments if they wish to participate actively in this session
It is natural for the human imagination to think creatively across domains: many people can imagine at will music to accompany a set of actions and yet the technical understanding of this is not so clear. There is evidence that cross-domain thinking is at the heart of much creative activity and this practice-based research attempts to exploit this hypothesis. The workshop will be presented by composer and performance technologist Richard Hoadley and choreographer and dancer Jane Turner. Their recent collaborations include Quantum Canticorum and The Fluxus Tree which investigate physical interaction and performed music notation. These technologies were also successfully demonstrated to the public at the recent Universities’ Week at the Natural History Museum. Using bespoke and proprietary data acquisition technologies and cutting-edge computing, the workshop investigates relationships between domains, in particular dance and music. It will also reference other contemporary examples including Laetitia Sonami’s Lady’s Glove and Marije Baalman’s Wezen Gewording. Works such as these do more than modulating sound with movement; they use many-to-many algorithms and gestures to generate identifiable but non-identical renditions emulating natural performance. This workshop also adds a less explored dimension of algorithmically generated notation in addition to synthesised audio, allowing for interpretation and synchronisation between multiple performers and audio events. Crucially it utilises performers' learned motor skills to create vibrant live performance that cross-fertilises compositional processes with improvisation and spontaneity. The event illuminates the conference objectives of creativity, playfulness and improvisation by offering a workshop where these relationships are laid bare. It provides a unique insight into the difference between the cross-domain relationships of our imaginations and real, functional implementations. It tests these differences and proposes methods of overcoming and exploiting them. The workshop will include a brief history of electronic interaction. There will be a series of demonstrations and performances during which participating dancers will experiment with movement, spatial positioning, and simple gestures to produce interpretable sonic environments, performed in real-time by the musicians, themselves experimenting with a performing environment that is both familiar and novel. Of key importance will be a demonstration of the technology’s possibilities, challenges and potential for continued research, and how it remains entirely necessary to learn and practice with these environments as is the case with any musical instrument. The workshop will define the role of technology in cross-domain creative work, considering the aesthetic and creative possibilities while providing technical implementations enabling real-world experimentation in this cutting-edge field. Composer and performance technologist Richard Hoadley is affiliated with the Digital Performance Laboratory at Anglia Ruskin University. His music developments work with 133
various bespoke and ready-made technological systems where movement and touch, via sensory interfaces and algorithmic software together generate original compositions in real-time. These systems have been used practically in enabling modes of expression of non-experts such as children and those with challenging physical and mental conditions.
Professor Dr Sarah Hoskyns (session 7d) Te Kōkī, New Zealand School of Music, Victoria University of Wellington firstname.lastname@example.org Is there a role for improvisation in arts research? A viewpoint from doctoral research in music therapy learning and teaching This paper will explore aspects of the findings from a recently completed doctoral study using qualitative case study methodology. The field of inquiry was teaching and learning in music therapy and the participants in the study were international practitioners, educators, students and researchers in the discipline. Music therapists in many international contexts in the 21st century are trained to be responsive improvisers, meeting the needs of a wide range of participants with flexible music-making. The seeming ‘academic’, thinking-led frameworks of research can often appear challenging or daunting to learners and teachers (and perhaps somewhat antithetical to the nature of arts practice). The current research study sought to find out ‘how can research be integrated into the practitioner training of music therapists at masters’ level’? Findings from a thematic analysis of varied data sources (including interviews, focus groups and reflections on improvisations with some participants) indicated that cherishing students’ fire and curiosity; facilitating the acknowledgement and management of change; and helping students embrace complexity in their music therapy education were key themes in training practitioner-researchers to realise the potential for integration. Moreover the creativity of research exploration, using reflexive methods to build ideas about practice, to ‘improvise theories’ and to make meaning in what musical or arts practitioners do was seen to have particular value by the researcher and participants in this study. Although such qualitative findings cannot be generalised, it is anticipated that artists and therapists may recognise these themes as relevant to their own work. The experience of using musical improvisation as a stimulus for reflection with research participants was an enlightening process in this study and will be illustrated in the presentation. Sarah Hoskyns is an experienced music therapy practitioner, teacher and researcher and directs the MMus Therapy Programme at Te Kōkī, NZSM, Wellington, NZ. She was previously Head of Music Therapy Dept at the Guildhall School from 1991-2004. She co-authored The Handbook of Music Therapy, with Professor Leslie Bunt, currently being prepared for its 2nd Edition in 2015, and is a regular editor and author for the journal Voices: a World Forum for Music Therapy. Research interests include the postgraduate education of music therapists and cultural aspects of practice in Aotearoa New Zealand.
Emese Hruska (session 2d) University of Roehampton email@example.com Musicians’ reflections of own musical development and causes of performance anxiety Perfectionism is argued to be one of the causes and sustaining factors of music performance anxiety which is a result of one’s subjective experience, and is shaped by the interplay of emotions, motivations and cognitive processes, and the phenomenology of causative factors of the development and maintenance of the condition. Like anxiety, perfectionism can exert both a positive and negative effect on performance which if taken to extremes, can be debilitating (Kenny, 2011). This paper will report findings from the first, qualitative, phase of a PhD research project that explores musicians’ experiences of perfectionism and music performance anxiety in a threephase mixed-methods, exploratory design. Using open-ended, semi-structured interviews, data was collected from fourteen musicians, aged between 21-54. Profiles varied from full-time music college student, in transition between higher education and the profession, freelance and full-time professional musicians, and members of music-related professions (e.g. teaching). Participants were recruited through advertisements in London based music colleges, professional orchestras via email and an advert at the BAPAM website. Questions addressed demographic information, career stage, familyteacher-professional relationships, memorable experiences, self-definition of own personality, and views on success and developmental processes. Data analysis highlighted positive influences and setbacks experienced by participants with the aim of creating a potential for improvement in the future. Topics to emerge were: (1) parental guidance and expectations determined participants’ coping styles and perfectionist attitudes; (2) the importance of education (criticism of college education and teachers’ preparedness and style of instruction; characteristics of good teachers as a need to prevent anxiety); (3) psychological and motivational factors in goal attainment (inappropriate guidance resulted avoidance of practising and inducing anxiety; acceptance and not trying hard were found to be crucial of positive change); (4) complementary pursuits (i.e. yoga) to recover from damages suffered at music education; (5) metacognitive reflections on practising methods, cognition in before and during performance were crucial factors of the musician’s success levels in performance; (6) and career experiences that, auditions are the major source of performance anxiety, and there is a need for cognitive support in audition preparations. Findings will be compared to the outcomes of the second phase of the study, an online based cross-sectional survey measuring advanced musicians’ self-concepts, self-esteem, personal standards and perceived discrepancy in meeting expected standards, and levels of music performance anxiety.
Emese Hruska is a violinist and PhD candidate at Roehampton University, London. Her research focuses on advanced musicians’ experiences of perfectionism and music performance anxiety. During the ten years of her teaching pursuit, she developed a combination of strategies that help students, who are suffering of maladaptive perfectionism combined with low selfesteem, to become less anxious, more focused and satisfied with their learning achievements. After completing her PhD, she intends to work as a music psychologist and performance coach to help musicians to achieve and maintain psychological balance, to be resilient, positive and autonomous in their work.
Sara Hubrich (session 6c) University Of Applied Science Northwestern Switzerland firstname.lastname@example.org Theatricalities of music as embodiment: practice-based investigations into staged and embodied interpretations of instrumental music from the perspective of the performer Theatricalities of Music is a practice-based research to PhD, in which the performer of a piece of instrumental music is regarded as a creative source in addition to the composer. The central research questions are: - How can creativity be enacted and embodied in a live music performance by the performer? - What kind of enhanced content can a performer convey through creatively extended, embodied interpretation? The aim is to look at approaches and techniques that extend the current performance conventions by creating interpretations of instrumental music that are based on the effects of the performer’s bodily presence on the performance itself, taking seriously the idea that culture is rooted in the mind and in the body and that interpretations are created by performers who are ‘embodied minds’ (Csordas 1994). With the presence of the performer as an embodied mind and an additional source of ideas as starting points for staged performances the performer creates platforms for extended performances of pieces of instrumental music in combination with his or her creative ideas and perspectives on the music. This is a process that exceeds the traditional idea of an interpretation in terms of the applied amount and structure of creativity. Such platforms are demonstrated through the live performance of String Quartet No.79, I and No. 73 from String Quartet collection IV by Ruedi Haeusermann and the HENOSODE String Quartet (violin, two violas and violoncello). This is an integrative performance of music and improvised sounds and actions that results into a stage and situation reflecting musical and extra-musical content. The chosen setting represents both, the specified original music as well as perspectives on the music’s performance and necessary additional actions within the performance setting. Such perspectives are displayed through the live interaction of the musicians and through transitions between composition and improvisation. These transitions highlight the moment and aspect of invention from the viewpoint of the performer, who explores the original music through a
creatively extended interpretation based on his or her presence, his or her experiences and a resulting embodiment of the music. These techniques draw upon approaches such as movement, composition combined with improvisation (David Dolan) and the juxtaposition of styles and theatrical elements within a frame of a music performance and create additional layers of meaning, unique constellations of musical aspects and transfer of experience within each performance. Such approaches can create opportunities for cultural enactment and for â€˜enchantingâ€™ re-creations of the work through the performer-audience relationship (Fischer-Lichte 2008). Within this PhD project that is nearing completion, these extended interpretations are described as Embodied Music Performances of instrumental music and are presented through analysis and review of a set of case studies undertaken from 2001 to the present that are documented on DVD. The summary of this practice-based research and analysis is presented in the form of a toolkit that can be used as a guide by performers of instrumental music intending to pursue a comparable path. Henosode Quartet Sara Hubrich, violin Josa Gerhard, viola I Benedikt Bindewald, viola II Christoph Hampe, cello Sara Hubrich studied violin and viola at the Guildhall School of Music & Drama and instrumental education and improvisation in Hannover, Saintes and London and is working as a freelancer in instrumental theatre for the Schauspielhaus Zurich and Schauspielhaus Hannover. As a PhD candidate at Birmingham City University and Birmingham Conservatoire she researches theatricalities in music performance in practise-based investigations into staged and embodied interpretations of instrumental music. She has been a lecturer in Aesthetic Education for Primary Schools at the University of Cologne and is currently a lecturer and researcher in the research team of Professor Zurmuehle at the University of Applied Science Northwestern Switzerland (FHNW).
Professor Cecilia K Hultberg (session L2c) The Royal College of Music in Stockholm email@example.com Staging baroque music and shedding light on timeless gender issues: artistic development of The Opera Bureau, a freelance chamber music company This paper presents preliminary results from an ongoing exploration of the development of The Opera Bureau, a Swedish freelance company lead by Christina Larsson Malmberg, soprano, and Catalina Langborn, violinist, both specialized in baroque music. In 2011 their joint artistic master project formed the starting point of the company. Together with further musicians, dancer/choreographer, script author and costume designer the leaders create 137
operatic performances of chamber music they appreciate. Based on historical courses of events they problematize timeless gender issues in performance as well as in “packages” (workshops, audience talks) for different kinds of audiences. The exploration uses a collaborative approach combining the two leaders’ developmental work with academic research from a cultural psychological perspective. Many-sided data are collected – diaries, printed scores, rehearsal/performance notes/recordings, public documents, communication with funding organisations and audiences – and followed up by semistructured analytical talks addressing considerations of importance to the development of the company. The collaborative analysis based on partly similar and partly diverging preunderstanding helps reveal aspects that would have remained uncovered by the performers or the researcher individually. Four phases of development were identified: 1) Setting and trying out goals (master project) Creating a platform for developing ideas, produce multi-artistic performances with gender perspective, fill a void in classical concert arena, touch inexperienced audiences; Supporting individual freelance carriers (CLM: musicians/opera singer; “CaLa: “Musician with more than an instrument”) 2) Establishing professional team-leadership (little space for individual artistic development) Sharing/Dividing responsibilities (production, administration, funding) Setting a general frame of productions: small ensemble, democratic approach, all performers act on stage (instrumentalists play by heart), stripped scenography, gender perspective includes the selected music (implemented in “The Courtesan and her love” – exemplified in the presentation). 3) Reconsideration Competence development: collaboration with a director and a gender pedagogue; Revision of already established productions and “packages” for different audiences: (instrumental) music performances more central; Negotiation of individual agendas. 4) Re-orientation Strengthened leadership: Full responsibility for operating and developing the company (less democracy); Elaboration of a new production: balancing development of the company with individual professional agendas; a stronger focus on the leaders’ music performance and possible development. The results exemplify the need for a combination of different competences in order to achieve sustainability of a freelancing performance company. Nevertheless, the leaders’ expertise in music performance remains the solid ground. Based on these results, implications to higher music performance education will be discussed. 138
Cecilia K. Hultberg is professor/chair of Music Education and Music Education Research at The Royal College of Music in Stockholm. She holds a master in music performance (flute) from The College of Music in (West) Berlin and a PhD in Music Education Research from Lund University (Sweden). She performed with Brandenburgische Kammersolisten until she left Germany. Her research focuses on learning and development in/through music performance. She is a member of The Committee of Educational Sciences at The Swedish Research Council.
Dr Alexander Hunter (session 1e) Australian NationalUniversity firstname.lastname@example.org
Please see Professor Stephanie McCallum for abstract Dr Alexander Hunter, Lecturer Australian National University, will discuss collaborations between composer and performer and describe his focus on creating anarchic microcosms through performance, i.e. situations based on a combination of individual creative input and responsibility, and interdependence and teamwork.
Dr Susana Cecília Igayara (sessions L1d & 3d) University of São Paulo, Brazil email@example.com
Please see Caiti Hauck-Silva for abstract (session L1d) Please see Professor John Rink for abstract (session 3d) Susana Igayara is Lecturer in Choral Repertoire, leader of the Multidisciplinary Group of Studies and Research on the Art of Singing (GEPEMAC), and coordinator of the programme in editing in the Choral Laboratory, University of São Paulo, Brazil. Prior to receiving her PhD in Education, she served as choral director from 1986 to 2004 in the Museum Lasar Segall, the Faculty of Arts Santa Marcelina and the Mozarteum of São Paulo; she was also director of the Music Documentation Centre of the São Paulo State Symphony Orchestra. Her main research focus is Brazilian choral music.
Dr Lotta Ilomäki (session 1d) The Sibelius Academy, University of the Arts Helsinki firstname.lastname@example.org Skills and visions for musicianship: a review of recent Finnish projects on instrumentalists’ and singers’ aural-skills education, with implications for curriculum development In the last fifteen years, teachers and students at the Sibelius Academy (University of the Arts, Helsinki, Finland) conducted several small-scale projects to develop aural-skills and music-theory education in the light of instrumentalists’ and singers’ professional needs. The projects mapped typical challenges that different musicians are likely to face in their professional work and developed practical solutions to aural-skills and musictheory pedagogy through contextual, real-world musical tasks. At present, the Sibelius Academy is preparing a large-scale curriculum development project. Therefore, we decided to review some of the projects conducted in the 2000s, to articulate and clarify the learning conception behind them, and to critically reflect on their findings and their applicability it in the present situation. We also reflected on the reasons why the projects had not always changed the regular teaching and learning. Besides yielding ideas to practical teaching and learning, the projects suggested the need to devote attention to the students’ ownership of their aural-skills and music theory learning. Even students who are skilful instrumentalists needed guidance in learning to take part in framing and designing their own practice in aural skills and music-theory subjects. Furthermore, the projects suggested that present-day students need to find their way amidst various ideals for musicianship – which in turn imply a variety of possible goals for aural-skills learning. Indeed, to openly face this challenge, the traditional idea of the curriculum as a prescription of contents to be taught and learned is not sufficient. Instead, the core idea of the curriculum should be to support the students’ growth into future professionals, who can continue to learn and face new challenges throughout their careers. This also requires the development of assessment methods so as to emphasise the learning process and to encourage the students’ exploration and risktaking. The presentation reviews selected findings from Finnish aural-skills projects in the 2000s, as well as recent discussions wherein the teachers have reviewed this previous work. The data sources include unpublished project reports, the participants’ discussion notes and memos as well as written documents of the students’ musical assignments. The author’s position as a participant teacher in several projects is also discussed as part of the research methodology. The findings are also related to selected literature on higher-education curriculum development (e.g. Jackson 2006; MacKernan 2008; Barnett 2014), as well as recent discussion on musicians’ changing professional needs (e.g. Smilde 2009). Dr Lotta Ilomäki works as a senior lecturer in aural skills and music pedagogy at the Sibelius Academy, University of the Arts Helsinki, Finland, since 2013. She has obtained a Doctor of 140
music degree in music theory and also studied piano performance at the Sibelius Academy. Previously, she has held research and teaching positions at the Sibelius Academy (1997- 2013) and also worked in Central Helsinki music institute (1993-2012) and Helsinki University (1997-1998). She has worked as a visiting teacher in Estonian Music Academy (2004-2006) and held international workshops or guest lectures in the USA (Texas State University), England (Exeter) and Norway (Oslo).
Assistant Professor Kjell Tore Innervik (session 1a) Norwegian Academy of Music email@example.com Experiences from a collaborative project between the Norwegian Academy of Music and a municipality in northern Norway The aim and the context of the work: in this paper we will present an ongoing research project that intends to describe and discuss a collaborative music project between the Norwegian Academy of Music (NMH) and Hammerfest municipality in northern Norway. The intentions with the collaboration are, from Hammerfest musicipalityâ€™s point of view to increase the interest for music in the society, expand the culture activities, and hence make Hammerfest a more attractive place of residence. For NMH the cooperation is a part of the Masterâ€™s Degree Programme in Music Performance with the aim to expand the students` perspectives on their role as musicians. For the participating students, the collaborative project takes place in the first year of a two-year master degree education programme in music performance. The project in Hammerfest involves active participation from and cooperation with local musicians, as well as a focus on reaching new audiences through concerts in different contexts. The research project is part of a project at NMHâ€™s Centre of Excellence in Music Performance Education (CEMPE), which focuses on on-the-site work practice opportunities, with the aim to prepare the students for proactive action in a diverse and rapidly changing globalised music community. Methodolgy/processes involved: 15-20 students participate in the collaborative project each year. In Hammerfest the students experience a quite different and unknown arena compared to other projects that they have previously partaken in, as they in Hammerfest perform music in rather unusual contexts with a high degree of collaboration with local musicians as well as each other. The project is further characterized by a strong focus on conversation and joint reflection between students, and between students and teachers during the 12-days period of the project. Through observations, questionnaires and interviews with participating students we intend to look into students` experiences with emphasis on experiences that can be characterized as key moments or as significant for the students.
Key outcomes and their implications: the research study in progress can give valuable insight into how a collaborative project can contribute to significant experiences for the students, and how this can affect their personal and professional development as musicians. Further, the research project can contribute to curriculum changes in our own academy, as well as be of relevance for other institutions that are engaged in similar outreach projects. Assistant Professor Kjell Tore Innervik has attracted attention both in Norway and abroad as an individual artist who is not afraid to explore new music and new ways of communicating through music. Innervik studied percussion at the Norwegian Academy of Music, completing his Diploma in advanced performing studies in 2003. Innervik has finished a fellowship on the artistic research and development programme at the Norwegian Academy of Music. Innervik is Assistant Professor and was in 2009-2013 head of outreach at the academy.
Dr Mirjam James (session 3d) Centre of Musical Performance for Creative Practice firstname.lastname@example.org
Please see Professor John Rink for abstract Dr Mirjam Jamesâ€™ interest in performance research stems from her experiences as a cellist and singer. Her research focuses on group communication and rehearsal strategies of professional ensembles. As a Research Associate at CMPCP she participated in a three-year project on aspects of musical creativity in teaching and learning environments. After completing her PhD on audiovisual perception (Technical University Berlin) and then working as an editor for educational music journals, Mirjam James became Acting Professor in Systematic Musicology at Bremen University. Her PhD research was published in 2007 as a monograph entitled Schnittmuster. Affektive Reaktionen auf variierte Bildschnitte bei Musikvideos.
Dr Geir Johansen (session 4a) Norwegian Academy of Music email@example.com Conservatoires in society In what ways does society affect conservatoires of music? And in what ways do, or could, conservatoires affect contemporary society? And, how do conservatoires reflect on this reciprocal relationship? Educational sociologists and philosophers have long pointed to institutions of education as playing a role in maintaining as well as changing society. This inevitably includes conservatoires of music. It actualizes questions about how we look at ourselves including the role(s) we might play as socially responsible institutions. At the Reflective Conservatoire conference in 2013, John Sloboda addressed the relationship between conservatoires and society and left delegates with a set or provocative challenges: in 142
addition to prisons and hospitals, should we also attend to the corporate board-room and the political system? Should conservatoires directly confront challenges such as the polarization of modern society, and environmental and economic threats? Following up on Sloboda’s address, a group of conservatoire leaders and scholars from a range of conservatoires in Europe and Australia convened twice during 2013-2014 to discuss the conservatoire-society relationship, identifying and then elaborating on a series of relevant themes. In this symposium we will present some of the fruits of our discussion so far, and invite of the issues in the hope that participants will feel inspired to take the ideas back to their own institutions. We divide the symposium into two parts, as illustrated in the following: Part one: introduction John Sloboda: A brief review of the ‘Conservatoires in Society' project. 1. Peter Tregear: Conservatoires as institutions of public service. 2. Helena Tulve: Listening. 3. Harald Jørgensen: The mission of higher music education institutions in North-West Europe. 4. Richard Wistreich & Geir Johansen: What contributions can research make? Part two: discussion 1. Pre-invited response: Professor Leonella Caprioli, University of Venice, Italy. 2. Plenary discussion Presentation abstracts
Peter Tregear: the Conservatorium as a public institution We are living in times of only ever-increasing skepticism emanating from governments and the media alike about the efficacy of public spending, if not the public sphere itself. It is no great surprise, then that we find government funding of ‘elite’ music increasingly threatened. It is time for us to reinvigorate, if not reconsider, the public remit of the Conservatorium in response. Currently, the forms of ‘elite’ music education that lie at the heart of the traditional ‘Con’ are justified principally in terms of preparing most talented young people for a career as a virtuoso performer through the mastery of the traditional competencies of Western classical and jazz music. But as attractive as these might be to staff and students within such an institution such an educational remit appears to fail to address fundamental shifts in the ways most of us now commonly encounter musical culture outside it, let alone what sorts of music this commonly is. We also have a plethora of new ways to hear music outside the traditional 143
concert hall or opera house. Above all, we can now listen and purchase music using that most economically and socially disruptive of technological phenomena, the internet. There have been many articulate defences of inherent value of traditional forms of elite music education. Such defences however, may have helped us avoid encouraging more overtly selfreflective and self-critical educational culture in our conservatoria, one both more aware of, and more responsive to these profound social and technological changes. Have we thus lost sight of the broader social contract that ultimately makes such ‘elite’ music education possible? Are conservatorium-trained musicians merely to be seen (and heard) to fiddle while our global Rome burns or can conservatoria conceived more profoundly as a public institution in fact help the public better negotiate contemporary cultural challenges? This paper argues that conservatoria might indeed better articulate and demonstrate how they make positive difference in the world through the transmission and advancement of public knowledge, and thus also better articulate and secure their case for ongoing public support.
Helena Tulve: conservatoires, society and listening as a central human ability Our contemporary world is largely a world of visual containers: images, symbols, logos, emoticons etc. We are constantly bombarded by visual impressions, media and advertising and it is not easy to hear the simple voice of life itself. In the very center of music education conservatoires and music making is the ability to listen. In this context listening becomes a synonym of being present, being concentrated, attentive and ready to respond to what we hear and innerly understand. Listening to the music, listening to the other, listening to ourselves, to the world, to the silence – the very nature of things. Listening is the activity of the present, always new and a very important quality music conservatoires can bring and open to the society as the agent of the basic transformation we very much need in the growing situation of crisis and deficiency of communication and harmony. New technologies bring us lots of possibilities and joy, but used without moderation can easily bring damages as well. One of those is the loss of our fundamental ability of hearing we normally take for granted. Nowadays auditive problems have become already a common reality. There can be a huge variety of sounds, there can be music of subtle nuances in our world until there is somebody to hear and listen to it. Raising the attentiveness to this problem is another aspect of valuing the importance of listening as a fundamental of our understanding of the essence of the world – world of human beings, communication, sharing and joy.
Harald Jørgensen: the mission of higher music education institutions in North-west Europe. Higher education institutions throughout the world have increasingly developed mission statements, i.e. statements about their purpose or reason for being. This presentation refers to a study that looks at such statements in 50 conservatoires in North-Western Europe. Five basic mission themes emerged from the textual analysis: To engage in student development; to provide studies and education; to contribute to society; to contribute to culture and the arts; and to provide research and innovation. The range of purposes is addressed, and I will discuss sameness or diversity of statements between institutions. The presentation will give specific attention to the statements that relate the institutions and the students to values and task in society. 144
Richard Wistreich & Geir Johansen: what contributions can research make? Research is now fully-embedded in most conservatoires and includes practice-based artistic research, as well as pedagogy and music-psychology, and more traditional musicological and music theoretical topics. However, up until now, little conservatoire research has been directed to investigating wider questions about the relationship between music institutions themselves and the society in which they are situated. In this short presentation we pose three questions:
What might be the effect of ‘adding’ a new research area devoted to understanding the wider role of conservatoires in society? First we must determine that there is a definable set of relations between conservatoires and society that is more than simply providing a music educational service. One might start by investigating how conservatoires function in society in general, and how this is exemplified, through a variety of case studies. Are such functions and relationships consistent with how conservatoires actually see their role in society? Do they reflect what conservatoires are looking for in return from, and how they wish to be influential upon society?
How might ‘conservatoire-based research’ play a particular role in helping conservatoires situate themselves more dynamically and appropriately in society? How conservatoires see their role in society is currently dependent on their perceptions of society’s need for the kind of services they provide. Conservatoire-based research might examine such topics as: the professional music worker and the labour market; the dynamics of conservatoires’ educational outreach and other community activities, as well as their public artistic programmes; if they believe they are preparing their students to become citizens and not ‘just’ musicians; and so on.
Could a more ‘enquiry-led’ approach to learning and teaching, rebalancing the curriculum in favour of students as ‘co-researchers’ rather than ‘apprentices’, contribute to a more self-aware conservatoire? Students and their teachers can act as co-researchers in many ways and at several levels. Master’s and doctoral students might pursue collaborative projects that address themes that the conservatoire considers important to its own institutional development and which pose broad questions about their own roles as musicians in society. Meanwhile, music Bachelor’s programmes have not so far followed the recent trend towards integrating the ‘undergraduate researcher’ into curricula that is increasingly being embraced in the social and ‘hard’ sciences. Yet conservatoires, with their intakes of already highly-skilled musicians and their professionally-active musician teachers, would seem to be fertile spaces for such initiatives. Geir Johansen is professor of Music Education at the Norwegian Academy of Music, Oslo, coleader of the Centre of Educational Research in Music, CERM, and head of the master programme in music education. He holds a Ph. D. and Master of music education. Besides studying Conservatoires in Society he is currently carrying out studies of the teaching of Musikdidaktik in 3 nordic conservatoires and music talent education in general school in Norway. Johansen has published articles in journals and books such as Music Education Research, British Journal of Music Education and Sociology and Music Education (Ashgate, ed. 145
Ruth Wright). He is also the co-editor of Educating Music Teachers in the new Millennium (Norwegian Academy of Music) and the co-author of a Norwegian textbook about Music teaching. He supervises as well as teaches music education on the Ph. D. and Master level.
Dr Guro Gravem Johansen (session 3e, & chair session 6d) Norwegian Academy of Music firstname.lastname@example.org To practise improvisation: a qualitative study of practising practices among jazz students, with a particular focus on the development of improvisation competence In November 2013 the PhD-thesis with the title mentioned above was publically defended. The thesis was aimed at illuminating the learning goals, objects and processes that distinguish instrumental practising among jazz students in higher music education, and at increasing the knowledge of how improvisation competence can be developed through practising. The rationale of this study is based on the assumption and potential dilemma that musical improvisation often imply playing something different from what one has practised, in order to create spontaneously in an aural, interactive and unpredictable musical context. The empirical data consists of 13 qualitative, semi-structured interviews with students within higher jazz education in Norway and Sweden, distributed on different main instruments. The interviews were triangulated with a follow-up case study with three of these students, where Stimulated Recall interviews based on individual as well as collective practice sessions were used. The study employs Activity Theory as the basic theoretical framework. The concept of expansive learning (Engeström, 1987, 2001, 2005) is employed to analyse learning activity that is potentially open-ended. Findings showed that a central value for the participants was the development of a personal “sound” or “voice”. They strived for a high degree of autonomy with respect to the choice of learning material, and towards the institution and teachers. The activity of performing in the jazz tradition carries norms for potential musical roles determined by the specific instrument the students play, and these norms influenced on choices of learning objects. But practising also involved experimenting with musical conventions connected to instrument norms, with an explicit goal of breaking such norms. The concept explorational practice, derived from the theory of expansive learning, was launched in the thesis to capture aspects of experimenting, as supplement to the scholarly established concept deliberate practice. Explorational practice was often used as a means of becoming less controlled related to both technical (psycho-motoric) as well as musical, creative aspects. The participants displayed a high degree of awareness of music theory and compositional concepts. Such an awareness can be seen as a necessity or pre-condition for
exploration and experimentation as such, a point which became particularly salient with regards to the practice of copying from recordings. Collective practice, as a context for learning, was often described as closer to â€œreal-life performingâ€? than individual practice, as it carries possibilities for practising musical responsiveness and exchanging of musical ideas, etc. Thus, social aspects of collective practice was problematized by several participants, and came across as intertwined with problems of musical character. Guro Gravem Johansen holds a PhD in Music Educ.ation from the Norwegian Academy of music, where she also teaches jazz vocal ensemble, jazz aural training, and instrumental methods in jazz, pop and rock music. In 2014 the Academy was awarded the status of CEMPE (Centre for Excellence in Music Performance Education), where Johansen is engaged as comanager in a project involving teachers and students with the aim to explore the transfer of practising approaches across genres.
Her research interest is focused on teaching and learning improvisation within the jazz genre, and her Phd thesis holds the title To practice improvisation. A qualitative study on practising
practices among jazz students, with a particular foucs on the development of improvisational competence. Her master thesis was on the topic jazz improvisation and aural training in higher music education. She has contributed to several Scandinavian textbook anthologies with articles on topics such as jazz aural training that incorporates improvisation and the teaching of jazz in primary school. As an educated jazz singer she performs with various jazz- and folk music bands, and she conducts choirs for both adults and children.
Dr Karin Johansson (session 2c) MalmĂś Academy of Music, Lund University email@example.com Towards a virtuous circle: Third Cycle artistic research in the conservatoire as creative dialogue, critical reflection and discipline development This presentation addresses questions concerning the relationship between st nd rd 1 , 2 and 3 cycles in higher music education (HME), and the transformative possibility of artistic research in conservatoire contexts. In the conservatoire tradition, knowledge and experience of music as both a craft and an art is held, transmitted and developed. Previous research shows that young students of classical music entering this system often encounter tensions between, on the one hand, the task to reproduce and continue the tradition, and, on the other hand, the demand to create new and original artistic expressions. Such tensions may be balanced and articulated by means of productive and visible 3rd cycle artistic research projects; as suggested in the AEC Handbook to Third Cycle Studies in HME, the introduction of doctoral programmes in conservatoires may have a positive effect on the other two cycles. Experiences from a decade with a Third Cycle artistic research programme at our conservatoire point to how it certainly builds upon and feeds back into the previous two cycles, but also that it has the role of posing challenging questions that may slightly push the system out of its comfort zone. 147
After an introduction to how artistic research programmes may be a possible instigator of creative dialogue, critical reflection and discipline development, this session comprises three case descriptions of PhD projects which are all influential in the shaping of tomorrow’s 1st and 2nd cycle conservatoire training. The PhD candidates are all former students at our academy who combine high-ranking artistic careers with doctoral studies and teaching in HME. Their projects investigate and develop fundamental issues in Western European art music as a cultural practice; relationships to (i) written scores, improvisation and instruments, (ii) performance practices and (iii) audiences. In simultaneous contact with students, professional musical practice and contemporary artistic research, they all relate to questions such as: What roles can be played by professional musicians of tomorrow? How will they relate to life long learning and entrepreneurship on the open media market? As living examples of how the interrelationship between cycles can be enacted, the three presentations picture inspirational as well as disturbing consequences of 3rd cycle artistic research and point to how these may be used for the development of a coherent structure of acquisition (1st cycle) – application (2nd cycle) – generation of new knowledge (3rd cycle) in HME. The session will be concluded by a summary and a following open discussion. Part presentation abstracts: Karin Johansson What is the role of Third Cycle artistic research in the conservatoire? This presentation gives a background to the influence and importance of Third Cycle artistic research in the conservatoire, where research carried out by prominent musicians may renew, energize and challenge teaching traditions and views of artistic knowledge. An overview will be given of how the interaction between 1st, 2nd and Third Cycles may initiate (i) a creative dialogue between the conservatoire and public musical life, (11) critical reflection in the institutional context and (iii) fruitful discipline development. Francisca Skoogh ’Don't shoot the pianist’ – the perceptual set of a performer on stage In traditional classical music settings, the audience is often an ’anonymous mass’ sitting silently waiting for the performance; are they not involved in the process of interpretation? My research explores my communication with the audience and the impact of inner mental images of the audience on my interpretation and ability to feel free on stage. I will relate this to the conception of the listener – ’the Other’ - and to how my different ways of perceiving ’listening’ and ’the listener’ as a performer influence communication on stage. Peter Spissky ’Specialization as innovation’ – Historically informed performance (HIP) as a key to the future The establishment of Early Music Departments in European Conservatories at the end of the 20th century followed disparate courses, depending on the attitudes and possibilities of the home institutions. If the continual specialization in historical performance practice created 148
some isolative tendencies from the traditional performing education, my presentation - based on my artistic research - proposes possible strategies for designing tools of compatibility between traditional and historical approaches of performance practice. Using my own artistic practice as a method, I highlight the concept of "musicking" (Small 1998) as a unifying principle, both in the actualisation of historicity achieved in the early music education, as well as in the problematisation of normativity accumulated in the traditional music education. Sara Wilén Facets of vocal improvisation – performing, teaching and researching in higher music education My artistic research and teaching focus on vocal improvisation as a tool for collaborative creativity for classical singers and musicians, in order to investigate and widen the work role of the classical singer. With methods for extemporating dramaturgic and lyrical interaction and structures in situated stage contexts, the improvisers create new musicodramatic material, not to be repeated. I will give some examples of how a constant intertwining and merging of perspectives and roles as PhD student, performer, teacher in opera improvisation, supervisor and coordinator of degree project seminars in1st and 2nd cycles, create ideas and lines of action in practices of artistic knowledge production and research. Dr Karin Johansson is a performing organist, a senior lecturer and the director of artistic research in Music at the Department of Music Education and Performance, Malmö Academy of Music, Lund University, Sweden. After her PhD thesis Organ improvisation – activity, action and rhetorical practice (2008) she has worked with the projects (Re)thinking improvisation, funded by the Swedish Research Council, Students’ Ownership of Learning based at the Royal Academy of Music, Stockholm, and with the international research network Choir in Focus, funded by Riksbankens Jubileumsfond. She has a special interest in the performance practices of early and contemporary music.
Karst de Jong (sessions 4f & 8c, & Open House) Royal Conservatoire of Den Haag firstname.lastname@example.org
Please see Bert Mooiman for abstract (session 8c) Navigating through harmony: new strategies for the creative use of harmony in tonal improvisation (open class) The materials of the workshop are derived from a research project which is currently conducted at the Royal Conservatoire of Den Haag. The research explores new pedagogical ideas to teach improvisation and to integrate improvisation into the curriculum of classical performers. The workshop “Navigating through harmony” will focus on the ‘invention’ of harmony while improvising in tonal styles. This is a special challenge since tonal improvisation is mostly done over pre-structured harmonic schemes, such as a ground bass, or the chorus in jazz music. The central objective is to demonstrate how one can make logical harmonic progressions and create sensible musical structures with them. We will work with solo improvisations, duos, and larger
ensembles. Active participants will be alternately playing and reflecting on the playing of others. In order to invent harmonic progressions on the go, obviously a certain amount of theory is needed. For this some useful and recent pedagogical innovations will be discussed, and integrated into our playing. First of all there is the Partimento tradition, which developed in Italy in the 18th century as a very effective teaching tool, covering the ground between improvisation and composition. We will work with some useful concepts and techniques from these Italian masters. Secondly there are recent new insights in tonal harmony as researched and published by me in collaboration with Thomas Noll. We have developed a set of symbols (arrow language) describing harmonic progressions in terms of the directions of the movements of the underlying fundaments. The possibilities of working with these harmonic directions will be explored with solo improvisations and improvisations with small groups. I believe this work is important because it helps create an active consciousness of harmony in the classical player who wishes to improvise in tonal styles. This is far easier obtained by improvising with above mentioned concepts than with traditional methods of teaching harmony, which are usually based on (4-part) writing. The workshop will be a first step in reestablishing and reinforcing the all-important connection between hearing, aural imagination and command of the instrument, and it will show a fascinating new way of understanding harmony as something which is alive, and dynamically changing according to the needs of the moment. Karst de Jong studied Piano and Music Theory at the Royal Conservatoire of The Hague. He specializes in improvisation and the relation between analysis and interpretation. He is professor at the Royal Conservatoire of Den Haag and also at the ESMUC (Escola Superior de Musica de Catalunya) in Barcelona. He published articles on improvisation and music theory and appeared at numerous conferences and festivals, among them The Piano-Pic festival in the French Pyrenees (2009, 2011) and the Paul Badura-Skoda Music Festival in Vila-seca, Spain (2011, 2013). He released his first CD with solo-piano improvisations. Karst de Jong lives in Barcelona.
Professor Harald JĂ¸rgensen (session 1b & 4a) Norwegian Academy of Music, Centre of Excellence in Performance Education email@example.com
Please see Dr Geir Johansen for abstract (session 4a) Teaching of practising Practising is a crucial individual learning activity for the studentsâ€™ instrumental development. In addition to specific instrument-related practice strategies, this involves knowledge and use of general study skill activities, like planning, setting goals, regulating concentration and motivation, physical care and exercise, mental practice, time management etc. We have a
growing body of research observations of how students practice, using self-regulation or selfteaching strategies, and we have books and articles that give advice to the practising students. There is obviously a lot of practice advice included in instrumental lessons. However, one suggestion from research is that, while teachers believe that they generally give students a regular flow of practice advice, many students have an impression that they receive little advice. This discrepancy suggests that ‘to give advice’ about practising may need a more explicit presentation. Another suggestion from research is that practice advice is (apparently) primarily related to the music that is rehearsed, and not to more general issues (planning, mental practice etc.) This suggests that we may need a more structured approach to teaching of practising. Few studies have observed teaching of instrumental practice. In this symposium, Kim Burwell presents an action research project in a university music department, including support to volunteer students through a residential ‘practice clinic’; and the development of a ‘tool kit’ that might be disseminated to students through group activity. Harald Jørgensen presents an ongoing project involving instrumental teachers in teaching, observing and reflecting on their and their colleagues’ practice teaching, as well as video-recordings of and comments from students on their practice, where the aim is to develop a practice teaching curriculum. Erja Joukamo-Ampuja describes how and why the Sibelius Academy has included studies about musician’s health and wellbeing and practising skills in their curriculum. She will also describe an international collaboration between six teachers on practising, performance preparation and performing. Project one Kim Burwell: the role of the institution in supporting student practice The point of departure for this presentation is an action research project in a university music department. The cycle of action research consisted in an initial investigation of student approaches to practice, through a questionnaire study; an intervention, offering support to volunteer students through a residential ‘practice clinic’; and a further phase of developing a ‘tool kit’ that might be disseminated to students through group activity. This broad process – in which the institution draws away from the studio setting any generic aspects of student learning that can be addressed in the classroom – is parallel to the development of apprenticeship over the past several centuries: if generic issues can be managed effectively, economically and systematically in the classroom, then precious studio time can be devoted to issues that need the individual support of a specialist. Although the findings of this project are encouraging in some ways, the presentation also highlights some of the problems that arise when the focus of learning activity is drawn away from the studio, and the institution takes a more responsible role in fostering student motivation and independence. Project two Harald Jørgensen: teaching of practising in individual and group lessons The objective of the project 'Teaching of practising in individual and group lessons' is to enhance the quality of the students’ instrumental practice through a combination of individual and group teaching approaches. The project started in September 2014 at the Norwegian Academy of Music. Here, a group of six instrumental teachers (obo, French horn, piano, violin, viola, and harp) and a doctoral student with a project on mental training have regular meetings 151
where observations from individual lessons are presented and discussed, general issues are identified and addressed by the group or external experts, and issues for special observation are decided upon. Some of the students’ practice sessions are video-recorded and used in the discussions, and the students comments and feedback on the ongoing process is an important part of the project. The project will also address practice issues in groups of students, both singleinstrument and cross-instrument groups. The project will go on over a four year period, with a new group of teachers and students each year. The overall aim is to develop a practice curriculum that will be included in the Academy’s regular curriculum. Project three Erja Joukamo-Ampuja: how and why Sibelius Academy has increased studies about musician’s health and wellbeing and practising skills This presentation describes how/why Sibelius Academy has increased studies about musician’s health and wellbeing and practising skills to their curriculum. The new courses include lessons about the musculoskeletal, psychological and psychosocial awareness of musician´s body and physical and mental requirement of the studies. Why are these things so important? Why good ergonomics and learning to be aware of the body is so important? Why is it so important to increase different approaches to teach practising? We believe it`s important to enable future generations of music students to have access and opportunities to develop their performance abilities at a level whereby they can compete with the best musicians internationally. An international collaboration on practising, performance preparation and performing among six teachers started also 2007 (Sibelius Academy, Royal Conservatoire of Haag, Cork school of Music, Queensland Conservatorium, Griffith University in Brisbane). All of these musicians/teachers also teach courses related to musicians’ health, practice methods and performance preparation at their respective conservatoires. Our group of teachers is currently working at a website on practising, performance preparation and performing, targeted at music students and music teachers. Our aim is to share the benefits of wider approach of teaching practising. Harald Jørgensen is Professor (Emeritus) of Education at the Norwegian Academy of Music, Oslo. He has been Rektor (Principal) of the institution (1983-89 and 2002-2005), Head of Research and Development (1995-2002), and Head of the Ph.D. programme (2006-2008). His special research interests include instrumental practice and research into higher music education, and his most recent publications are Research into Higher Music Education. An overview from a quality improvement perspective (Oslo: NOVUS Press, 2009), and contributions to two handbooks published by Oxford University Press: ‘Handbook of Music Psychology’ (2009); and ‘Handbook of Music Education’ (2012). He has been the leader of several evaluation and accreditation committees for conservatoires in Europe and Asia.
Erja Joukamo-Ampuja (session 1b) Sibelius Academy firstname.lastname@example.org
Please see Professor Harald Jørgensen for abstract Erja Joukamo-Ampuja graduated from Sibelius-Academy 1987 making her Master of Music-degree with horn and 2010 the Licentiate of Music – degree.. Research was conducted on musician`s creativity and improvisation. Joukamo-Ampuja has been a member of the Finnish Radio Symphony Orchestra during years 1984-2001, now being a lecturer of Horn and Pedagogy and Art Education in Sibelius Academy. She is a well-known lecturer and a teacher, giving masterclasses, lectures and workshops in Scandinavia, Europe, USA and Australia. She is also an Adjunct Professor of Queensland Conservatoire, Griffith University, Brisbane since 2014. In other than teaching horn, Erja Joukamo-Ampuja has specialised also in teaching physical and mental practising and different practising techniques. She is also giving creative improvisation- workshops as a help for classical musician`s interpretation skills. She is an active researcher and teacher also in Music Medicine field in Finland.
Professor Sidsel Karlsen (session 8b) Hedmark University College email@example.com Musical gentrification and the academicisation of Norwegian conservatoires: from univores to omnivores – or not?
Co-authors: Petter Dyndahl (Hedmark University College) & Odd Skårberg (Hedmark University College) From general and music sociology we know that music may have an impact on social change and of processes of inclusion and exclusion. In other words, music and musical worlds have a tendency to exclude some people and groups when others are included, to retain somebody when it helps others’ social mobility, and to taboo certain forms of music while others are gentrified. Through the Research Council of Norway-funded project Musical gentrification and socio-cultural diversities the above phenomena are explored in various ways, among other things by looking into the processes of popular music academicisation and institutionalisation in Norway during the past decades. With the aim of mapping the dynamic topography of musical omnivorousness and the gentrification of popular music in the fields of higher music education and music research, this particular study surveys all the doctoral dissertations and master theses ever written within the music field in Norway in order to look into historical trends and systematic distribution of musical styles and genres. From this larger, national corpus of music research, which covers a total of 1650 works written during the past 100 years (19122012), mainly within programmes of musicology, music education, music therapy and artistic 153
research, we have chosen, for the purpose of this particular presentation, to focus on the 408 works stemming from the Norwegian music conservatoires. Exploring these data statistically, we ask how the phenomena of musical omnivorousness and musical gentrification (Dyndahl et al., 2014) are visible in the written academic output of music conservatoire research in Norway, and what kinds of musical styles and genres have been included – as well as excluded – in the academicisation of this particular field. Furthermore, we aim to discuss our findings against the fact that music conservatoires in Norway are publicly funded institutions whose work is expected to reflect and benefit the surrounding society. The theoretical framework for our explorations and discussions consists of perspectives borrowed from Bourdieuian as well as broader cultural sociology (Bennett et al., 2009; Bourdieu, 1984, 2011; Faber et al., 2012; Peterson, 1992; Peterson & Kern, 1996; Peterson & Simkus, 1992), and the recent discussions on the inclusion of popular music into various kinds of music education (see e.g. Dyndahl & Nielsen, 2014; Green, 2001, 2008; Karlsen & Väkevä, 2012; Georgii-Hemming & Westvall, 2012) form an important backdrop. Sidsel Karlsen is professor of music education at Hedmark University College in Norway as well as docent at the Sibelius Academy, University of the Arts Helsinki in Finland. She has published widely in international research journals and is a contributor to anthologies such as Sociology and music education and Collaborative learning in higher music education. Her research interests cover, among other things, multicultural music education, the interplay between formal and informal arenas for learning, and the social and cultural significance of music festivals. Currently, she is involved in a research project investigating musical gentrification and socio-cultural diversities from a Norwegian perspective.
Hermione Ruck Keene (session 7c) UCL Institute of Education firstname.lastname@example.org Developing musical exchanges at Dartington International Summer School: the conservatoire student experience This paper presents findings of a qualitative ethnographic case study of Dartington International Summer School, an annual residential festival of tuition and performances combining amateur, professional and aspiring professional musicians. Situated within a symbolic interactionist framework and using theories of musical and narrative identity, the study has been conducted as an insider researcher and uses data from field notes, observations, interviews, and participant diaries. Both phases of data collection have been completed and the project is in the final stages of analysis and writing up. Dartington’s original intention was to be for every type of musician: professional performing artists and tutors, conservatoire students, and amateurs. Over sixty years on it still aspires to include this diverse range of musicians, despite being situated in a radically different pedagogical, social and musical environment. Western Art Music has become characterised by hierarchical relationships, between performer and audience and between amateur and professional. The summer school represents an atypical situation in which musical learning, rehearsal and performance is open to participants of varied experience, age and aspiration. 154
Those attending may fulfil many different roles during their stay; performer, audience member, student, tutor. The residential nature of the festival also provides opportunities for those attending to socialise together and form ongoing relationships similar to those described by Pitts (2005). Attendance at the summer school therefore gives conservatoire students the opportunity to meet and exchange ideas and expertise with not only experienced tutors and performers but their amateur counterparts too. The potential benefits to them are numerous including professional networking, opportunities to observe and experience teaching and learning at a range of levels, new teaching and performance situations, and the possibility of forging relationships with the amateur musicians who may form their future audiences. Despite the seemingly inclusive nature of the summer school, those attending often find themselves occupying very distinct social and musical spheres similar to those they occupy in the ‘real world’. The paper questions whether conservatoire students experience the benefits of the summer school’s inclusive nature as fully as they might, or whether despite its inclusive intentions it merely seeks to reinforce existing hierarchical relationships, neglecting therefore to exploit the potential benefits to the full. It concludes that there are many ways in which the opportunities for musical exchanges could be maximised further at organisational and individual level, and asks what can be translated from this situation to a wider context. Hermione Ruck Keene is currently researching a PhD in Sociology of Music with Professor Lucy Green at the UCL Institute of Education, London. Her thesis is a qualitative case study of Dartington International Summer School, investigating the affects on individual identity and musical hierarchies of music making involving amateurs and professionals. She has presented her work at ISME 2014, RMA Student Conference 2014 and the III Symposium on Instrumental Teaching, University of Evora. Other research areas include: music in the community, singing, musical participation, conservatoires and lifelong musical learning.
Claire Kelly (sessions E1b & L2d) Guildhall School of Music & Drama email@example.com Practical introduction to mindfulness Mindfulness is a secular, well-researched, and very effective means of promoting both well-being and stage presence, alleviating anxiety and depression. A practical and popular course in Mindfulness for Performing Arts Students is now in its third year at the Guildhall School, and explores key mindfulness themes alongside those which have more specific relevance for performers. This session will include a brief introduction to what mindfulness is (and isn’t), discuss research evidence for its benefits, and some very simple mindfulness practices to explore some key themes including: •
Waking up from autopilot 155
How to aim and sustain a sense of connection with what is going on in the body and how this translates into experiences of rehearsal and performance. How to listen with full attention.
Claire Kelly is a cellist, and has a passionate interest in how mindfulness might support the creative work of performing artists. She trained as a teacher of adult MBSR (Mindfulness-based Stress Reduction) with Bangor University, and has been running Mindfulness for Performing Arts Students classes at the Guildhall for the past two years. Claire also leads Mindfulness in Schools Project (MiSP), a not-for-profit organisation. Claire is a teacher trainer and teaches mindfulness to children, teenagers and adults. Claire also runs introductory workshops and INSET training on mindfulness for students and teachers.
Professor John Kenny (sessions 3b & L2a, & open house) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Professor Paul Alan Barker for abstract (session 3b) The mouthpiece of the gods Since the mid ‘90’s I have become increasingly involved in the fascinating and challenging world of music archaeology. Part recital, part lecture, part detective story, my presentation will show how the great Celtic horn known to antiquity as the carnyx was discovered in a peat bog in north eastern Scotland, forgotten, and eventually reconstructed. How it has risen to take its place as an exciting contemporary musical instrument - how it is played, and what conclusions we can draw about the people who made it 2000 years ago. However, I hope also to put the carnyx in context by showing how it is related to a great family of instruments world-wide, from the dawn of time to the present day, performing music on instruments from many periods and cultures: trombone, sackbut, Polynesian Conch, Mayan Pod Trumpets, alphorn, and didgeridoo. But when I first held the reconstructed carnyx it was literally a “tabula rasa” – how was I to play it, what were its technical parameters, could one use it to make meaningful music? To find these answers has been a true voyage of discovery, which has required me to develop new skills in many areas: theatrical physicality, improvisation, the study of music of non-western lip reed techniques, embracing micro-tonality. It has also enabled me to work with experts in the fields of musical acoustics and organology, the skills of the craftsman in metals and of course archaeology. But all of this rests upon the bedrock of my conventional capabilities as a trombonist – and all that I have learned reflects back upon that tradition in which I am still immersed and teach. The very ancient has become the very modern – the wheel of human learning never ceases o turn, and culture is not a thing of linear progress. This archetypal wind instrument has much to teach us about our contemporary instruments and the techniques which can be applied to them. This is an ongoing project – the Deskford Carnyx is now featured on seven CDs, five film sound tracks, and I have been able to give many performances on this new-ancient instrument internationally. Now, as a founder member of the European Music Archaeology Project (EMAP)
I am about to bring to life the first reconstruction of the magnificent Tintignac carnyx, discovered ten years ago in southern France. It is likely that this conference performance will be the first time this instrument is to be seen and heard in the UK. Trombonist, composer and actor John Kenny has performed and broadcast in over 50 nations as an interpreter of contemporary classical, jazz and early music. Since 1983 he has collaborated with Munich based TNT Theatre Co, writing and performing in music theatre productions which continually tour worldwide. He is also a founder member of the European Music Archaeology Project, and in 1993 became the first person for 2000 years to play the great Celtic war horn known as the carnyx. John Kenny is a professor at both the Guildhall School of Music & Drama and The Royal Conservatoire of Scotland.
Associate Professor Kristin Kjølberg (session 6e & chair session L1d) Norwegian Academy of Music email@example.com
Please see Professor Ingrid Maria Hanken for abstract Kristin Kjølberg, Ph.D. is a classical trained singer, voice teacher, and researcher. She teaches singing, voice pedagogy, instrumental pedagogy, voice physiology, is a master students supervisor and the Head of the Department of Music Pedagogy and Music Therapy at The Norwegian Academy of Music. Kristin finished her Ph.D. project in 2010, and the main focus of the thesis was concert dramaturgy, with the aim of the research being to develop theory of the different aspects of singers´ performance in song recital. The thesis presented a practice-based research project in music, and the empirical material was developed through the methodological framework of action research.
Suzanne Konings (session 1d) Royal Conservatoire, The Hague firstname.lastname@example.org From music theory to musicianship: the development of a new curriculum for the Royal Conservatoire The Hague In this practical workshop conference participants will experience the ideas behind the new music theory curriculum in the Royal Conservatoire The Hague, by actively attending an example lesson. The main elements of this musicianship skills programme, which is based on experiential learning, will be outlined. Exactly five years ago I happened to visit a music theory lesson in the Guildhall School during the first Reflective Conservatoire conference. David Vinden taught a musicianship class for children in the junior strings department. In this lesson, which turned out to be based on the Kodály approach, the children performed practical and real musical activities. By acquiring 157
musical skills and experiences they were able to understand musical concepts that are essential in performance practice, but normally are left to a more cognitive approach in music theory lessons: aural understanding of melody, harmony and polyphony, musical imagination, musical memory, improvisation, reading and writing skills and understanding of musical structure. The music theory curriculum that the Royal Conservatoire offered mainly applied this cognitive approach. Harmony, counterpoint, analysis and ear training were taught from a music theoretical point of view, assuming that students had already acquired broad practical musicianship skills during their musical lives before the conservatoire. The teacher would explain a certain concept and then would ask the students to apply the newly learned knowledge in a written or practical, but often musically abstract exercise. Results could be described in terms of frustration and disappointment as regards to the level of achievement by the opinion of the teachers as well as the students. Turning the process around – starting from real musical activities, working towards (and not in the first place from) cognitive understanding, through reinforcing skills – has become the basis of the lessons in the new curriculum. This fundamental change needed more than a change in the names of lessons and the timetable. It required a great team effort of the teachers to rethink the music theory programme. Teachers have taken classes with other teachers and have researched methods in their own professional development programmes (e.g. preparing for a PhD or studying a Master’s programme). At the workshop, a first impression of the experiences during the first year working with the new curriculum will be given. Suzanne Konings studied music theory and musicology and has been the head of the music theory department in the Royal Conservatoire The Hague since 2004. From 2009 she has been specialising in teaching music according to the Kodály concept. Together with colleagues in and outside the conservatoire she is organising training programmes for teachers and musicians in elementary schools, music schools and higher music education. She teaches musicianship classes for students in the Royal Conservatoire and the National Youth Choir.
Professor Dr Silke Kruse-Weber (session L2b) University of Music and Performing Arts, Graz email@example.com Developing an explicit error management in instrumental music education Dealing with errors is a key aspect of teaching, practice and performance. Musicians tend to strive for flawless performance and perfection, avoiding errors at all costs. And yet, to be innovative, or to make their performance extraordinary, musicians need to risk making errors. Research in instrumental pedagogy is still neglecting error issues. In this contribution we discuss structured approaches to error management from different domains regarding different mindsets of training and performing, to provide orientation for further music education and musicians at all levels. The benefits of risk management (before the error) and error management (during and after the error) are still underestimated. Specifically error management training (EMT) encourages emotional control 158
and metacognition, because it helps students to think about their own knowledge and learning process, including the causes of the errors and the possible solutions. Currently, most music students only acquire the ability to manage errors implicitly - or not at all. A more explicit creative and differentiated culture of errors would balance error tolerance and risk-taking against error prevention in ways that enhance music practice and music performance. The teaching environment should lay the foundation for the development of such a constructive approach. Born in Germany, Silke Kruse-Weber is a pianist, researcher in instrumental music pedagogy and a music psychologist. She studied in Munich and WĂźrzburg musicology, philosophy, piano (performance and pedagogy). 2005 she made a doctorate in Music Pedagogy. She is since 2010 Professor of instrumental and vocal Pedagogy (IGP) at the University of music and performing arts Graz, Austria. Her book about â€œManaging errors for musiciansâ€?, (Exzellenz durch differenzierten Umgang mit Fehlern) became one of the top books in the German scientific society. Silke Kruse-Weber is an active teacher for musicians and instrumental music teachers in universities and as well she develops nowadays forward-looking curricula in the university.
Carly Lake (session 4b) firstname.lastname@example.org
Please see Clare Lovett for abstract Co-Researcher for a Creative Vouchers funded project, supervised by Professor Jane Wills, Carly Lake is a classically trained musician, completing her MMus at Royal Academy of Music in 2012. She was part of the Spitalfields Music music leader course and has worked extensively in community and school settings in Tower Hamlets and beyond. She is currently based in Finland and pursues a joint career of performing, artist as leader in the community and arts based research.
Catalina Langborn (session L2c) email@example.com
Please see Professor Cecilia K Hultberg for abstract Catalina Langborn holds a master degree in Fine arts from The Royal College of Music in Stockholm. Besides being one of the leaders of The Opera Bureau she is a freelancing violinist, specialized in baroque music. She is frequently engaged as the leader of baroque orchestras in Scandinavia, as soloist and chamber musician. She lectures about entrepreneurship in music.
Dr Lotte Latukefu (session 6d) University of Wollongong, Australia firstname.lastname@example.org The role of play in developing self-regulated learning in singing at a tertiary level In theatre, the notion of play has become an accepted method of training actors in a way that encourages them to work things out for themselves in a fun manner and not just follow a formula set by the teacher (Barker, 1977). However, in tertiary singing teaching it is not common practice to use games as part of the learning. It is the experience of the presenter, who trained as an opera singer and has been teaching for 16 years at a university in Australia, that singing teachers try and get to the serious business of technique and repertoire as quickly as possible in lessons so as not to waste any precious time. In 2011, as part of the continued development of a socio-cultural model of teaching singing, a play approach was introduced to the singing class. Games used in training actors to develop focus, memory and awareness were adopted and adapted to train singers. To extend on Barkerâ€™s model, the presenter adopts Vygotskyâ€™s (1976) idea of play as central to the development of abstract ideas without the tension associated with learning situations. In play orchestrated by the lecturer, the singing students can create a structure where meaning dominates behaviour. They play with concepts which need to be learnt and the concepts become the rules of the studentsâ€™ play. This allows them to learn these rules in a seamless manner as a means to achieve the playful goal of the game, instead of focussing on them as a learning goal. The aim of this research is to provide further understandings of whether a play approach can be beneficial to learning for singing students. Observations and interviews with first year singing students have been the chief method of data collection. Initial data collected over two years suggest that there are benefits to students once they had overcome the initial reluctance to partake in the game playing. Lotte Latukefu is a Lecturer and Researcher in the Faculty of Law, Humanities and the Arts at the University of Wollongong. She holds a PhD in Music Education from the University of Wollongong, Master of Music from the Manhattan School of Music (NY) and a Bachelor of Music from the ANU School of Music. Collaborative Learning in Music, in particularly singing, has been a particular research interest for about seven years. In her PhD thesis she examined the work of Lev Vygotsky and sociocultural theorists who have followed in order to address questions concerning the nature of learning singing in collaborative settings. Her thesis demonstrated that there is a rich resource of learning to be found in the way that students interact with each other and learn from each other.
Professor Daniel Leech-Wilkinson (session 8d) Kingâ€™s College London email@example.com Music and infantilisation Building on the seminal work of Daniel Stern (1985, 1995), who showed how carer/infant vocalisation and games communicate musical ways of shaping experience and interactions throughout life, Michel Imberty (1997) argued that the same shaped affective processes underlie composed music. Music, in other words, derives its processes, forms and models of experience from the shaped affective experiences shared between carers and infants. This talk is in two parts. The first develops Imbertyâ€™s hypothesis, adds recent work on music and infant/carer vocalisations, and proposes a more thorough-going model of western classical music (and potentially other musics) as creative adaptation of carer/infant interactions which brings to the practice and experience of music a deeply-rooted positive emotional charge, driving and sustaining performers through the demands of training and career, and fuelling the addiction to music characteristic of performers and audiences as participants in powerful group evocations of forgotten but deeply-present (or if not, then deeply desired), loving and reassuring infant experience. The second part considers how this powerful connection between musical activity and the need for reassurance and safety leads professional musicians to accept a degree of control over their artistic choices that would be considered unacceptably intrusive in any other artistic profession. The obligation to the imagined, long-dead parent (the great composer)---which would be laughable in theatre (no one, worrying about how to inflect a word, speaks of faithfulness to Shakespeareâ€™s intentions)---and the subservience to a regime of examination, adjudication, and public criticism in which faithfulness to imagined traditions is the principal criterion for approval, are considered as products and symptoms of infantilisation made rewarding through its unrecognised dependency on, or longing for, loving parents. The paper concludes by considering the psychological costs and (potentially great) benefits of asserting musical independence. Daniel Leech-Wilkinson studied at the Royal College of Music, King's College London and Clare College, Cambridge, becoming first a medievalist and then, since c. 2000, specialising in the implications of early recordings, especially in relation to music psychology and ontology. He led a project on 'Expressivity in Schubert Song Performance' within the AHRC Research Centre for the History and Analysis of Recorded Music (CHARM), followed by 'Shaping Music in Performance' within the AHRC Research Centre for Musical Performance as Creative Practice. Books include The Changing Sound of Music (CHARM, 2009) and, with Helen Prior, Music and Shape (OUP, forthcoming).
Neal Leemput (session 6c) Royal Conservatoire Antwerp firstname.lastname@example.org
Please see Professor Kathleen Coessens for abstract Neal Leemput is master in Drama/Art of speech (Royal Conservatoire Antwerp). He questions the relationship between textuality and corporeality and tries to measure the legibility of the body in performance art. He investigates how the actual presence of the body affects the text of a performance, searching for a physical language and a verbal body. In his two recent creations, ‘Beerdigung eines Denkenden Körpers Der Titel ist schöner auf Deutsch’ ('Funeral of a thinking body') (2013) and 'The Joachim Flaxer Complex' (2014), he moves from a textual body to a physical body, exploring the limits of textual bodies and the legibility of a pure, physical body.
Liz Lerman (chair session 3e & keynote)
Please see keynotes section for biography
Maria Salgado Llopis (session 4c) Kingston University email@example.com
Please see Dr Diana Salazar for abstract Maria Salgado has over 20 years of international experience in the dance field. She completed her vocational training at The John Cranko School in Stuttgart, Germany. Her professional career includes appointments as first artist at the Thuringer Staatsballet and principal dancer at the Pfalztheater Kaiserslautern. She has performed main roles in classical repertoire and performed contemporary works by choreographers such as William Forsythe, Dietmar Seyffert, Nils Christie and Mario Schröder. Before joining Kingston University London as Senior Lecturer in Dance, Maria lectured at the Faculty of Education at The Royal Academy of Dance (2007-2009). Maria and graduated with a Masters Degree in Dance Histories, Cultures and Practices from the University of Surrey in 2007. During her MA, she was awarded the Pauline Hodgens Memorial Prize for the best piece of work in dance analysis. Current research strands include the project Corporeal Inscription in collaboration with Diana Salazar (City University) and the history and histories of the body in Natural Movement.
Carlos Lopez-Real (session 3e) Guildhall School of Music & Drama firstname.lastname@example.org Video as a tool for self-regulation: combining the power of technology with Liz Lerman’s Critical Response Process This session will present the results of a year-long project funded by an HEA teaching development grant, which explored video as a tool for selfregulation. The focus was on the twin strands of technology and feedback, and the extent to which they can contribute to an overall self-regulation strategy, supporting students in their transition to the profession. Carlos Lopez-Real worked collaboratively with Guildhall students, over the course of several workshops, video recording rehearsals and performances. The videos were reviewed together as part of the rehearsal process, using Liz Lerman’s Critical Response Process (CRP) as a framework for feedback. Video footage was made available as an online resource for the students, and videos included both rehearsal/performance and also footage of the subsequent CRP sessions. This enabled students to reflect on both their performance/rehearsal process and on their group feedback skills, capturing insights gained during those sessions. Throughout the project, many different parameters were explored, and questions considered: different video cameras (from low-res camera phones to hi-end DSLRs); how video and feedback can best be integrated within different rehearsal and teaching/learning contexts without disturbing the necessary ‘flow’ of the sessions; adaptations and variations of CRP, together with explorations of other good feedback practices; video annotation, multiple cameras, split screens and other enhancements. The tools were refined collaboratively, and feedback from students was ongoing and varied in format (including video diaries as well as more traditional written questionnaires). A web-based tool kit is being developed to capture these insights. The 30 minute presentation will take the following form: 1. Overview – describing the collaborative journey and key findings, illustrated by video footage and student feedback. 2. Toolkit resources – Detailed breakdown of the main discoveries around the twin strands of technology and feedback, including strategies for overcoming barriers to use among both staff and students. 3. Discussion – This will itself take the form of a modified version of Liz Lerman’s Critical Response Process and will be facilitated by Liz herself. Carlos Lopez-Real is a saxophonist, composer, improviser and educator, specialising in jazz. He has recorded and toured extensively, has curated several club venues and founded the E17Jazz Collective. He is the Programme Leader for the new BA in Performance and Creative Enterprise, and also a Professor of jazz studies at the Guildhall School. He is a Fellow of the 163
Higher Education Academy, who awarded him a teaching development grant to explore video feedback and Liz Lerman’s Critical Response Process. His music is published by Spartan Press and Saxtet, he has contributed academic book chapters, including to ‘Developing Creativities in Higher Music Education’, and was the only UK lecturer at the most recent World Saxophone Congress.
Clare Lovett (session 4b) Spitalfields Music email@example.com Making community through music In the spirit of the What Next agenda, a movement which “brings together arts and cultural organisations from across the UK to articulate and strengthen the role of culture in our society” we will present a 20 minute provocation which explores the notion that conservatoires in their current configuration are not fit for purpose in the 21st century. We consider that there has never been a more pressing time to address issues of access and excellence. Whilst acknowledging some in-roads in the development of new models, we would like to propose that this only plays lip service to three central issues:
• • •
The emerging external environment for careers of young professional musicians Access within and by the communities beyond the conservatoire Diversity of young musicians entering the profession
Spitalfields Music suggests that the outdated 19th century training model of hot-housing young musicians, creates an insular and disconnected sector. Until we change – fundamentally, the links between HEI and the community beyond the walls of the conservatoire, the classical music sector and conservatoires are on a road to extinction, where those engaged in the so called high arts’ live in territories akin to gated communities and perceived as irrelevant by the rest of society. We can change this and evidence from Spitalfields Music partnerships and innovative music education projects with our partners, Royal Academy of Music, THAMES Music Hub, the library service in Barking & Dagenham and our Neighbourhood Schools programme are already leading the way in developing some of this thinking. Our research with QMUL, Making Community through Music has helped to identify the touching points for exceptional artists and civic engagement. We are at the stage with our research and practice to be able to share learning from these partnerships and projects, together with practical demonstrations and discussions with the artists involved. The format for the presentation will be a mix of presentation of recent findings alongside two case studies demonstrating how conservatoires are engaging in new ways of partnership working: the innovative practice of London Music Masters group teaching model; and, Open Academy’s Fellowship programme for young artists as leaders. By the end of the session, we hope to have developed links with like-minded colleagues interested in actively pursuing some of the ideas that emerge through our discussions.
Clare Lovett has worked at Spitalfields Music for over 6 years as the Programme Director for Learning & Participation. During this time she has developed a range of approaches and projects which investigate the place of exceptional music making in making communities. Recently awarded an MA Community Organising from QMUL, she has pursued a career in the arts sector for the last 20 years, working with LPO, The Place, NESTA and Arts Council England. She is currently on the board of Independent Dance.
Ole Lützow-Holm (session 7e) Academy of Music and Drama, University of Gothenburg firstname.lastname@example.org Towards an expanded field of art music In notated art music the score stands as a completed, non-negotiable text whose figurative script is widely imagined to embrace, depict and mediate the composer’s intentions. From this follows a notion of autonomy of the musical work and its independence from extra-musical conditions. A notion that has proven remarkably enduring to this day, despite substantial transformations, for example in the visual arts, where paradigmatic shifts have taken place through the destabilisation of concepts such as originality and authenticity, as in the view of what constitutes or can be a work of art. The research project Towards an Expanded Field of Art Music (2008-12; funded by the Swedish Research Council) took as its point of departure questions of how cross-fertilising intersections may be orchestrated between different artistic expressions in an exploration of subjectivity’s creative logic and practical knowledge by way of slow, creative processes, and how this could take place in the form of physical encounters, where a radical openness lays the foundation for dialogue. Rather than advocating novel genres, the key aspect was to establish a more fluid and kaleidoscopic understanding of the complexity of interpretation. The concept of perfected, reproducible renderings of works, forever sounding alike, has made music history static, which has widened the breach between the habitat of art music and the experimental music scenes. Situated in and framed by the paradoxes and aesthetic shifts of our time as music is, the choice of strategy was based on the assumption that it is both possible and relevant to reflect these types of inquiries in an artistic practice where composition and interpretation interact, and that it is feasible to elaborate on them in and through the art itself. The purpose of the research project Towards an Expanded Field of Art Music was to achieve a more in-depth appreciation of art music's role and import as an artistic practice and field of discourse. It encompasses musical composition, rehearsals and concert performances, seminars, symposia and texts on music. The project was distinguished by a desire to vitalise a critical awareness, addressing questions concerning how the structure of a work progresses, what particular motives and designs are essential in determining how, when and under what conditions creation and interpretation are constituted. A prime objective was to let music collide with other discourses and modalities and to upgrade listening to a practice that exposes itself to linguistic and communicative ambiguity. Ole Lützow-Holm is a professor at the Academy of Music and Drama, University of Gothenburg. His compositions have received broad international recognition, including the radio play theres nothing like a kiss long and hot down to your soul – based on the 18th episode of James Joyce’ novel Ulysses – that became a notable turning point with its exuberant web of 165
sound, music and text. Recent works are Traces of Oblivion for alto guitar and electronics plus exposition â€“ reprise for string orchestra. He was head of the research project Towards an Expanded Field of Art Music, funded by the Swedish Research Council.
Professor Urban Maeder (session 8c) Lucerne University of Applied Sciences and Arts, Music Department email@example.com
Please see Bert Mooiman for abstract (session 8c) Urban Maeder Born in Switzerland in 1955. Studied piano and composition. Professor for improvisation and music education at the Music Department of Lucerne University of Applied Sciences and Arts, Switzerland. Active as composer and performer. Co-founder of the Forum Neue Musik Luzern. Diverse prizes and awards (Edwin Fischer Foundation Award, composition-subsidy: Canton Lucerne, ParisAtelier: Canton Aargau), and numerous commissions. Currently on a six-month Composer in Residency in London working with, among others, the 'London Improvisers Orchestra'.
Carlo Majer (session 3a) firstname.lastname@example.org
Please see Professor Leonella Grasso Caprioli for abstract Carlo Majer, entrepreneur and Artistic Director: a figure of great
prominence in the panorama of Italian musical culture. He was Artistic Director of the Orchestra I Pomeriggi Musicali di Milano (1987-91), the Teatro Regio in Turin (1991-98) and San Carlo in Naples (1998-2002), the Orchestra Sinfonica Giuseppe Verdi (1999-2001). He founded with Luciano Berio Tempo Reale in Florence. He taught Contemporary History of Theatre and Musical Dramaturgy at the University.
Christina Larsson Malmberg (session L2c) email@example.com
Please see Professor Cecilia K Hultberg for abstract Christina Larsson Malmberg holds a master degree in Fine arts from The Royal College of Music in Stockholm and a diploma degree from The Royal Conservatory of Music in Copenhagen. Besides being one of the leaders of The Opera Bureau she is a freelancing opera singer, specialized in baroque music. She is frequently engaged as a soloist in the vocal ensemble of the Royal Castle Church (Stockholm).
She is also a member of Eric Ericson’s chamber choir; she has been engaged in the production of Stockholm Early Music Festival. She lectures about entrepreneurship in music.
Marshall Marcus (session 7a) CEO, European Union Youth Orchestra firstname.lastname@example.org The reflective artist: what could the training manual look like? If you were to write a manual for effectively training reflective artists in the 21st century, what would it look like? Join us as we throw out some provocative ideas, and then invite you to help build the training manual within the session. This will be a ‘hands on’ session, enabling you, the audience of experts, to create and share ways of teaching and training, as well as pooling experience from a number of countries and continents. Marshall Marcus has been CEO of the European Union Youth Orchestra since 2013. He is also Founder and Chairman of Sistema Europe, Founder of Sistema Africa, a Trustee of Sistema England, and a member of Sistema Global's Advisory Board. Before taking up his position with the EUYO, Marcus advised and taught at Fundación Musical Simón Bolívar in Venezuela (where he founded the Orquesta Barocca Simón Bolívar at the request of Maestro José Antonio Abreu), lead Southbank Centre’s International Sistema Research Programme in London, worked with the British Council to develop new international youth orchestra networks, and advised and tutored the Eastern Partnership ‘I, Culture’ Orchestra composed of young musicians from Armenia, Azerbaijan, Belarus, Georgia, Moldova, Poland and the Ukraine. Other projects have included creating and developing 'SERA', an online global Sistema Evaluation and Research Archive, and teaching at the Neojiba project in Bahia, Brazil. During the previous two decades he was Head of Music at Southbank Centre and Chairman and then Chief Executive of the Orchestra of the Age of Enlightenment, an orchestra which he founded with colleagues in 1985. Before these appointments Marshall enjoyed a 25 year career as an orchestral, solo and chamber violinist, recording and performing in more than 60 countries. He has worked regularly with such artists as Sir Simon Rattle, Mitsuko Uchida and Cecilia Bartoli, and in an eclectic career has collaborated as a performer with musicians as varied as the Moscow Soloists, Baaba Maal and The Michael Nyman Band. Marshall also worked for many years in music education, designing projects at primary, secondary and university level, and teaching at institutions including Bristol University, The Royal Academy of Music and The Royal College of Music. He is a graduate of The Queen's College Oxford in Philosophy and Experimental Psychology and Trinity College Cambridge in the teaching of English. He is an Associate of the Royal College of Music.
Dr Cristina Marin-Oller (session L2b) University of Music and Performing Arts Graz, Austria email@example.com
Please see Professor Dr Silke Kruse-Weber for abstract Cristina Marin-Oller is a Postdoctoral researcher in the area of Instrumental and Vocal Pedagogy at the University of Music and Performing Arts Graz (Austria). She has studied Flute at the Royal Conservatoire of Music of Madrid (Spain) and has worked as a professional flutist and flute teacher. In 2013 she finished her PhD at the Cognitive Psychology Department of the Autonomous University of Madrid, regarding music learning processes in woodwind students. She has published several papers and book chapters about teaching and learning processes. Her current research focuses on analysing and improving teaching-learning processes at music schools and music universities.
Associate Professor Stephanie McCallum (session 1e) Sydney Conservatorium of Music, University of Sydney firstname.lastname@example.org Reinvigorating piano pedagogy of canonical works through contemporary music performance practice and free play Current students, even at tertiary level, often look to a teacher as a purveyor of accurate or received information on the performance of the Western canon, supplementing this with models gleaned from Youtube. This round table discussion will bring forward ideas from the different perspectives of a range of pianists on helping students to freely engage with canonical repertoire, to respond from personal musical experience and to engage intimately with the quality of their sounds and with their own instrumental experimentation to develop a personal artistic practice. Dr Erin Helyard, currently Lecturer at the Australian National University, will discuss how courses in 18th-century ornamentation, figured-bass, and improvisation on historical keyboards potentially stimulate pianists to think differently about 18th- and 19th-century composers and their notation. Dr Alexander Hunter, Lecturer Australian National University, will discuss collaborations between composer and performer and describe his focus on creating anarchic microcosms through performance, i.e. situations based on a combination of individual creative input and responsibility, and interdependence and teamwork. Associate Professor Stephanie McCallum from the Sydney Conservatorium of Music will draw on a long career teaching piano performance at university level and engaging with early keyboards, contemporary music, new Australian music, rare and virtuosic repertoire and recent chamber music. 168
Associate Professor Stephanie McCallum: Known for her work on Alkan, and for her work championing unusual, new and Australian repertoire, Stephanie is a leading teacher on the piano faculty at Sydney Conservatorium, University of Sydney. Her principal teachers included Alexander Sverjensky, Gordon Watson and Ronald Smith. She has performed internationally in recital, as soloist with major Australian orchestras, and with AustraLYSIS, Sydney Alpha Ensemble, ELISION, Australia Ensemble, ACO, and others. Her live solo performances of Alkan have been dubbed by a critic as ‘one of the glories of Australian pianism’. Her large discography ranges through Liszt, Weber, Magnard, Xenakis and premier recordings of Alkan, Kats-Chernin and even newly transcribed Beethoven.
Kathryn McDowell (session L1a & chair keynote: Ricardo Castro) London Symphony Orchestra email@example.com
Please see Jonathan Vaughan for abstract Kathryn McDowell joined the London Symphony Orchestra as Managing Director in 2005. She was brought up in Northern Ireland and read Music at Edinburgh University. After a post-graduate course in teacher training, she spent a year in Vienna working with political refugees. In the mid-eighties Kathryn became one of the first education and community managers with orchestras, creating an extensive programme with the Scottish Chamber Orchestra, and leading the ABO’s first national education project. She also worked with Welsh National Opera and the Ulster Orchestra, before becoming Music Director of the Arts Council of England in the nineties. Since then, she led the bid for the creation of the Wales Millennium Centre and directed the City of London Festival. Kathryn is Chair of the ABO, and Chair of the Family Friendly Arts Campaign (2012), a cross arts collaboration involving over 1,000 arts organisations in England, a Governor of the Guildhall School of Music & Drama, a member of the St. Paul’s Cathedral Council, and was Chair of the ABO’s Sustainable Touring Review (2010). She holds honorary awards from Trinity College, the Royal College of Music and the Guildhall School of Music & Drama. She was appointed a Deputy Lieutenant of Greater London in 2009, and awarded a CBE in the 2011 Queen’s Birthday Honours.
Andrew McNicol (session 2a) firstname.lastname@example.org
Please see William Glassman for abstract Andrew McNicol, a freelance British choreographer based in London, is a graduate of Central School of Ballet’s BA & MA programmes. His choreographic career commenced when he won the annual Kenneth MacMillan Choreographic Competition at The Royal Ballet School. He has since choreographed in a range of contexts including for The Royal Ballet of Flanders, The London Olympics, New English Ballet Theatre, The Royal Ballet School, Ballet Central and Dance East. Andrew was a nominee for the prestigious 2014 Rolex Protégé Award. Andrew's choreographic style encapsulates a modern sensibility towards a narrative approach whilst also creating works that explore more visceral abstract experimentation in the use of classical ballet movement.
Alessandro Melchiorre (session 3a) Conservatoire of Milan email@example.com
Please see Professor Leonella Grasso Caprioli for abstract Alessandro Melchiorre graduated in Architecture, Composition, Musicology. In his music is important the inspiration of electronics is important: his stated purpose is to unite in writing “pen and computer”, conceived by the musician as two paradigms difficult to integrate. His catalogue includes works as Schwelle, Atlante Occidentale, Unreported inbound Palermo (Biennale 1995), Lost and Found (2006), Figurazione dell'invisibile (Wien Modern 2000, Rondo Milano 2007), A Wave (Kranichstein prize), Le città invisibili (IRCAM), Cretto (Milano Musica, 2006), Angelus Novus (2007), Silenzio (MiTo 2007), The Master of Go (Arena di Verona 2008), Terra incognita (seconda) (MiTo 2009), Lontanando (Milano Musica 2010). He is Principal of the Conservatoire of Milan.
Henk van der Meulen (session 3c) Royal Conservatoire, The Hague firstname.lastname@example.org
Please see Gretchen Amussen for abstract Henk van der Meulen (1955) studied at the Amsterdam Conservatory, and privately with John Cage. Later he followed masterclasses by Morton Feldman.
From early on in his career he combined composing concert music with various collaborations in theatre, dance, film and television. Besides his activities as a composer Henk van der Meulen has performed as a pianist and conductor. He has also been active in education as a guest professor at the Amsterdam Theatre School, various conservatories across the Netherlands, as well as acting as a musical director and leader of various international courses. As a free-lance writer he published articles on music and dance, and has directed several documentaries on these subjects. Through the years Henk van der Meulen has held numerous positions as advisor, jury and board member:
• • • • •
Secretary of the Dutch Composers Society Member of the Board of BUMA, the Authors Society of the Netherlands Crown appointed member of the Arts Council of the Netherlands on music and dance Chairman of the EBU music and dance expert group Musical advisor to the Queen Beatrix of the Netherlands
Between 1995 and 2008 Henk van der Meulen has been head of the Music and Dance Department of NPS (Netherlands Programme Service), a public broadcaster with special responsibilities towards arts and culture. Henk van der Meulen was IMZ President from 2002 until 2008 and since then one of its vicepresidents. The versatile composer, conductor, pedagogue and author has been a member of the IMZ Board since 1996. Henk van der Meulen has been member of the International Academy of Television Arts and Sciences (International Emmy Awards) since 2001. Since 2008 Henk van der Meulen is principal of the Royal Conservatoire and member of the Board of Management of the University of the Arts The Hague, since 2010 as vice-chairman, and from 2014 as Chairman.
Edward Milner (session 4d) Sage Gateshead email@example.com
Please see Professor Graham F. Welch for abstract Ed Milner is Head of Music Learning at Sage Gateshead that includes strategic oversight for the In Harmony Newcastle/Gateshead programme. He has extensive experience of managing the learning of young musicians (aged 4-19 years) and, in a previous professional role, was Director of Workforce Development for Sing Up, the UK Government’s National Singing Programme from 2007-2011.
Dr Paula Molinari (session 2f) Universidade Federal do Piauí, Brazil firstname.lastname@example.org Wolfsohn-Molinari Voice Work: vocal training with Brazilian rhythms and songs Wolfsohn-Molinari Voice Work is a voice development that explores the vocal extension in order to bring material that can be used by singers and actors to increase the expression. The name Wolfsohn-Molinari reflects the Molinari’s research about Alfred Wolfsohn, a singing teacher who worked on the 30’s and 40’s (XXth Century) in Germany and in the 50’s in London and influenced Peter Brook, Grotowsky and Roy Hart’s vocal work in the theatre setting. Based on this relation among Peter Brook, Grotowsky and Roy Hart, the composers John Cage, Peter Maxwell Davies and Stockhausen were impressed and influenced by the voice work proposed, provoking new compositions, for example, Spiral by Stockhausen, Eight songs to a mad king - Davies and songs by Cage. Molinari’s research about Alfred Wolfsohn reveals the ways it can be possible to explore four or five octaves - using Wolfsohn and Molinari perspectives - and present an important approach to singers and actors for the creative process. In this practical workshop it will be presented possibilities with Brazilian rhythms and songs to experience Wolfsohn-Molinari Voice Work ways. Paula Molinari - Brazilian Singer, Sub-chief of the Music and Visual Arts Department, Head of the Music Course and Music Theory Professor at UFPI - Universidade Federal do Piauí (Brasil) and Roy Hart Voice Teacher at Centre Artistique International Roy Hart (France). Performances in the last 2 years include: La Ruta de su Atracción - Yolanda Oreamuno y Chiquinha Gonzaga (theatre), Un día Cualquiera (Contemporary Opera), Tributo a Vinícius de Moraes (music). Workshops in the last 2 years include: The Human Voice and Creative Voice (Argentina, Brazil, Costa Rica, Chile). Founder and professor at Latin Theatre International Wolfsohn and Hart Voice Work (Brazil) and Abraxas Voice Institute (USA).
Bert Mooiman (session 8c & open house) Royal Conservatoire, The Hague email@example.com Historically inspired improvisation The Royal Conservatoire in The Hague (The Netherlands) invests in ‘classical’ improvisation. Three times in a row the school hosted an international Erasmus Intensive Project on improvisation. Several teachers from its own staff have been offering special improvisation classes since about ten years and frequently guest teachers are invited. Improvisation became subject of teachers’ research. Last but not least, improvisational elements play a crucial role in the new Music Theory curriculum, which started in 2014. In this way an environment was created which fosters the idea that 172
improvisation is important also for classical musicians, and a lot of experience was gathered in teaching improvisation to those students. In this paper, I would like to share some of these experiences by playing, analysing and commenting upon recorded sessions with students. In improvisation, many branches of what is usually regarded as music theory come together in a creative way, ranging from aspects of ear training to the awareness of harmony and form. Precisely this was the reason to use elements of improvisation in the new music theory curriculum at the Royal Conservatoire. The focus of this paper will be on comparing the pedagogical insights, gained from teaching improvisation to classical musicians, with original treatises on improvisation, especially Carl Czerny’s Anleitung zum Fantasieren auf dem Pianoforte (1829). At the first glance this remarkably detailed book seems to offer recipes for improvisations in a true Czerny style. However, Czerny turns out to draw upon skills which are no longer self-evident to the students of today, while on the other hand many issues which are nowadays important are not addressed in his text at all. As for the artistic result, a closer reading even gives raise to doubt whether Czerny was thinking from a stylistically uniform point of view at all. All this tones down the idea of ‘classical improvisation’, or even ‘improvisation in a classical style’. In this paper I would like to propose the notion of ‘historically inspired improvisation’ instead, indicating improvisation which uses thorough knowledge about music making in the past as a source of inspiration. ‘H.I.I.’ doesn’t necessarily aim for style imitations; rather, it works the other way around: integrating what we can use from historical music practices into our own creative music making. In this way, improvisation has the potential to fertilize all our ‘musicking’ (Chr. Small) – even when we use scores. The Dutch pianist, organist, improviser and music theorist Bert Mooiman studied at the Royal Conservatoire in The Hague, The Netherlands, where he took his certificates as a solo pianist and organist cum laude. After completing his Music Theory studies in 2003 he started teaching music theory (principal subject), improvisation and piano at the Royal Conservatoire. He performs both on piano (solo, chamber music) and on organ (solo, basso continuo). His work as a researcher and his activities as a performer meet in his lifelong interest in improvisation, which also became the topic of his current PhD research at Leiden University.
Dr David E Myers (session 5a) University of Minnesota School of Music, USA firstname.lastname@example.org Creativity, diversity, and integration: a manifesto for radical change in the education of 21st century musicians As contemporary musical expression increasingly reflects and embodies a dynamic, diverse, and complex global society, music study, like society itself, confronts unprecedented opportunities and challenges. Paraphrasing John Gardner’s observation on societal change In the 1960s, higher music education has before it breathtaking opportunities masquerading as insoluble problems. The need is great for music study to educate pre-professional and professional artists and artist-teachers who not only thrive on these 173
opportunities, but who assume leadership in assuring the value of music’s aesthetic, cultural, and social centrality in society. In the United States, a Task Force on the Undergraduate Music Major (TFUMM), formed within the College Music Society (the national professional organization of tertiary music instructors/administrators) is examining and recommending change in undergraduate music studies for relevance to the roles of music and musicians in society. Calling for fundamental and organic overhaul of the scope and structure of music study, TFUMM is a provocative voice in the reform movement. During 15 months of research and dialogue, TFUMM has developed recommendations founded on the pillars of creativity, diversity, and integrated learning to enhance rigor, excellence, meaning, and vitality in both conventional and emerging areas of knowledge and practice. Escaping curricula limited by exclusion of much of the world’s endemic musical practice, TFUMM proposes celebration and deep understanding of the treasures of today’s global musical world and their confluence at this exciting juncture in human history. This panel presentation and discussion, led by five members of TFUMM, will present a brief analysis of the challenges and opportunities facing tertiary education and provide a rationale for positive change. The panel will discuss institutional leadership in centralizing creativity, i.e., composition and improvisation, as a core essential of musicians’ education, and advocate musical understanding from a perspective of MUSIC write large, i.e., diverse music and music practice as a basis for theoretical, historical, cultural, and aesthetic understanding. These fundamentals will be shown as important components in instilling attitudes of initiative, inclusion, engagement, and entrepreneurship among aspiring career musicians Panel presenters/discussants will involve participants in a rich consideration of international perspectives and questions on curricular relevance, particularly the nexus of creativity and diversity. Topics will include the function of the music school and musicians in societal context, the relationship between students’ original music work and interpretive performance of repertoire, the integration of music practice and understanding, and the role of universal requirements for students in relation to personalized trajectories. David Myers, Professor in the University of Minnesota School of Music, is the at-large board member for the College Music Society. He writes and speaks widely on lifespan access and learning, arts collaborations, and curriculum innovation. He consulted on the European master’s degree for new audiences and innovative practice and is a board member of the MacPhail Center for Music, the American Composers Forum, and the St. Paul Chamber Orchestra. He serves on editorial committees of the BCRME and IJCM, and recently edited a section on lifespan learning for the Oxford Handbook of Music Education.
Dr Cormac Newark (chair sessions 7e & 8b) Guildhall School of Music & Drama email@example.com Dr Cormac Newark studied at the University of Oxford, King’s College London, and the École Normale de Musique in Paris. He was subsequently a research fellow at Trinity Hall, Cambridge, and then affiliated to the Università degli Studi di Ferrara while carrying out research funded by the Leverhulme Trust. Cormac works mainly on the reception of nineteenth-century French and Italian opera; his book, Opera in the Novel from Balzac to Proust, was published by CUP in 2011, and his essays have appeared in 19th-Century Music, the Cambridge Opera Journal, the Journal of the Royal Musical Association, and various edited collections. He has also written for Opera magazine and the Guardian.
Sarah Newbold (session 2h) Guildhall School of Music & Drama firstname.lastname@example.org Move well, play better: an experiential workshop looking at the question, ‘Why think about the body?’ Using the interconnected disciplines of Body Mapping and the Alexander Technique, musicians Sarah Newbold and Imogen Barford will lead participants in a playful experiential workshop which uses skeletal models, individual bones, PowerPoint and exploration of our own movements. We will be covering basic weight delivery and balance through the body as well as exploring the rotations of the arm structure .We will notice how these rotations interact with each other and with the whole body as one plays musical instruments, exploring connections between movement and music. Participants will answer for themselves the question of whether it is useful for developing artists and music educators to think about the body. Sarah Newbold, BA(Hons), ARCM, LRAM, is Professor of Flute at the Guildhall School and a Licensed Andover Educator.
Professor Siw Graabræk Nielsen (session 8b & chair sessions 1b & 2d) Norwegian Academy of Music email@example.com
Please see Professor Sidsel Karlsen for abstract Siw Graabræk Nielsen is professor of music education at the Norwegian Academy of Music, Oslo, where she has been Vice-rector of Research and 175
Development and where she now is leader of the newly established Centre of Educational Research in Music (CERM). Nielsen has been co-editing the Nordic Network of Research in Music Education Yearbook for the last twelve years and has also lead this network for several years. Nielsen has conducted research in the self-regulated learning of musicians, the professional knowledge of music teacher students, music education and authenticity and the ‘research based’ teaching and learning in higher music education. She is currently one of the senior researchers participating in the Musical gentrification and socio-cultural diversities, a research project funded by The Research Council of Norway for the period 2013-16.
Bent Nørgaard (session 1c) The Danish National Academy of Music firstname.lastname@example.org
Please see Professor Helene Gjerris for abstract Bent Nørgaard (1957) has a broad experience as playwright, librettist, theatre and opera director. He gives classes at The Danish National Academy of Music in devising, dramaturgy and stage-performance. He has staged several concerts e.g. in collaboration with Esbjerg Ensemble (chamber orchestra). In 2014 he received a work grant from the Danish Arts Foundation supporting his work with developing musictheatre in close collaboration with composers. From 2004- 2010 he was head of Centre for Arts and Science at the University of Southern Denmark, where he gained experience in fundamental and principle challenges in interdisciplinary from establishing cooperation between artists and scientists.
Naomi Norton (session 5e) Royal Northern College of Music email@example.com The other side of the coin: promoting musicians’ health by investigating instrumental and vocal teachers’ perspectives on health education
Supervisory team: Professor Jane Ginsborg; Dr Alinka Greasley; Dr Islay McEwan Musical engagement can have a positive effect on the health of individuals and communities but research has established that (on the other side of the coin) being a musician places great demands on the body and can lead to the development of performance-related problems (PRPs). Research into the symptoms, causes, prevalence and treatment of PRPs is well established, but there is still relatively little research relating to the prevention of PRPs. Instrumental and vocal music teachers (IVMTs) provide the primary route through music education, have an influential relationship with developing musicians, and affect primary and secondary prevention of PRPs making them one of the most important ‘stakeholder’ groups for promoting musicians’ health. Research in other performance disciplines has shown the efficacy of delivering health 176
education via individuals who fulfil a similar role to that of IVMTs (e.g. dance teachers and sports coaches). To design health promotion programmes that are effective and feasible the opinions of those who work within and/or manage the target environment (in this case, music lessons) should be sought. An online survey study with follow-up interviews was conducted between September 2013 and May 2014: 502 UK-based IVMTS took part in the survey study and 13 participants were interviewed. The aims of this research were to chart the demographics and education of IVMTs in the UK, understand more about their PRPs, investigate current health promotion behaviours, and seek IVMTsâ€™ opinions relating to health education in music lessons. Results contribute to our understanding of where and how IVMTs are educated and how they value qualifications. Nearly 70% of participants have a history of performance-related musculoskeletal disorders, 55% have experienced music performance anxiety, and 25% have diagnosed or suspected noise-induced hearing loss. Over 80% of participants believe they are moderately to wholly responsible for their pupilsâ€™ health and many are already helping students prevent or overcome PRPs; the knowledge and skills utilised are gained primarily through experience and from other musicians. Most participants are interested in learning more about health, primarily via internet or print resources and workshops. The results of this research will help to improve the quality of health promotion through better understanding, and increased inclusion of IVMTs; in the world beyond 2020 instrumental and vocal teachers should be recognized as health promotion advocates, included in multi-disciplinary health promotion teams and provided with appropriate, relevant and practical information in order to educate healthy musicians effectively. Naomi Norton is a PhD candidate at the Royal Northern College of Music. She completed a Master of Music in the Applied Psychology of Music and a Bachelor of Arts (Music) at the University of Leeds. Research is currently the primary element of her portfolio; she also teaches the violin and performs in amateur and professional ensembles. Naomi works with the British Association for Performing Arts Medicine (www.bapam.org.uk) as the Student Advocate Scheme Manager and a member of the Education and Training Advisory Group and has recently taken on the role of Editorial Assistant for Music Performance Research (see www.mpr-online.net).
Gemma Oâ€™Herlihy (session L1e) CIT Cork School of Music firstname.lastname@example.org Appropriate early stage pedagogies for the inclusion of an aural foundation for beginner instrumental learners Appropriate pedagogies that would combine early aural focus within the existing structure of both the piano lesson and group piano ensemble have not been adequately addressed. Within the parameters of the grade-exam curriculum used by the piano teaching model in Irish conservatoires, special attention is given toward strategies for the teaching and learning of aural skills via an aural classification system for beginners so that learning is musically meaningful and not hampered by decoding notation. A pilot study using such a system indicates feasible functional, musicianship skills for beginner pianists.
Gemma O’Herlihy is a lecturer at CIT Cork School of Music. After graduating in piano performance and accompaniment from the Konservatorium Wien University, Vienna, Austria she gave recitals in Europe, USA and Australasia. Her PGCE studies were obtained at Leeds University and her MA at Maynooth University with research on The Piano Music of Howard Ferguson. Her experience in music education includes the Vienna International School, Greater Grace Christian Academy, Baltimore, USA, Yorkshire College of Music, Leeds, DIT Conservatory of Music, Dublin, as well as secondary schools in Leeds, Bradford and Dublin. She was also an examiner for the Royal Irish Academy of Music.
Deborah Moraes Gonçalves de Oliveira (session 2f) Universidade Federal do Piauí (UFPI - Brazil) Universidade de Aveiro (UA - Portugal) email@example.com The Expressive Body: body expression for singers The body as an active participant in reflecting and causing emotions can be seen in philosophical writings of the 19th century and earlier, but also in writings of cognitive science in the last decade of the 20th century. The body on musical creation also has had its place in theoretical discussions in the 1990s, when Musicologists began to consider the role of embodiment, bearing in mind the need for repetition of movements for the complete mastery of a technique. Singers in their early years of conservatory studies are usually very much concerned about vocal technique and less aware of what to do with their hands, arms and legs, or how to use their bodies expressively. As an experiment for a music PhD research about the process of development of the body expression for solo voice performers, we would like to propose a body movement workshop for singers who have, at least, one year of vocal studies. The goal of this particular experiment is to evaluate which exercises work best, from the singer’s point of view, on his own body perception and space awareness. Students will be active participants. The workshop consists of practical exercises that aim to develop the body expression for song recital situations. The exercises were specially selected by the researcher, from practical experiences on the techniques of François Delsarte, Jaques-Dalcroze and Constanza Macras. Its goals are: 1 – body awareness; 2 – space awareness; 3 – group awareness; 4 - concentration; 5 – energy development; 6 – musical awareness. Our expectations are that even the beginner singer will perform with greater scenic and musical expression, if having effective training on body and space awareness along with the vocal training. For the evaluation of the effectiveness of the chosen exercises, each participant will receive a table to be filled in during the process, in which they will be able to share their own perceptions of each exercise, as well as offer suggestions for its improvement. 178
Considering we have only been working so far with voice students in Brazil and Portugal, we believe that having also feedback from singers in the United Kingdom, as well as from those from other countries who might be attending the conference, would add great value to the results we are looking for. Deborah Oliveira Music PHD Student (Universidade de Aveiro PORTUGAL); Master of Music, Vocal Performance (The Boston Conservatory - USA), Bachelor of Music, Voice (Universidade Federal do Rio de Janeiro - BRAZIL); Communications: International Society of Music Education (ISME 2014), Brazil; PERFORMA 2013, Brazil; 1st Conference on Arts-Based and Artistic Research 2013, Spain. Articles: “O Canto Lírico em Português na ópera A Vingança da Cigana” (2012); “The art of singing of Teresa Stratas”(2013); “O papel do intérprete: o contributo do cantor na construção da personagem de ópera” (2013). Since 2006, Voice Teacher at Universidade Federal do Piauí, Brazil, directing Operas and Musical scenes.
Tim Palmer (session 1a) Trinity Laban Conservatoire of Music & Dance firstname.lastname@example.org Artist-teacher identities: an overview of issues in conservatoire partnership secondary music PGCE programmes Philippa Bunting at the RNCM and Tim Palmer at TLCMD lead the only two conservatoire-university partnership PGCE programmes in the UK. Both programmes are long established – in the RNCM for over ten years, at the TLCMD for nine years, but they have very different foci: the RNCM concentrates on instrumental teachertraining, and TLCMD on supporting creative approaches in the school and on developing pedagogies for informal and non-formal settings. Reflecting on their experiences as programme leaders, and with qualitative data from alumni, the presenters will explore the ideological issues surrounding classroom music teacher training in a conservatoire setting, the tensions between conservatoire and university aspirations and the realities of school music-making, and the interplay between the rapidly changing employment context and the requirements and expectations of trainees, schools, funders and partners. Wider implications for music education programmes in conservatoires will be considered. Tim Palmer is Senior Lecturer in Music Education at Trinity Laban where he leads teaching and research into the role of the musician in education, and into creative teaching in music at HE level. His work crosses traditional boundaries between classroom teaching, instrumental/vocal teaching and workshop leading. Tim set up and leads the MA in Music Education and Performance, and the Teaching Musician programmes. Tim is active as an animateur and music education consultant. He also maintains a performing career as an orchestral percussionist/timpanist, and has been guest principal of, amongst others, the BBCSO, the RSNO and the London Sinfonietta.
Dr Simon Parkin (sessions 1f & 8c, & open house) Royal Northern College of Music email@example.com
Please see Bert Mooiman for abstract (session 8c) Improvisation as technique: a practical method for teaching improvisation to classical pianists Pianists often lag behind in improvisation groups, both because of and despite the sonic resources at their disposal. At RNCM we teach improvisation to pianists in two ways. The first, the technique derived from jazz, is to free up scale and arpeggio figurations, enabling the player to change scales midstream, and to be at the right place to change scale when the harmony changes. Scale and arpeggio figurations are then adapted to chord sequence. The second technique is to derive and adapt figurations, voicings and harmony-derived motives from existing repertoire. The various ways of adapting three elements (bass, harmony, melody) to two hands are at the root of stylistic improvisation. The workshop will start with scale and arpeggio figuration work. This will then be applied to chord sequences. A variety of voicings will be derived from repertoire and adapted to the new chord sequence. Following this, various modulation techniques will be discussed culminating in the formulation and application of a blueprint for improvising a classical cadenza. It is envisaged that this workshop would be for pianists, but many of the techniques discussed here could be adapted for other instruments too. Simon Parkin was trained as a pianist at the Yehudi Menuhin School and as a composer at the RNCM and Manchester University, from which he has a doctorate in composition He heads the Musicianship department (which integrates aural training with improvisation and practical harmony) at the RNCM, and has taught both improvisation and composition at the Purcell School and the Yehudi Menuhin School. He is active both as a composer and as a duo recitalist.
Dr Tom Parkinson (session 8b) Institute of Contemporary Music Performance firstname.lastname@example.org Hybrid authenticities of popular music education Programmes in popular music studies and popular music performance are increasingly prevalent in higher education, especially at undergraduate level. Historically, however, popular music has been identifiable as a set of performance, creative and commercial practices whose currency has arguably resided in living and championing values that exist in counterpoint to institutionalised culture, and to notions of vocational training for employment in the professions, both of which are represented by the conservatoire and university. The presenters discuss some different and potentially 180
oppositional dimensions of authenticity in popular music (including as commercialised artifact, in performance, and in education) suggested by Adorno (1941), Green (2002), Lilliestam (1996), Söderman (2013), O’Hara (1999) and others, proposing that, while Middleton's (1992) positioning of authenticity as a central gauge of value in popular music is persuasive, it must be regarded as a multivariate and unstable gauge. The authors argue that these dimensions of authenticity are problematised when popular music is brought into higher education, where the performance, aesthetic, cultural and other values of teachers and students that may sit in contradiction to those inhering in curricula and pedagogy designed in response to stateprescribed imperatives of employability and the normative practices of higher education as set out in quality assurance literature (e.g. QAA, 2008). Through a combination of interviews with staff and students, policy and curricula analysis and a review of current literature in the field of popular music education (e.g. Krikun, 2009; Lebler, 2007; Parkinson, 2013; Smith & Shafighian, 2013) the authors propose steps towards attaining a multi-vocal (Kreber, 2007) and inclusive understanding of authenticity in the burgeoning field of popular music education. Tom Parkinson is a Lecturer in Higher Education and Academic Practice at the University of Kent, and a member of faculty at the Institute of Contemporary Music Performance in London. He has previously taught in secondary schools and at universities including the University of Reading, the University of Westminster and Istanbul Kültür Üniversitesi. He has composed music for television and computer games, and has performed across the UK and Asia as a guitarist for a number of bands and ensembles. His doctoral research at the University of Reading's Institute of Education focused on the values underpinning practice on popular music degree programmes in the UK. He has presented his research at conferences in the UK, Poland, Norway and Turkey, and has previously published in the areas of higher music education, instrumental teaching, cultural value and Turkish protest music.
Oliver Pashley (session L1a) Guildhall School of Music & Drama email@example.com
Please see Jonathan Vaughan for abstract Oliver Pashley is a London-based clarinettist, an Artist Fellow in residence at the Guildhall School of Music & Drama, and member of Southbank Sinfonia 2015. He has worked with orchestras and ensembles including the Philharmonia Orchestra, Britten Sinfonia, and the Haffner Wind Octet. Oliver was a Britten-Pears Young Artist for 2014, and plans to return to Aldeburgh this Spring to record works with Aldeburgh Winds, directed by Nicholas Daniel. Oliver is a member of The Hermes Experiment, a young contemporary quartet consisting of soprano, clarinet, harp and double bass. As a soloist he has performed concerti across London and the East of England, and following an unconducted performance of the Mozart Concerto with the Bristol Ensemble in October last year, plans to work with students at the Guildhall School this July to direct John Adam’s Gnarly Buttons from the front of the ensemble. 181
Dr Rosie Perkins (sessions 6a & 6b) Royal College of Music, London firstname.lastname@example.org
Please see Professor Dawn Bennett for abstract (session 6a) Please see Jane Ginsborg for abstract (session 6b) Dr Rosie Perkins is Research Fellow in Performance Science at the Royal College of Music, where she researches and teaches across music education and psychology. Following her BMus and MA degrees at the University of Sheffield, Rosie completed her PhD at the Faculty of Education, University of Cambridge. Rosie's current research interests focus on the role of music-making in enhancing wellbeing; musicians' wellbeing, identities and career development; and the learning cultures of higher music education.
Professor Anto Pett (session 8c & open house) Estonian Academy of Music and Theatre email@example.com
Please see Bert Mooiman for abstract Anto Pett graduated from Conservatoire of Tallinn (now renamed Estonian Academy of Music and Theatre) as a pianist and composer. Since1987 he has been teaching harmony and improvisation in the Estonian Academy of Music and Theatre. In 1988 he discovered that improvisation was to become his main means of artistic expression. Since 2002 A. Pett is a regular professor of contemporary improvisation in the Estonian Academy of Music and Theatre. During his over twenty-five years of teaching A. Pett has developed an original concert improvisation teaching method that works successfully in the teaching process with all instruments and singers. Many of his students have been awarded prizes at the Leipzig Improvisation competition. Anto Pett has presented his teaching method and given masterclasses in many music schools in Estonia and in many music academies and conservatoires abroad, including Helsinki, Stockholm, Oslo, Haag, Utrecht, Hamburg, Odense, Paris, Bordeaux, Marseille, Riga, Vilnius, Antwerp, Cardiff, Glasgow, Warsaw, Krakow, Gdansk, Brigthon, Vienna, Evanston and London.
Professor Julian Philips (session 7b, & chair session L1b) Guildhall School of Music & Drama firstname.lastname@example.org Searching for good practice in collaborative composition This round table discussion will share experience around collaborative composition, not only in terms of cross-arts work but also in improvisatory/devised contexts and participatory settings. The panel will also consider the development of creative work in alternative contexts, and also the provocative question of ‘group authorship’ inside collaboration work. Opera Making & Writing: nurturing innovative new work through academic-
professional partnerships This round table discussion will explore the benefits of nurturing new operatic work through academic and professional partnerships. The discussion will be led by Professer Julian Philips (Head of Composition, Guildhall School) and Stephen Plaice (Writer in Residence, Guildhall School) together with four current students from the Guildhall School’s new MA in OperaMaking & Writing and composer Philip Venables, currently Royal Opera House-Guildhall School Doctoral Composer-in-Residence. Both these programme initiatives have been developed through an evolving partnership between the Guildhall School and the Royal Opera House, and this discussion will share both staff and student experience before opening up for general discussion about how such academic-professional partnerships can be used to nurture innovative and high quality new work. Guildhall School staff Professor Julian Philips, Head of Composition Stephen Plaice, Writer in Residence Guildhall School students Philip Venables, Guildhall School-Royal Opera House Composer-in-Residence Ruth Mariner, Vinko Hut-Kono, Writers on the MA in Opera-Making & Writing Laurence Osborn, Evan Kassof, Composers on the MA in Opera-Making & Writing Born in Wales in 1969 and brought up in Warwickshire, Julian Philips studied music at Emmanuel College, Cambridge. He has already achieved astonishing success as both composer and educator. Philips' music has been performed widely across the world at major festivals and venues including the Proms and the Wigmore. He has received numerous broadcasts, and his work has been the subject of a BBC Wales television documentary. Philips has enjoyed a particular affinity with music for the voice and has received critical acclaim for his settings of e e cummings, Dylan Thomas, Emily Dickinson and Arthur Rimbaud among others. In addition to solo vocal works, Philips has written several works for choirs. In November 2002, his anthem for the Musicians’ Benevolent Fund annual Festival of St 183
Cecilia, Song’s Eternity, was premiered by the combined choirs of Westminster Abbey, Westminster Cathedral and St Paul’s Cathedral. Following the success of Philips’ 1999 orchestral work Strange Seas, commissioned by the Britten Sinfonia and later performed by the BBC National Orchestra of Wales, the BBC Proms commissioned a symphonic poem Out of Light which was premièred at the Royal Albert Hall by the BBCNOW in 2001. Philips’ next work for large orchestra is a full-length ballet based on Les Liaisons Dangereuses, with choreography by Michael Corder. Philips has an impressive track-record in composing for the theatre. He has enjoyed a particularly fruitful artistic partnership with director Michael Grandage. Their production of As You Like It (Lyric Hammersmith/Crucible Theatre) went on to win the South Bank Theatre Award (2001). An increasingly vital force in education, Philips took up the post of Head of Composition at the Guildhall School of Music & Drama in September 2004. Currently Glyndebourne Opera's Composer in Residence, he maintains his position as Professor of Composition at the Guildhall School while he completes work for Glyndebourne. He has tutored at Cambridge University, and led innovative adult learning programmes at the Wigmore Hall and for the Orchestra of the Swan.
Stephen Plaice (session L1b) Guildhall School of Music & Drama email@example.com In September 2104 Stephen Plaice became the Guildhall School’s first ever Writer in Residence. He teaches on the new opera-makers MA course which has been launched at the school in collaboration with the Royal Opera House. Stephen brings with him extensive experience of librettowriting in opera in Europe and the UK. He has also worked widely in opera education. In 2011, he coled the Jerwood Opera Writing Course at Aldeburgh, in which composers and writers are guided in the initial process of collaboration. A fluent German speaker, in the last two years he has worked extensively with the Altana Institute, training German artists and teachers to introduce collaborative arts workshops into the school system in Frankfurt and Munich. As a playwright and librettist he has collaborated with many leading contemporary composers, including Harrison Birtwistle. He has written five main-stage librettos for Glyndebourne – Misper, Zoë, Tangier Tattoo, School4Lovers and Imago. 2013 saw the first production of Imago, ‘an opera for the digital age’, which he co-wrote with the composer Orlando Gough. In 2014 it won a Royal Philharmonic Society award for Learning and Participation.
In 2012, as part of the cultural Olympiad, with the composer Julian Grant, he wrote Hot House, a mainstage interpretation of the 1809 opera riots for the Royal Opera House, Covent Garden.
Professor Anne-Liis Poll (sessions 3g & 8c) Estonian Academy of Music and Theatre firstname.lastname@example.org
Please see Bert Mooiman for abstract (session 8c) Voice Games In this workshop A.-L. Poll will present her voice improvisation teaching method. She demonstrates how to develop improvisation with voice. Her exercise system is suitable for all teachers and artists who use voice in their everyday work and in artistic selfexpression, it is general training of voice and creative thinking. A.-L. Poll`s exercises start from very easy level and have unlimited possibilites for variants. In the workshop all participants have a possibility to try these exercises in an easy level together with A.-L. Poll. Anne-Liis Poll received her degree in choir conducting under the direction of professor Kuno Areng at the Tallinn Conservatoire (the Estonian Academy of Music and Theatre) at the chamber choir Eesti Projekt which became rapidly a significant rival to Estonia’s best choir, winning the Grand Prix at the international choir festival Tallinn ’88. A.-L. Poll has studied singing under the direction of Galli Kulkina, Prof. Eva Märtson-Wilson and Prof. Matti Pelo. A.-L. Poll has appeared as soprano soloist in Bach’s Magnificat, Händel’s Messiah and Israel in Egypt, Mozart’s Mass in Cminor etc. The co-operation with Anto Pett began in 2000, when A.-L. Poll started her master programme in the Higher Theatre School by the Estonian Academy of Music. So far many concerts in Estonia and abroad, a lot of voice improvisation masterclasses have been given and several improvisations with different groups have been recorded. The participation in the ensemble PROimPRO in different festivals has played an important part in her life. She has co-operated with many masters of improvisational music both in Estonia and abroad. A.-L. Poll currently teaches singing and voice improvisation in EMTA (the Estonian Academy of Music and Theatre) drama department, voice improvisation in EMTA and EKA(the Estonian Academy of Art). A.-L. Poll has developed a teaching method of voice and creativity Voice Games which she has presented in workshops in the academies and conservatories of Europe (Warsaw, Vienna, Glasgow, Cardiff, Antwerpen, Helsinki, Udine etc.).
Dr Mark Pollard (session 7b) The Victorian College of the Arts, The University of Melbourne email@example.com
Please see Professor Julian Philips for abstract Australian composer, educator and curator Mark Clement Pollard is Head, School of Contemporary Music and Head of Interactive Composition at the Victorian College of the Arts at the University of Melbourne where for over 20 years he has facilitated numerous interdisciplinary and trans-disciplinary projects. Mark is a highly awarded composer and recipient of the AMC /APRA Classical Music State Award for long-term contribution to the Advancement of Australian Music. Markâ€™s work The Heavenly Muzak Machine for vibraphone 8 hands exists as set of 6 films created through transdisciplinary collaboration. In 2014 he completed Resonating Spaces 6 a collaborative project with the Melbourne ZOO involving 42 student composers and 20 student animators and is currently leading an audio visual remapping of Rarotonga in the Cook Islands with 20 composers. Mark's research presentation is gratefully supported by the Faculty of the VCA and MCM at the University of Melbourne.
Martin Prchal (chair sessions 5d & 8c) Royal Conservatoire, The Hague firstname.lastname@example.org Martin Prchal is vice-principal at the Royal Conservatoire in The Hague, the Netherlands, with responsibilities for curriculum development, quality assurance, communication and international relations. Trained as a musician of Czech origin, he holds teaching and performance diplomas (violoncello) and a MA in musicology. In his previous position as Chief Executive of the European Association of Conservatoires (AEC), Martin Prchal developed a substantial expertise in EU project management through his involvement in several music projects in various EU programmes. His expertise on issues related to higher music education in Europe, and the Bologna Declaration and its implications for higher music education is internationally acknowledged.
Kristen Queen (session E1c) Texas Christian University (TCU) School of Music email@example.com Empowering and enhancing artistic development with yoga for musicians Within the past decade, the advantages of practising yoga have become abundantly clear to performing artists. In addition to its well-documented 186
physical and mental benefits, yoga provides a therapeutic option for those suffering from many forms of anxiety, especially performance anxiety. Several recent studies in journals such as Medical Problems of Performing Artists and Applied Psychophysiology and Biofeedback illustrate a marked improvement in anxiety, stress, depression, and anger when musicians participate in yoga at least once per week. Offering a yoga experience in the college music curriculum helps alleviate problems that arise when students unknowingly use their breath, body, and mind in an automatic, disconnected manner. Such a course can consequently dramatically affect students’ success in the practice room, on stage, and beyond, thus making it critical for creative development. Texas Christian University (TCU) is one of few music schools in the United States that currently offers a yoga course designed exclusively for its music students. Using the TCU model, this workshop provides an interactive glimpse into a typical class, and offers some practical ways the physical and psychological elements of yoga can be integrated into music classrooms, ensemble rehearsals, and applied lessons. TCU class meetings are tailored to students’ instruments, disciplines, and physical ability levels, incorporating their desires for increased flexibility, decreased muscle tension, relaxed flow of breathing, and reduced anxiety and stress. By providing empowering instruction that avoids criticism and judgment, “Yoga for Musicians” focuses on developing awareness and intentionality in both physical activity and stasis, enabling musicians to learn and play with greater relaxation and enjoyment. This workshop is intended as an interactive presentation where participants not only take part in a brief “Yoga for Musicians” class, but are also given an array of information to utilize either in their own practice, pedagogy, or performance. Much like the TCU class, no prior experience or knowledge of yoga is required and the entirety of the workshop will be presented in English using Western (or non-Sanskrit) posture names. Participants should dress comfortably and be ready to move. Overall, the workshop offers a creative insight to the physical and psychological elements of the developing artist. Kristen Queen is Assistant Director for Academic Programmes & Adjunct Associate Professor of Music at the TCU School of Music. She is an active clinician and performer, receiving high praise from some of the world’s leading professional flutists. She is the recipient of awards for both musical and academic achievements, including the TCU Provost’s Academic Affairs Outstanding Staff Award. Ms. Queen is a YogaFit© certified instructor and developer/instructor of the TCU course, “Yoga for Musicians.” She completed her Master’s degree at Northwestern University and Bachelor’s degree at the University of Oklahoma. Ms. Queen is currently pursuing an Ed.D. in Higher Education Leadership at TCU.
Laurent Quénelle (session L1a)
Please see Jonathan Vaughan for abstract Born in 1970, Laurent Quénelle started playing the violin at the age of three. After studying at the conservatoires of Rosny and St Maur, he left at the age of 16 to follow the classes of Denes Zsigmondy in the United States 187
at the Washington University of Seattle. On his return to France he entered the Paris Conservatory in the class of Pierre Doukan. He left with a First Prize for violin and chamber music. He subsequently started on the 3rd cycle but in 1991 decided to take advanced classes in London with David Takeno at the Guildhall School. Laurent Quénelle leads a richly varied career: a member of the London Symphony Orchestra since 1996, he is regularly invited as solo violin with the London Sinfonietta as well as the Orchestre d’Auvergne and the Royal Orchestra of Flanders. He gives chamber music concerts alongside artists such as François Leleux, Gordan Nikolic and Vladimir Ashkenazy, with whom he has recorded Stravinsky’s chamber music for Decca. He has also played with groups such as the Nash Ensemble, Oxalys, and was a member of the Mullova Ensemble. In recital Laurent Quenelle is frequently accompanied by the pianist Tom Blach and he has performed as a soloist with the Seattle Philharmonic Orchestra, the London Chamber Orchestra and the Orchestre d’Avignon. Laurent Quénelle is a laureate of the Seattle Young Artist Competition, of the Mayor of London Prize and of the Cziffra and Sasakawa foundations. He is the artistic director of European Camerata, an ensemble he founded and has directed from the violin since 1995. Laurent has been teaching at the Guildhall School of Music & Drama since 2014.
Dr David Ramael (session 7c) Artistic Director, BoHo Players firstname.lastname@example.org The orchestral musician in the 21st century: a creative approach to the audition process In recent years, conservatories and schools of music have started placing much greater emphasis on providing students with a well-rounded education. Having taught for almost ten years in the United States I have witnessed the tension between on the one hand the rigor of the musical training toward excellence as performer, and on the other hand the workload burden of a wider scope on the academic side. The ultimate dilemma poses itself for those students who are drawn towards a career as orchestral musician, where initial professional success is measured through the perfect performance of two concerto movements and a number of orchestral excerpts. Entrance into the narrow world of orchestral music fundamentally does not call for the academic reforms of the conservatory curriculum. However, while the musical demands on the current crop of orchestral musicians have greatly increased (in terms of workload, perfection of playing, stylistic flexibility, etc.), personal creativity is still underemphasized to non-existent in the job description, contrary to the curricular developments in higher musical education. When I set out to create my own ensemble, BoHo Players, one of the goals of the ensemble was to push the boundaries of the traditional chamber string orchestra, in terms of stylistic diversity and performance traditions, repertoire and the societal role of a “classical” ensemble in the 21st century. I recognized the need to attract musicians who not only are first-rate musicians, but who also are willing to think creatively about music’s role in social, demographic, cultural and ecological issues. This presentation will present the outcomes of a detailed survey, which was completed by prospective participants upon completing the audition.
David Ramael is at the forefront of a new generation of entrepreneurial conductors, who try to give renewed relevance to classical music in today’s fragmented and internationalized society. He has achieved a remarkable track record of breaking the fourth wall between audience and performer by creating new and unique programmes, by concertizing in unconventional venues and by fully embracing the transformative qualities of music. He is the founder and artistic director of BoHo Players, an eclectic string chamber orchestra, whose primary mission is to reposition classical music as a source for societal self-reflection and change.
Marco Antonio Da Silva Ramos (sessions L1d & 3d) University of São Paulo email@example.com
Please see Caiti Hauck-Silva for abstract (session L1d) Please see Professor John Rink for abstract (session 3d) Marco Antonio da Silva Ramos is Professor of Choral Conducting and coordinator of the Choral Laboratory of the Music Department of the University of São Paulo, where he is also the chair of International Affairs. He is the artistic director and conductor of the Choir of the School of Communication and Arts and the Chamber Choir Comunicantus. He has performed as guest conductor in Austria, Spain, Portugal, Hungary, the USA and Argentina. He has been guest professor at the International Summer Academy of Choral Conducting in Gran Canaria, Spain, and in many festivals and concourses in Brazil and Latin America.
Professor Marc-André Rappaz (session 4c) Geneva University of Music (HEM) firstname.lastname@example.org
Please see Dr Donald Glowinski for abstract Marc-André Rappaz is professor of harmony and music analysis at the Geneva University of Music. He studied violin, viola and music theory at the Geneva University of Music, mathematics, Chinese and computer science at the University of Geneva, and composition with Alberto Ginastera and Witold Lutoslawski. His current interests include various analytical approaches: set theory, Schenkerian and post-Schenkerian analysis, evolution of the generative theories and issues related to the syntax of tonal music, the evolution of the tonal system and the various temperaments including 31 equal temperament and microtonal music. He organised meetings with Benoît Mandelbrot and György Ligeti at the festivals Archipel, in Geneva, and Musiques en Scène, in Lyon, in which he also participated.
Kenneth Rea (session 7c) Guildhall School of Music & Drama email@example.com Explorations in charisma: applying experimental actor-training techniques to nurture the outstanding musician In this workshop, Kenneth Rea demonstrates some of the key exercises he has taught to actors to enhance their presence, charisma and rapport with the audience, and he shows how he has also used these very successfully with musicians. Drawing on more than 30 yearsâ€™ teaching at the Guildhall School of Music & Drama, with both actors and musicians, Rea examines the qualities of outstanding performers, and the key traits and values they project. He suggests how these might be nurtured in a conservatoire to facilitate a higher level of success. The biggest challenge to career success, for both actors and musicians, is the need to stand out in an overcrowded profession. Reaâ€™s premise is that, at the highest level this means achieving more than technical mastery: the greatest performers combine virtuosity with a unique and memorable personality that enthrals audiences. His research at Guildhall has successfully concentrated on finding new ways of enhancing personality with actors, thus strengthening their charisma, and he has successfully applied some of these techniques to musicians. At the heart of his work is the spirit of playfulness and improvisation as a way of strengthening the creative imagination. In the domain of acting, the most charismatic performers exude a uniqueness that springs from fresher, bolder choices than those of lesser performers. These choices are the result of the creative tension between rigorous preparation and risk- taking in rehearsal. The promotion of risk-taking is therefore crucial in the training process. Rea will show how this can be applied to the training of the musician. His proven approach is holistic, focusing not just on performing skills but also powerful life skills that can help performers take more control of their lives and thus bring to the stage a greater degree of confidence, presence and authority. Delegates will have the chance to watch demonstrations and if they wish, take part in some of the exercises with a view to developing the techniques in their own teaching processes. Kenneth Rea is the senior acting tutor at the Guildhall School and artistic director of Koru Theatre. He studied at the University of Auckland (NZ) and Royal Holloway University of London. He has taught in the national drama academies of China, Indonesia, India, Italy, New Zealand and Canada. He has also worked as a movement coach with many theatres including the Royal Shakespeare Company.
He was for 15 years a theatre critic for The Guardian. His book A Better Direction, examines the issues of director-training. His latest book, The Outstanding Actor, Seven Keys to Success, comes out in March. In the corporate world Ken also trains business leaders of global companies.
Emma Redding (session 6b) Trinity Laban Conservatoire of Music & Dance firstname.lastname@example.org
Please see Jane Ginsborg for abstract Emma Redding is Head of Dance Science and Acting Head of Taught Postgraduate Studies at Trinity Laban Conservatoire of Music and Dance. Emma originally trained as a dancer and performed with the company Tranz Danz, Hungary and for Rosalind Newman, Hong Kong. She teaches contemporary dance technique at Trinity Laban and lectures in physiology alongside her management and research work. She was Principal Investigator for the Centres for Advanced Training project, The development of dance talent in young people, working with Sanna Nordin-Bates and Imogen Walker. She was also Principal Investigator of the research project, Music & Dance Science: Optimising Performing Potential which involves undergraduate vocational music and dance students at Trinity Laban and has managed several investigations into the impact of dance on health and wellbeing. She has published her work in academic journals and is a member of the Board of Directors and a Past President of the International Association for Dance Medicine and Science (IADMS).
Christopher Redgate (session 2g & open house performance) Royal Academy of Music email@example.com
Please see Dr David Dolan for abstract (session 2g) Please see performance section for details (open house performance) Christopher Redgate is currently the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and the designer of the Howarth-Redgate system oboe. Since his student days at the Academy he has specialised in the performance of contemporary music and developed significantly several aspects of oboe technique, leading him to a re-evaluation of a number of performance practices. His work in this field has led many composers to write for him. He has recorded many solo CDs, broadcast on Radio Three, and preformed extensively throughout the world. He also gives many masterclasses for oboists and composers and writes extensively for professional magazines and academic books.
Professor Inger Elise Reitan (session L2e) Norwegian Academy of Music firstname.lastname@example.org From music student to professional musician: the relationship between the aural skills discipline and the musical ear in professional performance practice In an academy of music aural skills training is a natural part of the curriculum. The aim is to develop the students’ musical ears to facilitate the reading and understanding of music, preferably related to the main instrument. What is the experience of the aural training discipline when musicians have left the academy and practice as professionals? This involves both attitudes to the subject and the practical role of the subject in a study programme. The aim of this study is to learn how a part of a study programme function in “real life” of performing musicians, and the possible implications such knowledge might have on the actual study programmes. In a study, by use of qualitative interviews among professional orchestral musicians, I focused on their experiences and opinions about aural training in their education and the link to their professional orchestral practice. The musicians were seven performing instrumentalist representing the following instruments: viola, cello, obo, clarinet, trumpet, trombone and tuba and one conductor. Their represented various ages, educational background and years of orchestral practice. Some findings of the study were:
• • • •
There was no direct link from the aural training discipline to their main instrument The instrumental teacher was not actively engaged in the role of the aural training discipline Important aural skills, like intonation, was not taught in aural training The musicians’ attitude to aural training was positive, but it had low priority compared to the main instrument
The findings will be discussed in relation to a new concept of teaching aural training at the Norwegian Academy of Music, as well as at the Sibelius Academy, where the link between aural training and music practice is strongly emphasized. This involves how the classes are organized according to instruments, the use of instruments in the classes, the use of relevant musical repertoire and the form of the examination. It also involves active collaboration between instrumental and aural training pedagogues. Key words: aural skills, instrumental practice, interdisciplinarity Inger Elise Reitan is a professor of aural training disciplines at the Norwegian Academy of Music. She is also an active pianist. She has developed courses of aural training for a variety of 192
music study programmes, and has focused on the education of aural training teachers. She has published articles on aural training, textbooks for choral singers and for higher music education and presented papers at international conferences. Since 2007 she has been the leader of the research team GEFFF (The Musical Ear â€“ as phenomenon, as discipline, and in function) which resulted in a Nordic conference (2012) and an anthology: Aural perspectives on musical learning and practice in higher music education (2013).
Professor John Rink (session 3d) University of Cambridge email@example.com Individual and group creativity in choral performance: crosscultural perspectives
Presenters: John Rink, Marco Antonio da Silva Ramos, Susana Igayara, Geoffrey Webber, Mirjam James, Patrick Russill Choral performance has received insufficient attention from researchers despite its potential to shed light on individual approaches to performing in groups as well as on aspects of group creativity which are distinctive to choral contexts. This roundtable session will investigate general theoretical issues surrounding musical creativity as well as potential practical applications, building on the results obtained from a recent collaborative research project between the Universities of Cambridge and SĂŁo Paulo. The project - funded by the British Academy - explored the following questions: 1. To what extent do choral practices and cultures in distinct national, institutional and artistic contexts differ from or resemble one another, and what might we learn from their similarities or differences? 2. What new approaches to choral development might be defined through comparative analysis and collaborative experimentation, and what methodological and theoretical benefits might these have? 3. Finally, how does the creative development of individuals in vocal ensembles take place, and how does it relate to the creative development of the ensemble as a whole? The session will comprise successive five-minute contributions from each member of the project team, followed by the comments of a respondent who, although external to the team, has been involved at various stages of the project. John Rink will begin with a general introduction on individual and group creativity, followed by a brief description of the collaborative research project. This will pave the way for more focused comments from Marco Antonio Silva Ramos on when, why and how both individual choral singers and the choral conductor in an ensemble relinquish their own perspectives and priorities during a rehearsal or performance for the sake of more collective creative results. Susana Igayara will explore the challenges and opportunities offered by unfamiliar repertoire in developing creativity in 193
choral performance, concentrating on the potential uses of Brazilian choral music in other cultural contexts. Geoffrey Webber will then consider particular cross-cultural linguistic and musical challenges encountered in the project. Mirjam James will present findings derived from qualitative analysis of interviews with choral singers and conductors, discussing attitudes towards individual and group practices as well as social aspects of choral performance. Patrick Russill will finally offer a general response to the five contributions. Discussion will then take place among the presenters and with the audience. This collaborative research project is timely, given its potential to cast light on the artistic and intellectual development of choral singers and conductors in higher-education contexts, in part through experience-based, experimental and exploratory learning. The session will be relevant to researchers in general and to those responsible for curriculum development in a range of institutions. John Rink is Professor of Musical Performance Studies at the University of Cambridge, Fellow and Director of Studies in Music at St John’s College, and Director of the AHRC Research Centre for Musical Performance as Creative Practice. He studied at Princeton, King’s College London, the Guildhall School, and the University of Cambridge. He specialises in Chopin studies, performance studies, music analysis, and digital applications in musicology. He has published six books with Cambridge University Press, and he is also General Editor of the fivebook series Studies in Musical Performance as Creative Practice, which Oxford University Press will publish in 2016.
Federica Riva (session 3a) Conservatoire of Florence firstname.lastname@example.org
Please see Professor Leonella Grasso Caprioli for abstract Federica Riva, degree in Musicology (Cremona), studies in Library and Information Science (Joint Master Parma and Newcastle). Music Librarian at the Conservatoire of Florence and professor of Music bibliography. In IAML (International Association of Music Libraries) since 1998, she has served at international level as Vice President, as Chair of the Copyright Committee, as Chair of the Music Teaching Institutions Branch, as Secretary of the Archives branch. She is involved in the “R-projects” promoting a new RISM libretti project and trade-union between IAML and RIdIM. She is President of IAML-Italia and Chair of the WG on Accreditation in Music Teaching Institution.
Gavin Roberts (session 3c & conference dinner) Song in the City email@example.com
Please see Gretchen Amussen for abstract Gavin Roberts enjoys a varied career as a piano accompanist. He has partnered singers in recital at Wigmore Hall, the Barbican Hall and the Royal Festival Hall, and is Artistic Director of the recital series SONG in the CITY. Engagements have include appearances at The Ludlow Weekend of English Song, The Cheltenham Festival, The Ryedale Festival (as a duo partner to the late clarinettist Alan Hacker), Brahms’ Liebesliederwaltzer as a duet partner to Graham Johnson, The Young Songmakers’ Almanac, The and A Soldier and a Maker directed by Iain Burnside – a play about the life of Ivor Gurney staged in the Barbican Pit Theatre. Alongside soprano Lucy Hall, he was the winner of the 2012 Oxford Lieder Young Artist Platform. He has played for The BBC Singers, The Joyful Company of Singers, The Hanover Band, Orpheus Britannicus, Tiffin Boys’ Choir and The Guildford Chamber Choir, and as a repetiteur for Sir Roger Norrington and the late Richard Hickox. Gavin has appeared regularly on BBC Radio broadcasts as a soloist and accompanist, often giving premiere performances of new works. He has played on numerous recordings for the BBC, ASV, Guild and Priory Records. His most recent project is a recording of Gurney songs with baritone Philip Lancaster. Gavin studied Piano with Andrew West and Eugene Asti at the Guildhall School of Music & Drama, where he is now a Staff Accompanist and a Tutor of Academic Studies. He has also received tuition from Graham Johnson, Sarah Walker, Iain Burnside, Julius Drake, Malcolm Martineau and Martin Katz. He previously read Music at Gonville and Caius College, Cambridge, where he also held the organ scholarship. Following this, Gavin gained a Master’s degree from King’s College London. Gavin is Organist and Director of Music at St Marylebone Parish Church. More details: www.gavinroberts.org & www.songinthecity.org
Tim Roberts (session 2a) National Centre for Circus Arts/Conservatoire for Dance and Drama firstname.lastname@example.org
Please see William Glassman for abstract Tim Roberts has developed the UK's most extensive HE programme for Circus Arts, consisting of a Foundation Degree in Circus Arts, a top-up BA (Hons) Degree in Circus Arts and a Postgraduate Certificate in Circus Arts. His interest, and expertise, lies in the creation of quality circus arts education at HE level and the role that it can play in the development of a sector as a whole. Tim's connections with the circus 195
arts sector have also led to increased employment opportunities for circus arts graduates in the UK, several of whom are currently touring the country and in international companies.
Noémie L. Robidas (session L1e) Institut Supérieur des Arts de Toulouse email@example.com
Please see Dr Francis Dubé for abstract Noémie L. Robidas is director of Department of Performing Art of Institut Supérieur des Arts de Toulouse (isdaT). She completed her PH. D. in music education at U. Laval, Canada, in 2010. Her subject of research is to integrate improvisation in the violin learning. She was guest professor in instrumental pedagogy at U. of Montreal (2009-2011) and she managed the Superior Music Teacher Training Center (CEFEDEM) de Lorraine, France. In 2014-2015, she will teach at the CNSMD de Paris. She is regular member of the OICRM and Professor associated to U.Laval.
Dr Marina Robinson (session 2d) The Sydney Conservatorium of Music, University of Sydney firstname.lastname@example.org Feeling the sound: what does proprioception have to do with violin pedagogy? Proprioception is the knowledge of where body segments are in space, providing non-visual information for the exact positioning of joints and limbs. It is like a sixth sense that is critical for all elite motor learning. For a violinist, proprioception is one of the keys skills that facilitate the transformation of the instrument into an extension of the human body. This approach is an ecologically valid and Gibsonian way of viewing proprioception. In the sports science domain many practitioners have been working to capitalise on this sense and the literature suggests that indeed proprioception may be trainable. Whilst some music pedagogues have instinctively developed teaching interventions to develop the skill, the music literature rarely discusses proprioception. This paper aims to highlight the role of proprioception in violin pedagogy and performance and to establish a rationale for cross-disciplinary collaborations to develop interventions to enhance proprioceptive acuity in violinists. Twenty-five violinists were assessed for their proprioceptive acuity using a finger version of the Active Movement Extent Discrimination Apparatus (FAMEDA). The portable device, consists of two metal tubes with thimbles embedded in each to stabilize a finger and thumb, enabling the participants to execute a pinch movement with the distance set by the investigator. Proprioceptive acuity was determined by the violinists’ ability detect one of five predetermined distances in each hand.
It was hypothesised that violinists’ left hands would exhibit greater proprioceptive acuity than their right hands and that this would positively correlate with the number of years of training. Other upper-limb proprioceptive studies have shown a non-preferred arm superiority whilst preliminary results of this study found that violinists exhibited similar proprioceptive acuity in their left and right hands, regardless of hand dominance. These results will be discussed in relation to the sports sciences and music literature, and will include discussion of Ericsson and most recently Mosing’s ideas on the acquisition of expertise. Expected outcomes from this study are the development of pedagogical interventions to enhance violinists proprioception and through cross-disciplinary connections the facilitation of more efficient motor learning strategies. Dr Marina Robinson holds BMus and MMus degrees from the University of Western Australia and a doctorate from the University of Tasmania. She was the head of classical performance and Young AIMS at the Australian Institute of Music from 2005 to 2008. Marina was a lecturer in violin at the Tasmanian Conservatorium of Music from 1999-2004, an institution highly regarded for its outstanding contribution to Australian string pedagogy and performance. Marina was the Associate Concert-Master of Sydney-based Australian Brandenburg Orchestra for thirteen years. Since 2008, Marina has been a lecturer in violin at the Sydney Conservatorium of Music.
Derek Rodgers (chair sessions L1e & 7f) Guildhall School of Music & Drama email@example.com Born in 1954, the formal musical training of Derek N Rodgers, LTCL, GTCL, PGCE was at Trinity College of Music where he studied piano with Eva Bernatova. His postgraduate studies were at Durham University specialising in music education. Derek’s varied career has included being Director of Music at Enfield Grammar School, Music Adviser for the Isaac Albeniz Foundation (1989), Piano consultant for the Guildhall School Piano Syllabus (1987 – 2006) and is currently Head of Junior Guildhall at the Guildhall School of Music & Drama Composition has been an important aspect of Derek’s musical career. Recent performances have included his piano sonata, clarinet sonata, Saxophone Suite Threnody for string ensemble and his oratorio Masada.
Dr Evan Rothstein (chair session 4e) Dr Evan Rothstein is Deputy Head of Strings at the Guildhall School of Music & Drama. Previously he occupied a research and teaching position in musicology at the University of Paris 8, and from 2004- to 2010 was pedagogical consultant to ProQuartet-Centre européen de musique de 197
chambre. His research has explored experimental music theatre and music and society in the United States: he is currently editing a volume of interviews with Philip Glass for the Cité de la musique in Paris. Since 2009 he has also served as Chairman of the European Chamber Music Teachers Association, and has taught chamber music since 1997 Summer String Academy at Indiana University.
Professor Patrick Russill (session 3d) Royal Academy of Music firstname.lastname@example.org
Please see Professor John Rink for abstract Patrick Russill is Head of Choral Conducting at the Royal Academy of Music, London, Director of Music of the London Oratory and Chief Examiner of the Royal College of Organists. He is also Visiting Professor of Choral Direction at the Leipzig Hochschule für Musik und Theater. In 1997 he was invited by the Royal Academy of Music to found the UK’s first specialist postgraduate choral conducting course, which now attracts students from all over the world. He is in demand internationally for choral conducting masterclasses, including recently the Sibelius Academy, Helsinki, and the Royal College of Music, Stockholm.
Dr Diana Salazar (session 4c) City University London email@example.com Dialogues in sound and movement: research-led teaching in contemporary choreography and sound composition Since 2012 the practice-led research project ‘Corporeal Cartography’, a collaboration between choreographer/dancer Maria Salgado Llopis and composer/sound artist Diana Salazar, has explored relationships between contemporary dance and electronic sound (in its broadest sense). Areas of focus have included interrogating the nature of presence and absence in performance, mapping interactive sound spaces, developing a shared artistic vocabulary and analysing the collaborative process. Alongside the development of performance outcomes the authors have contextualised their practice through an extensive literature review and reflective documentation via the project’s blog. Key aims of this ongoing project are to: uncover points of intersection between choreography and sound, challenge traditional relationships between choreographer and composer, and develop the aesthetic discourse of digital choreosonic practice. In this paper the authors will identify key collaborative challenges and opportunities encountered during their research project and in allied teaching situations, with a focus on those aspects that are shaped by working with digital and interactive sound. These observations will be contextualised with reference to existing literature on research-led teaching, including 198
the work of Angela Brew (2010) and Ben Walmsley (2013). By identifying points of intersection between the authorsâ€™ research and teaching goals, this paper will unpack how greater synergy between research and teaching may assist in tackling some of the common collaborative issues in contemporary music and dance collaborations. Katherine Teck (2011) and Elizabeth Dobson (2011) amongst others have highlighted a number of issues that may impact on the success of contemporary choreography and composition collaborations at professional, amateur and student levels. These include passive or linear workflow models, poor understanding of technological possibilities, a lack of rigorous aesthetic discourse, a narrow focus on technology at the expense of creativity, or simple miscommunication. Thus the paper will uncover methods of tackling such difficulties in teaching and research by adopting critical research-led strategies for digital/interactive dance and sound. The paper will conclude by proposing that there is scope for enhancing discourses around digital and new media forms of choreosonic practice at all levels by promoting artistic dialogue, critical questioning and an informed understanding of new technologies. Such an approach aims to reduce fundamental gaps in collaborative provision at HE level, in order to nurture flexible practitioners with a broad understanding of both traditional and emerging disciplines. Diana Salazarâ€™s practice-led research examines spatial composition and interpretation in electronic music and associated issues of performance practice and cross-disciplinary discourse. Her compositions include fixed media work, work for instruments and electronics, crossdisciplinary collaborations, and improvised electronic laptop performance. Diana studied flute performance and composition at the Royal Scottish Academy of Music and Drama before completing an AHRC-funded PhD in composition at the University of Manchester. She is a lecturer in music at City University London.
Edward Sarath (session 5a) University of Michigan firstname.lastname@example.org
Please see Dr David E Myers for abstract Ed Sarath is Professor of Music and Director, Programme in Creativity and Consciousness Studies, at the University of Michigan. Active as performer, composer, author, and educational innovator. Founder and President of the International Society for Improvised Music. His most recent book is Improvisation, Creativity, and Consciousness (SUNY 2013), the first to apply principles of Integral Theory to music. Prior to that was Music Theory Through Improvisation (Routledge 2010). His most recent recording is New Beginnings, featuring the London Jazz Orchestra performing his compositions. Recent keynote addresses include National Association of Schools of Music and Society for Consciousness Studies.
Dr Jo Saunders (session 4d) UCL Institute of Education email@example.com
Please see Professor Graham F. Welch for abstract Dr Jo Saunders is Lecturer in Music Education at the Institute of Education, University of London. She coordinated strands of the research evaluation of the UK Government's National Singing Programme Sing Up (2007-2011) including 'Pupil attitudes to singing: transition into secondary school settings' (2011-2012). Other current and recent research projects include the European Concert Hall Organisation (ECHO) Benchmark study of Education, Learning and Participation, Every Child a Musician (ECaM) in partnership with Newham Borough Council, the three-year New London Orchestra (NLO) Literacy through Music research evaluation, Communities of Music Education (CoME) in collaboration with Youth Music and the EEF-funded study Act, Sing, Play.
Jan Schacher (session 6c) Royal Conservatoire Antwerp; Zurich University of the Arts firstname.lastname@example.org
Please see Professor Kathleen Coessens for abstract Jan Schacher is double bass player, composer and digital artist, doctoral student (Royal Conservatoire Antwerp), researching 'Mediated Bodies: Embodiment and Awareness in Electronic Music Performance'. His focus is on the experience on stage, investigating the state of mind and the awareness of the body in exploratory music situations and into those aspects which constitute a present, aware and embodied music performance. A complementary view on the musician's actions and gestures concerns the selfawareness and inner perception of the body by both musician and audience.
Dr Christina Scharff (session 6a) Department of Culture, Media and Creative Industries, Kingâ€™s College London email@example.com Developing artists: exploring music graduatesâ€™ transitions into working life This research paper draws on in-depth qualitative research funded by the Economic and Social Research Council and the British Academy. The research explores the working lives and professional experiences of over sixty classically trained, female, early-career 200
musicians. Based on in-depth interviews with participants who lived and worked in London (n=32) and Berlin (n=32), the presentation will focus on several themes that emerged from the research, which relate to artistic and professional development and the flow of exchange between teachers, students and professionals. As has been well-documented elsewhere (e.g. Bennett, 2008), early-career musicians experience the transition from Higher Education into working life as stressful, dispiriting and disorienting. Several musicians pointed out that they had high musical skills, but lacked the know-how of how to find work in the networked, informal and highly flexibilised classical music industry. Similarly, several research participants highlighted persisting inequalities in the classical music world, which relate to the underrepresentation of women and ethnic minorities in positions of authority and prestige, and the more or less subtle sexualisation of female players on and off stage. By demonstrating and analysing some of the challenges faced by recent music graduates, this presentation hopes to engage in on-going and perhaps also newer dialogues about the ways in which conservatoires can prepare their students for the ups and downs of the classical music profession. Dr Christina Scharff is Lecturer at the Department of Culture, Media and Creative Industries, Kingâ€™s College London. Her research interests include culture, media and gender and she is author of Repudiating Feminism: young women in a neoliberal world (Ashgate) and, with Rosalind Gill, co-editor of New Femininities: postfeminism, neoliberalism and subjectivity (Palgrave Macmillan). Her publications have appeared in various international journals, including Sociology, Feminism & Psychology, Feminist Media Studies, and The European Journal of Womenâ€™s Studies. She recently won an ESRC Future Research Leaders grant and is currently conducting research on the working lives of female, classically trained musicians.
Professor Aaron Shorr (session 1f) Royal Conservatoire of Scotland firstname.lastname@example.org Since settling in the United Kingdom in 1984, Aaron Shorr has established an international career as soloist, chamber musician and educator. As well as appearing as soloist at London's South Bank in over thirty concertos, he has toured extensively as a recitalist and chamber musician worldwide. Aaron Shorr has recorded for Naxos, Mettier, Olympia, NMC and Meridian. His recordings of Beethoven with duo partner, Peter Sheppard Skaerved, have won wide acclaim. He has also enjoyed close associations with composers and has given countless premieres and performances of works, including those by Hans Werner Henze, George Rochberg, Sadie Harrison, David Matthews, Paul Moravec, Elliott Schwartz, Jorg Widmann, Michael Alec Rose, Jeremy Dale Roberts, Judith Bingham, Rory Boyle, Marek Pasieczny, and Sidika Ozdil. Aaron Shorr studied at the Manhattan School of Music in New York and the Royal Academy of Music in London, where he received their most prestigious prizes for performance. Aaron Shorr was a professor and researcher at the Royal Academy of Music in London since 1992. His students have gone on to win major prizes at international competitions including the Munich, St. Petersburg, Tokyo, Vines - Spain, Piano Campus - Paris, Redding-Piette and the Schubert Competition in the Czech Republic. He is also artistic director of The Scottish 201
International Piano Competition. In 2006, Aaron Shorr was appointed Head of Keyboard and Collaborative Piano at the Royal Conservatoire of Scotland. In 2013, he was awarded a Professorship of the RCS and appointed Acting Dean of the Royal Conservatoire of Scotland.
Dr Franziska Schroeder (sessions 7f & 8c) Queen’s University Belfast – Sonic Arts Research Centre email@example.com
Please see Bert Mooiman for abstract (session 8c) Free Improvisation: practical workshop open to any instrument and standard of playing (open class) I have just returned from a 6 months HEA funded Professor Sir Ron Cooke International Scholarship in Brazil. During this time I carried out ethnographic work on free improvisation practices in Brazil. I gave lectures and ran practical workshops on free improvisation in over 6 universities across Brazil, including the Federal University of Rio de Janeiro (UFRJ), the University of São Paulo (USP) and The Federal University in Bahia (UFBA). I also gave several public concerts with improvisors from Brazil and recorded a new album, to be released by the ‘pfmentum’ label later this year. This session entails a practical hands-on workshop exploring free improvisation with musicians at any stage of their playing career. I draw ideas from my recent Brazil experience during which I have had the chance to fine-tune many of the exercises and I now run many of these types of workshops. Workshop This session is a one-hour practical workshop wher eimprovisers (beginners to advanced - any instrument) are encouraged to work with me on several listening and improvisation exercises. Many of the exercises are based on the innovative methods as developed by John Stevens in his work “Search and Reflect”. Participants will be able to experiment with essential ‘sound/listening’ exercises, guided by myself. We will explore several improvisatory strategies. The workshop is open to all skill levels, all ages and any instrument. Outcome After the workshop I hope that participants will have a basic understanding of what free improvisation entails and will have gained an insight into how this practice delineates from jazz and free jazz practices. I hope that participants will have acquired a practical insight into how improvisers listen and make music together, using simply their ears and instruments without having to rely on notated music. Franziska Schroeder trained as a contemporary saxophonist in Australia, followed by essential saxophone lessons with Marie Bernadette Charrier from the Conservatoire Supérieure in Bordeaux. She now lectures at the School of Creative Arts, Sonic Arts Research Centre at Queen’s University Belfast, convening modules in performance, improvisation and critical 202
theory. She supervises PhD work in digital media performance, improvisation, and participatory practice. Franziska has written for many international journals; she has published a book on performance and the threshold, an edited volume on user-generated content and a recent book on improvisation, entitled ‘Soundweaving: writings on improvisation’ (Cambridge Scholars, 2015). A prestigious Sir Ron Rooke International Scholarship allowed her to live in Brazil for 6 months during 2014, where she carried out ethnographic work on free improvisation practices. www.sarc.qub.ac.uk/~fschroeder http://improvisationinbrazil.wordpress.com
Joan-Albert Serra (session 3c) firstname.lastname@example.org
Please see Gretchen Amussen for abstract “Dialogues with Music”: a European Co-operative project The music sector is going through important transformations caused by economic, cultural and social changes that are increasingly faster and unexpected. In this challenging environment, there’s a great need to encourage the entrepreneurial attitude of musicians and to engage broader audiences in musical activities that have artistic and cultural values. To contribute to it, I’m promoting the creation of Dialogues with Music, an international organisation based on the Statute for a European Co-operative Society (SCE), which provides co-operatives with adequate legal instruments to facilitate their cross-border and trans-national activities. Music has been the pivotal point of Joan-Albert Serra’s extensive professional career as a leader of educational institutions and programmes, curriculum designer, consultant, researcher, lecturer, producer, performer and composer. His leadership positions have included: International Relations, Institutions & Alumni Coordinator, ESMUC (Barcelona, 2009–2013); Head of Vocal and Instrumental Learning, The Sage Gateshead (UK, 2003–2008) and Director, Escuela de Música Creativa (Madrid, 1985–2001). He has also collaborated with European organisations, gaining a broad knowledge of the cultural sector and an understanding of the training and professional development needs of 21st century musicians in a global, changing and complex environment.
Imma Setiadi (session 1c) Royal College of Music, London email@example.com Creating new concert experiences via cross-arts practice for pianists This performance paper will discuss and demonstrate key ideas from my current doctorate performance research project about how working with cross-arts practitioners can help to develop one’s artistic approach to a concert and create a new concert experience. Several workshops and public performances have been done exploring how a painter, a pianist, and an actor can perform together a piece which was written for solo piano, through explicitly perform the extra-musical reference in the piece of music. Theoretically this project is built on the ideas about music as performing act (Cone, Sessions), ekphrasis and musical ekphrasis (Heffernan, Bruhn, Prendergast), interart aesthetics (Dayan), performativity (Schechner), and devising (Heddon and Milling). The aims and objectives of this performance research project are: 1. To create a model of collaborative performance, inspired by the extra-musical references in the pieces of music, which encourages the pianist (and other performers and audience) to be more imaginative in responding to piano playing. 2. To intensify the experiential side of a concert by exploring different ways of communicating the extra-musical references of the music performed. 3. To develop one’s own artistic identity as a pianist performer. Key ideas which have been discovered from this project are such as: common ground in crossarts performance through the sharing of time and space, influence of artistic relationship in a concert, suggestion in creative learning for pianist, improvisation vs preparedness, and holistic approach to a concert. Practical ideas included: different ways to prepare the visual side of a classical music performance, the use of gesture as a pianist, creating silences, creating a narrative line to enhance one’s performance and learning about performing. For this performance paper I will demonstrate how these ideas can be developed further through exploring Messiaen's Vingt Regards sur L'Enfants-Jesus (selections) and Debussy’s Preludes book 2 with cross-arts ideas about sketches, ‘haiku’ (condensed artistic impression), and devising. Imma Setiadi is a pianist who believes that music is a gift and should be shared with as many people as possible. This has been her motivation in pursuing her musical interests as soloist, chamber musician, and teacher. She has performed in various venues across the UK and is passionate in working with cross-arts collaboration to create new concert experiences. She is this season's Park Lane Group Artists and next season's artist for Manchester Mid-Day Concert 204
Society. Currently she is pursuing her doctorate at the RCM where she is a RCM Scholar supported by Kenneth and Violet Scott Award, studying with Professors Amanda Glauert, Nigel Clayton, and Paul Barker. She is grateful for the support from the Indonesian Beasiswa Unggulan Scholarship, the Seary Charitable Trust, Gordillo Coleridge Charitable Trust, and the Talent Unlimited Foundation.
Tony Shorrocks (session 8d) University of Liverpool firstname.lastname@example.org
Please see Monica Esslin-Peard for abstract Tony Shorrocks is Head of Performance, and a lecturer in practice-based modules at the University of Liverpool. His performing career as an orchestral musician and chamber music specialist spans a wide range of experience in both classical and popular fields. He has played with many of the UK’s main orchestras, including the Royal Liverpool Philharmonic Orchestra, the BBC Philharmonic, the City of Birmingham Symphony Orchestra, Opera North, and the BBC Big Band. Tony also conducts, and under his direction, the Liverpool University Symphony Orchestra gives regular concerts, both inside and outside the University. It is his aim to expand and deepen students’ performance skills through facilitating a varied programme of performance opportunities throughout their course. Tony teaches performance studies to students on both classical and popular courses, and has worked on tour with high profile popular musicians such as Johnny Dankworth, George Shearing, Johnny Mathis, Elaine Page, Howard Keele, Tony Bennett, and Shirley Bassey. As an experienced coach and mentor of musicians both in the UK and in international centres, Tony believes that the act of learning, playing and performing re-affirms the too rarely celebrated job of being alive, and that group music-making does this in the very human context of collaborative, egalitarian team-work. The innovative, structured performance course students are offered at Liverpool University aims to highlight the vital interface between performance, analysis, harmony and music history.
Eliot Shrimpton (sessions 4e & 5g) Guildhall School of Music & Drama email@example.com
Please see Dinis Sousa for abstract (Session 5g) Actors’ experience of the spoken word in actor training: interdisciplinary consequences Aims and context of the work This paper reports on a project which has sought to establish a better understanding of the nature of the spoken word in higher education in general by investigating how it is understood and experienced in the specific field of acting, a field which gives strong and explicit attention to the nature of speech. This project constitutes an empirical investigation of the established 205
craft knowledge of acting, locating that knowledge in the broader field of higher educational research. Key outcomes or expected outcomes Knowledge of teachers’ and students’’ conceptions of the spoken word, including variations in those conceptions, provides important information for voice and acting teachers by highlighting the aspects of speech that figure prominently in students’ awareness and which therefore need to be taken into account in helping students develop the most appropriate conceptions of the spoken word consistent with high levels of performance. This knowledge also illuminates the nature of orality, thereby contributing to a better understanding of the dynamics of oral assessment in other disciplines. Eliot Shrimpton is Head of Academic Studies (Drama) at the Guildhall School of Music & Drama. He trained as an actor at the Guildhall School, graduating in 2004, and at the École Philippe Gaulier in Paris. Credits include the Nurse and Friar Lawrence in Romeo and Juliet (Shakespeare’s Globe) and Joseph Merrick in Meet the Elephant Man (Channel 4 and the Discovery Channel). Eliot read theology at Cambridge University and is a fluent Japanese speaker, having interpreted for the National Kabuki Theatre of Japan. He won the Lilian Baylis Award in 2004.
Eeva Siljamäki (session 6d) Sibelius Academy, University of the Arts Helsinki firstname.lastname@example.org The interface of improvisational theatre and music in collaborative free vocal improvisation: exploring the pedagogical implications This presentation outlines the core aspects of a doctoral study-in-progress that focuses on the practices of two vocal groups whose members are both amateur and professionals. Both groups apply principles of improvisational theatre (Johnstone 1997; Sawyer 2003) in freely improvised choral music. Finland is a nation well known for its innovative and creative choral culture, but this culture is predominantly conductor-led and heavily dependent on the use of notated sheet music. Improvisation is almost non-existent, and the musical outcome is the main goal of the practices. Improvisational theatre, on the other hand, does not use a prewritten text, is created on the spot between two to four actors, and relies on forms or games and cultural rules of social interaction (Sawyer 2003). The focus of this presentation, two improvising choral groups exploring the interface of theatre and music and producing only unconducted, non-genre-specific improvisations, is therefore relatively unique. The principles and philosophy of improvisational theatre are at the heart of these vocal groups collaborative free musical improvisation. As a result, social interaction, anticipation, a sense of belonging, supporting one another, and a firm pedagogical attitude are used as the basis and practices of music-making in these particular choral groups. With leadership dispersed among the members of the choir, the singers become composers and musical decision-makers, necessitating constant negotiations of social hierarchies, musical roles, and rules. This presentation is based upon an ethnographic (Creswell 2007) study examining the processes through which these improvising 206
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 email@example.com
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 firstname.lastname@example.org
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
The project explores questions arising from the study of my communication with audience/listeners, for example: How does the quality of communication affect me as a musician? How does my research change the way I communicate? As a performing pianist, a teacher of future musicians and a psychologist, I see the need to develop other than technical and musical mastery aspects of being an artist and a pianist. Artistic research methods with inspiration from psychodynamics and autoethnography are used for deriving data from my own musical practice, and for handling the double role as performer/researcher. I use my concerts for studying the communication process in various forms, such as: Solo recitals with ‘traditional’ audiences Solo concerts with orchestras, with the conductor as ‘first listener/audience’ First performances of new music, with the composer as ‘first listener/audience’ Recordings of the concerts are used together with reflective writing for analysis of situations and relationships in an adaptation of the stimulated-recall method. Francisca Skoogh made her debut at the age of 13 with the Helsingborg Symphony Orchestra and has since then established herself as one of Sweden's foremost concert pianists. She made her studies with teachers like Romuald Sztern, Pascal Devoyon, Bohumila Jedlickova, Hans Pålsson and Dominique Merlet. She was the recipient of the prestigious ”Premier Prix” in both chamber music and piano at the Conservatoire National Superieur de Musique et de Danse in Paris and the Soloist Diploma at The Royal Danish Music Conservatoire. Francisca has taken part in national and international competitions with great success and her main break-through took place when she was awarded the soloist prize in Stockholm 1998 which gave her a CD recording and a concert tour as prize. In 2000 she got 2nd prize of the Michelangeli Competition in Italy and several concert bookings in Italy followed on that. Francisca's CD recordings have received rave reviews and most of them can be found on Spotify and Youtube. Francisca Skoogh is a frequent guest at both national and international music festivals and as a soloist she appears regularly with most Swedish orchestras as well as internationally and she has co-operated with conductors like Okko Kamu, Heinz Wallberg, Gianandrea Noseda, Pinchas Steinberg, Leif Segerstam, Andrea Quinn and Susanna Mälkki. ”Her playing is big-boned, grandly sculptured, with taut rhythmic control and a rich sound.” Tim Parry, Gramophone. ”A pianist worth watching!” Jed Distler, Classical Music.
Ann Sloboda (session 3h) Guildhall School of Music & Drama email@example.com
Please see Donald Wetherick for abstract (session 3h) Ann Sloboda is a music therapist, psychoanalyst and musician She studied music at Oxford, and subsequently qualified as a music therapist in 1985 at the Guildhall School of Music & Drama. Between 1985 and 2005 she worked as a music therapist in the NHS, in the fields of adult learning disability, eating disorders, general psychiatry and forensic psychiatry. A past chair of the Association of Professional Music Therapists, she was Head of Arts Therapies at West London Mental Health Trust for 10 years. Since 2005 she has been Head of Music Therapy at the Guildhall School of Music & Drama. She qualified as a psychoanalyst in 2012, and is also active as a pianist.
Professor John Sloboda (sessions 2e & 4a, & chair L1c & 2g) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Dr Karen Wise for abstract (session 2e) Please see Dr Geir Johansen for abstract (session 4a) Audience and artist reactions to repetitions of a piece within the same concert: implications for creative practice and pedagogy Roundtable theme: Interdisciplinary Connections Repeating a performance of the same work within a concert is an established, while not common, tradition within contemporary classical performance. It is particularly associated with short new (or unfamiliar) works. However, beyond anecdote, there is little understanding of the effects of such repetition on audiences, nor a well-articulated theoretical and practical account of when such repetition works artistically, and when it does not. The initiative to start this interdisciplinary project came from Andrea Halpern, a cognitive psychologist working at Bucknell University, USA, with particular expertise on imagery in and memory for music. John Sloboda (Research Professor) proposed a science-art collaboration involving â€œreal lifeâ€? components, by involving staff and students at Guildhall School who have experience of past concerts in which work was repeated, and who were planning repeated performances within upcoming concerts. The Guildhall teaching staff are involved in this project are as follows. Julian Anderson (Professor of Composition and Composer in Residence) is an collaborator with wide experience of and knowledge about repeated performances. He has provided artistic and experiential input 209
to the project. Richard Benjafield (Head of Wind, Brass & Percussion) directed the Guildhall Percussion Ensemble in a concert on 27th February 2014 which included a repeat performance of Varèse’s Ionisation (1929-31) for 13 percussion instruments. James Weeks (Associate Head of Composition) directed a concert of new music on 11th July 2014, which contained a number of student compositions inspired by Gesualdo’s madrigals. He inserted two repeat performances into this concert. During the two concerts we obtained data about liking and understanding of the first and second renditions from the audiences present via questionnaires administered during the concerts. We also interviewed performers, composers, and directors involved in the concerts This roundtable will allow the collaborators in this project to discuss artistic and programming issues that arise from the findings of this study, alongside pedagogical implications for training of programme planners (i.e.every conservatoire student at many conservatoires). This is an innovative contribution to an under-studied, yet significant aspect of modern concert life. John Sloboda is Research Professor at the Guildhall School, where he directs its Understanding Audiences research programme. He is also Emeritus Professor at Keele and was a staff member of the School of Psychology at Keele from 1974-2008, where he was Director of its Unit for the Study of Musical Skill and Development, founded in 1991. John is internationally known for his work on the psychology of music, and in 2004 was elected to Fellowship of the British Academy. John is Honorary Consultant to the AHRC Centre for Music Performance as Creative Practice, and a contributing researcher to the AHRC Knowledge Exchange Hub Creativeworks London.
Professor Rineke Smilde (session 5d & chair session 1a) Hanze University – Prince Claus Conservatoire Groningen University of Music & Performing Arts, Vienna email@example.com Biography, identity, improvisation, sound This paper addresses the multi-faceted aspects of improvisation and its connection to identity. Biographical research which was conducted into the relationship between the lives, education, and career development of professional musicians (Smilde 2009) showed the huge importance of improvisation: as a way of self-expression, as an educational tool and as a strong means to deal with performance anxiety and stage fright. Improvisation turned out to be connected to musicians’ identity, both personal and professional, and relating to expressivity, musical communication and conversation, social learning and a sense of ‘ownership’. Musically, the concept of sound served as a strong metaphor for identity. In addition, an ethnographic research conducted into the project ‘Music for Life’ of Wigmore Hall Learning in London (Smilde, Page & Alheit 2014), where musicians work collaboratively
in music workshops with people living with dementia and care staff, shed light on the use of improvisation as an expression of the identity of ‘the other’ (i.e. the person with dementia). This project is concerned with finding, or rather refinding, the person behind the dementia. The ‘person-centred’ improvisation reflects the identity of the other, as the musicians wonder what sound they can use to reflect who the persons with dementia are, and what sound will connect. It is, according to a musician involved, “all about your observations about that person, rather than about what you’re creating” (ibid). The practice of finding the person behind the dementia through applied improvisation can be underpinned by the view of Georg Herbert Mead (1934) on Identity, who distinguishes between the personal ‘I’ and the social ‘Me’ and points out that both aspects are “essential to the self in its fullest expression” (p. 199). In this sense, improvisation becomes a means of communication that connects the personal with the social. This paper will, based on completed biographical research into professional musicians and completed ethnographic research on Music and Dementia, reflect on improvisation as selfexpression and as expression of another. Drawing on the work of Georg Herbert Mead (‘Mind, Self and Society, 1934/1967) and Paul Ricoeur (‘Oneself as Another’, 1992) it will show that the first and the latter are closely interconnected. Rineke Smilde PhD is Professor of Lifelong Learning in Music at Hanze University (Prince Claus Conservatoire) in Groningen and at the University of Music & Performing Arts in Vienna. She co-leads the international research group ‘Lifelong Learning in Music’ that examines questions about the relationship between musicians and society, and what engaging with new audiences means for the different roles, learning and leadership of musicians. Rineke’s particular research interests are the learning styles of musicians and the role of biographical learning in the context of lifelong and lifewide learning. She has published widely on different aspects of lifelong learning in (higher) music education. Rineke lectures and gives presentations worldwide and has led various international research groups for the European Association of Conservatoires (AEC).
Dr Gareth Dylan Smith (session 8b) Institute of Contemporary Music Performance firstname.lastname@example.org
Please see Dr Tom Parkinson for abstract Gareth Dylan Smith is a seasoned performer of rock, punk, jazz, blues, musical theatre and combinations of these. He has toured with bands in the US and UK, and recorded albums ranging from electro-acoustic opera to epic concept riffrock. Gareth writes for Rhythm Magazine and has contributed dozens of articles about drummers to the Grove Dictionary of American Music. His book, I Drum, Therefore I Am: Being and becoming a drummer, was released on Ashgate in late 2013. A busy and popular teacher, Gareth is also an active scholar, specializing in the sociology, philosophy and cultural 211
psychology of music and music education, and embodiment in music performance. He has given invited lectures at the University of Cambridge, Columbia University, University of Southern California, New York University, University of Michigan, Ithaca College, Florida International University, Case Western Reserve University. Trinity Laban Conservatoire of Music and Dance, and the Institute of Education (University of London). He has presented research at conferences on five continents, and is editing two forthcoming books: The Ashgate Research Companion to Popular Music Education, and the Oxford Handbook of Music Making and Leisure (with Roger Mantie).
Dinis Sousa (session 5g & keynote session) Guildhall School of Music & Drama email@example.com Open rehearsal with Dinis Sousa and Eliot Shrimpton on Mahler Symphony No 4 (last movement) Dinis Sousa is the Guildhall School Fellow in Conducting. He graduated in 2014 with Distinction from the Guildhall Artist in Performance Masters programme, studying piano with Philip Jenkins and Martin Roscoe, and conducting with Sian Edwards and Timothy Redmond. He has performed at venues such as the Barbican and Queen Elizabeth Halls and highlights this season include conducting the Southbank Sinfonia at Cadogan Hall and appearing as a soloist with Portugalâ€™s Orquestra do Norte. He is artistic director of Orquestra XXI, an award-winning project that brings together Portuguese musicians that live all over Europe to play together in Portugal. The orchestra was founded in 2013 and has since done several tours in Portugal, performing in all the major concert halls to critical acclaim.
Norma Spark (session 4d) London Borough of Newham firstname.lastname@example.org
Please see Professor Graham F. Welch for abstract Norma Spark is a Programme Manager with the London Borough of Newham and head of the Every Child a Musician Programme. She has extensive experience of working in the public sector and has managed diverse portfolios including social inclusion, equalities and community engagement.
Peter Spissky (session 2c)
Malmö Academy of Music, Lund University email@example.com Please see Dr Karin Johansson for abstract Peter Spissky (baroque violin) is the concertmaster in Concerto Copenhagen, one of the leading ensembles in Europe. As guest concertmaster/conductor he appears regularly with Barokkanerne in Oslo, Baroque Aros (Denmark), Skalholt Bach Consort (Iceland) and Finnish Baroque Orchestra. As violinist he particpates in Festspiel Orchester Göttingen and Boston Early Music Festival. He teaches baroque violin at the Malmö Academy of Music and the Royal Danish Conservatory in Copenhagen, and gives masterclasses all around Scandinavia Since 2010, Spissky is a PhD candidate at Lund University with a project concerned with gestural approaches to violin bowing in contexts of body movement.
Dinah Stabb (session E1a, open house class & chair session 3g) Guildhall School of Music & Drama firstname.lastname@example.org ICON Pathway ICON is the Innovative Conservatoires network, an international collaboration to stimulate knowledge exchange, innovation and reflective practice in Conservatoires. This session is an informal opportunity for anyone who would like to know more about ICON to get a taster of its working methods, and to meet with some ICON members from around Europe. It’s also a chance for existing ICON members to meet, catch up and reflect on conference sessions particularly relevant for ICON. Dinah Stabb has been a professional actor since 1970. She has been a member of both the National Theatre and the Royal Shakespeare Company and has extensive TV credits. During the last 10 years she has combined this with directing and teaching at the School. She works with young musicians to enable them to play with confidence and ease in performance. She is the Chairperson of the Advisory Board to the 'Ecole des Ecoles', the Association of European Drama Schools. Dinah has been involved in a collaborative teaching project at the School since 2009, encouraging connections to be forged between the Music and Drama departments. Dinah is a Creative Director of the Innovative Conservatoire.
Ellen Mikalsen Stabell (session 5e) The Norwegian Academy of Music email@example.com Being talented: becoming a musician. How do students benefit from participating in a music specialist programme? Over the years many researchers have been concerned with why some people become extraordinary good at a certain field. Findings from research within the classical music field call attention to the importance of an early start at the instrument, many hours of deliberate practice as well as access to inspiring and professional teachers in order to succeed as a professional musician. Thus, the foundation laid down in the years before a person enters higher music education is vital. Many young people spend these years in music specialist programmes. It varies a lot what these programmes offer, but normally they contain learning contexts such as main instrument lessons, music theory, orchestra, chamber music and perhaps most importantly, a stimulating environment with other young people sharing a dedication for music. In the PhD-project Being talented – becoming a musician the focus is on students’ learning inside music specialist programmes, with an aim to enlighten how students develop their musical competence through participating in these programmes. The project is conducted as a qualitative case study at three junior departments located at institutions for higher music education in Norway and England. The empirical data is gathered through observations of activities in the programmes, interviews with students and teachers as well as studies of available documents from the programmes. In this presentation I will discuss preliminary findings from one of the programmes; a junior department located in Norway. Key questions for the presentations are: What are the main learning contexts inside this programme, what do they contain, and furthermore: how is students’ access to these learning contexts managed? Central learning contexts might for example be main instrument lessons, masterclasses, chamber music and orchestra rehearsals or perhaps conversations with peers during lunch. As the students have different instrumental teachers, play in different chamber music groups and have different positions in the orchestra, their learning opportunities are likely to vary. There are also opportunities like playing at external concerts or masterclasses or being principal in the orchestra that only a few students can get access to. Of interest in this presentation are the formal and informal structures that seem to affect students´ access, as well as how students’ themselves seek out and engage differently in the learning contexts available. Ellen M. Stabell works as a PhD research fellow at the Norwegian Academy of Music with a project on students´ learning in music specialist programmes. She has her master´s degree in music education from the Norwegian Academy, where she focused on instrumental didactics. Her main instrument is piano, and beside the PhD-position she teaches piano at a private music school.
Dr László Stachó (session 5c) Liszt Academy of Music, Budapest Faculty of Music, University of Szeged (Hungary) firstname.lastname@example.org Practice Methodology: mastering the real-time navigation in the musical flow Practice Methodology is a detailed pedagogical methodology for developing the ability of real-time navigation in the musical process by the performer. To achieve this, the Methodology focuses on developing three seminal skills for the musician, regardless of the musician’s instrument and including singers: first, the ability to form a clear cognitive and affective map of the forthcoming structural units (i.e., to estimate the durations of the forthcoming – usually hierarchically embedded – structural units through feeling their length); second, to form a clear mental image of the preceding musical units to which the subsequent ones are to be measured; and third, to deeply feel the present moment. The Methodology can be used with considerable success from the very beginning up to the most advanced levels of music education, yielding a uniquely powerful toolkit for the developing artist. The acquisition of this toolkit enables the musician to ‘let go’ in the moment while performing, to be emotionally deeply engaged with music with full concentration, but also to take expressive risks and to deal with mistakes while performing. Moreover, enhancing musical understanding on the grounds of the Methodology typically results in overcoming technical constraints as well, thus undermining the classical boundary between ‘technical’ and ‘musical’ study. Among the most important benefits of the toolkit provided by the Practice Methodology are the following: the musician saves considerable practice time, and the use of the toolkit is able to open the way to the performer’s authenticity, creativity, feeling of ‘ownership’ over the music, and spontaneity – typically, while avoiding many of this latter’s negative aspects. The Practice Methodology was gradually developed during the past five years and it has already been introduced at the tertiary level in several institutions in our country. However, its use in everyday music school practice is still in an experimental phase – by introducing the Methodology to the workshop participants, I hope to get feedback and insights from an audience consisting of professionals – music teachers and researchers – coming from different professional backgrounds and from different pedagogical cultures, with a potential of collaborating with interested colleagues on introducing the Methodology into practice in different institution types and at different institutional levels (e.g., primary school music lessons, specialist music schools, conservatoires). The workshop will outline the theoretical basis of the Methodology (30 minutes) and provide demonstrations of its exercises with participants of the workshop (60 minutes with set-up time). László Stachó is a Hungarian musicologist, psychologist and musician working as a senior lecturer at the Liszt Academy of Music in Budapest and at the University of Szeged. In 2014, he was a Visiting Fellow at the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP), based at the University of Cambridge. His research focuses on Bartók 215
analysis, early twentieth-century performing practice, emotional communication in musical performance, and music pedagogy (effective and creative working and practice methods and enhancement of attention-skills in music performance). As a pianist, he regularly performs chamber music and conducts practice methodology workshops and teaches chamber music masterclasses. He is passionately interested in pedagogy, and has been recently involved in a countrywide planning of music education curricula in Hungary.
Tine Stolte (session 5e) Prince Claus Conservatoire email@example.com Learning together: music teachers forming a community of practice As a consequence of restructuring instrumental music education in the Netherlands, Art Centres increasingly cease to facilitate instrumental music lessons. As a consequence, instrumental teachers are no longer employed in these Centres and have started working as independent entrepreneurs now. The question is how (future) teachers can share their knowledge, renew their profession and shape their professional development without being organised within institutions. In research conducted by the research group Lifelong Learning in Music into instrumental lessons for elderly learners we worked with a â€˜Community of Practiceâ€™ ( Lave & Wenger 1991). A group of recently graduated teachers provided instrumental lessons for elderly people. This group of teachers started to form a Community of Practice together with teachers with experience in teaching elderly students and the researchers of this study. Members worked within a group in varying formations in peer learning sessions and seminars. Meetings of the evolving 'Community' centred on the exchange and development of knowledge. In this study I look into the transfer and development of knowledge within this Community of Practice. The data used in writing this paper are the reflective dairies and logbooks written by the participants following the lessons with elderly students and the meetings of the Community of Practice (CP). The central question of this study is: â€œWhat learning took place in the Community of Practice? Results: the CP is a rich learning environment. Learning takes place in a multitude of ways. Learning is stimulated by the multiformity of the group make-up and by using a variety of work forms. Equality is achieved when all the participants have the same opportunity to contribute to the CP. Learning in the CP is influenced by the way in which participants observe, formulate their observations and put these into words. When using reflective diaries in a CP attention should be paid to the ways in which reflection as a result of the observations and exchange can be stimulated further.
The collaborative learning which takes place in the CP is useful for the transfer and development of knowledge. Working with a CP at the intersection of the professional practice and the professional training is of great value to all those involved. Tine Stolte is responsible for the Instrumental Teacher Education at the Prince Claus Conservatoire in Groningen. She graduated as a classical singer and received a master in music pedagogy at the Royal Conservatoire in Den Haag. Tine is a member of the research group Lifelong Learning in Music at the Hanze University in Groningen. This research group examines the implications of lifelong learning for higher music education.
Shelagh Sutherland (chair session 1d) Guildhall School of Music & Drama Shelagh Sutherland is established as one of Britain’s leading and most versatile pianists, freelancing in particular with the Philharmonia, the London Sinfonietta and the Nash Ensemble. On an open scholarship to the Royal Academy of Music she gained diplomas in piano, singing and violin and was then awarded a British Council Research Scholarship to specialise in Czech music in Prague. She has performed as a pianist in all major British festivals including the Proms, where she was a soloist in John Adams’ ‘Grand pianola music’ with the London Sinfonietta, and has toured Europe, USA, Canada, South America and Japan. She records regularly on CD and for BBC Radio 3. Shelagh has a busy teaching schedule at the Guildhall School of Music & Drama, where she is co-ordinator of the Piano Dept. at Junior Guildhall; has been teaching the undergraduate aural course for 20 yrs having also written and devised the online (Moodle) aural course; she also teaches and examines BMus4 Teaching Skills. Shelagh also teaches Alexander Technique on the Music and Dance courses at University of Surrey. For hobbies, she is a qualified pilot and windsurfer.
Miguel Tantos (session 5f) firstname.lastname@example.org
Please see Simon Gilliver for abstract Miguel Tantos Sevillano’s performances have been described by Artvehicle as an ‘incredibly bravura display of avant-garde trombone playing’. A former Principal Trombone with the Santiago Philharmonic Orchestra, he has performed as a soloist at festivals across Europe. He is also an early music specialist, working with groups including His Majesty’s Sackbuts and Cornetts, the English Baroque Soloists and The Sixteen. He is a member of the theatre troupe Wonderful Beast, and
his particular talent for integrating music, acting and dance has led to extensive involvement in education projects and workshops all over the world.
Alan Taylor (sessions 2g & 7b) RCSSD email@example.com
Please see Dr David Dolan for abstract (session 2g) Please see Professor Julian Philips for abstract (session 7b) Alan Taylor came to music part way through life. Earlier decades were spent working in senior jobs in the public sector, and running a number of successful political campaigns – and running a few marathons as well. I play a wide range of instruments. My music has been played mainly by groups I have worked with directly. It has been performed widely in the UK, and in France, Spain, the USA, and Argentina. I describe my style as ‘beyond post-modernism’. I draw on the many and varied styles of music available to us nowadays, but seek to created an integrated whole in each piece – “rebuilding with rubble”. I have studied with Michael Finnissy and John Woolrich, and gained an MMus at Trinity-Laban, where I studied with Andrew Poppy, Errollyn Wallen, Gwyn Pritchard, and Paul Newland. During that time I studied on an Erasmus Fellowship at ESMUC in Barcelona. I am now studying for a PhD in composition. I have a long-standing involvement in community and amateur music. I conduct the London Contemporary Chamber Orchestra and one of the ensembles of the London Consorts of Winds, and perform in other groups. In 2011 I founded the Herne Hill Music Festival. My PhD is on the subject of shared artistic creation as a musical composer, and I have previously presented papers on this subject at a number of conferences. I have long chosen to engage with other artists during the compositional process, and I am now investigating the theoretical background and practical implications of this collaborative practice.
Sally Taylor (chair sessions 2e & 8a) The Culture Capital Exchange firstname.lastname@example.org Sally Taylor is Executive Director of The Culture Capital Exchange, prior to which she was Director of LCACE. She previously worked as Special Adviser to Lord Bichard, the Rector of the University of the Arts, London delivering partnerships for the University with key arts organisations. Her previous roles include the London Director of Arts & Business, encouraging businesses to partner the arts in innovative ways, Senior Touring Officer for Arts Council England with particular responsibility for opera and contemporary music, General Manager of Pimlico Opera, an award winning touring opera company also renowned for its prison work, Kallaway 218
Sponsorship Consultants and advertising agency J. Walter Thompson, as well as running her own company. A Fellow of the RSA, and a Trustee of both Streetwise Opera, and the London Sinfonietta, she was until recently Chair of the PRS (Performing Right Society) Foundation which distributes ÂŁ 2 million annually to support new music.
Mist Thorkelsdottir (chair session 3a) Academy of Music and Drama, University of Gothenburg email@example.com Mist Thorkelsdottir studied piano and harpsichord at the Reykjavik College of Music. She studied composition at Hamline University St. Paul MN, and completed a BA in music in 1982. She continued her studies with Lejaren Hiller and Morton Feldman at the State University of NY at Buffalo 1993. After a few years of teaching as well as participating actively in organizing new music concerts and festivals, she continued her studies at Boston University with Theodor Antoniou and Lukas Foss, completing a MM in 1993. Mist has received commissions and grants from performers and organizations in Iceland, Scandinavia and the U.S.A. From 2001 - 2014 Mist was Dean of Music at Iceland Academy of Arts, leaving that position to become Head of the Academy of Music and Drama in Gothenburg.
Peter Tornquist (session 2g, & chair session 4c) Norwegian Academy of Music firstname.lastname@example.org
Please see Dr David Dolan for abstract Peter Tornquist studied composition in Oslo and at the Royal College of Music, under the guidance of Lasse Thoresen and George Benjamin. Much of his work is concerned with the creative interaction between composers and performers through live electronics and improvisation. The theories and methods associated with this approach were developed in a research project that culminated in a series of works for the London Sinfonietta and jazz-trumpeter Arve Henriksen. He has contributed extensively to the development of Aural Sonology, a phenomenological approach to music analysis based on the ideas of Pierre Schaeffer and Gottfried Koenig. Tornquist currently holds the position of Principal at the Norwegian Academy of Music, Oslo
Peter Tregear (session 4a) email@example.com
Please see Dr Geir Johansen for abstract A graduate of the University of Melbourne, Peter Tregear undertook doctoral studies at Kingâ€™s College, University of Cambridge, where he was also a choral scholar. In 2000, after an initial appointment as a Lecturer to the music department of the University of Queensland, he was appointed a Fellow of Fitzwilliam College, Cambridge where he was Lecturer and Director of Music as well as continuing a performing career as a singer and conductor. Performance highlights include conducting a critically acclaimed UK stage premiere of Max Brandâ€™s opera Maschinist Hopkins at the Queen Elizabeth Hall in 2001. In 2006 Peter was invited to return to Australia to take up the position of Dean of Trinity College, Melbourne; he also taught at the University of Melbourne and the Australian National Academy of Music and perform with both Victorian Opera and Melbourne Opera. In 2007 with Gert Reifarth he established the chamber opera company IOpera for which he conducted a new edition of Anna Amalia's Erwin und Elmire for the Ekhof-Festival in Gotha, Germany, as well as the Australian premiere of a chamber version of Rothschild's Violin, and a new production of The Emperor of Atlantis. He regularly appears with the Choir of London and the Consort of Melbourne and has worked with the Kronos Quartet, the Australian Chamber Orchestra, and The Rolling Stones, among others. He was awarded the Sir Charles Mackerras Conducting Prize in 2003, and a Green Room Award for Best Opera Conductor in 2009. In November 2010 Peter was appointed Executive Director of the Academy of Performing Arts at Monash University, and in August 2012 he was appointed Professor and Head of School at the School of Music of the Australian National University. His academic work is broadly concerned with how music relates to its historical and cultural context, and how we can best understand and exploit the links between music as an object of intellectual inquiry and music as creative practice. He has particular interests in Australian music history and in the musical culture of the Weimar Republic, in particular the generation of musicians whose careers and lives were ruined by the rise of Fascism in Europe. He has published widely in both the academic and general press, as well as writing regularly for The Conversation.com. His two most recent major publications are Ernst Krenek and the Politics of Musical Style (2013) and Enlightenment or Entitlement: Rethinking Tertiary Music Education (2014).
Angeliki Triantafyllaki (session 6a) University of Athens firstname.lastname@example.org
Please see Professor Dawn Bennett for abstract Angeliki Triantafyllaki is a Research Fellow at the Department of Music Studies, University of Athens. She initially studied piano performance at the National Conservatoire of Athens and secondary school teaching and educational psychology at the University of Athens, before completing her PhD in Music Education at the University of Cambridge (2008). Her research interests span the areas of musicians' identities and careers, the development of musical creativity in schools and university education, community music, initial teacher education and musicians' continuing professional development. She is a member of ISME's Commission for the Education of the Professional Musician (CEPROM).
Dr Lee Tsang (session 7b) University of Hull Sinfonia UK email@example.com Sinfonia UK collectiveâ€™s approaches to democratic authorship: the David Braid collaborations Since 2004, Sinfonia UK (formerly Hull Sinfonietta) and the Portumnus Ensemble have pursued projects that explore themes of democratic authorship in different musical contexts. These themes most strongly characterise their Lear Settings (2004-2012), Larkin in Song (2012-13), and David Braid Collaborations (2014-present) projects, which use contributions that are multi-authored yet are underpinned by the conceptual frames of single auteurs. Each project emphasises a specific kind of multi-authored contribution in order to achieve its distinctive vision: Lear Settings uses an animated music-film context for which contributions are compiled from diverse young audiences reacting to new musical work; Larkin in Song features contributions from established and emerging professional composers responding to poetic texts and presents such contributions in multipiece contexts that embrace semi-staged, installation and free-flowing audio-visual elements; and the David Braid Collaborations incorporate improvised compositional contributions by performers as part of an inspired auditory response to striking historically-significant visual stimuli. This paper explores differences between the various multi-stranded project approaches, including how the concept of â€˜the frameâ€™ differs amongst the projects. The discussion includes a debate on how an artistic vision may be preserved whilst engendering a spirit of democratic authorship and ownership, and focuses later on aspects of the compositional templates that provide the basis for the Braid collaborations. Of all the Braid collaborations, Chauvet in particular shares with earlier Sinfonia UK projects the concern of communicating questions of 221
artistic expression and its democratic voice. The manner in which the work succeeds in communicating these ideas is discussed with reference to a recent premiere performance (see https://www.youtube.com/watch?v=Az5FOEe9NYg). This project features the two-time Juno-award winning Canadian jazz pianist and composer David Braid and is funded by University of Hull, University of Toronto and Canada Council of the Arts. Sinfonia UK and the Portumnus Ensemble are ensembles-in residence at the University of Hull. Lee Tsang studied at Newcastle, Lancaster, Southampton and Birmingham City Universities. He holds a BA(Hons) in Music, a MMus(Dist) in Conducting Studies, an AHRB-funded PhD in Music, and is a Fellow of the Higher Education Academy. He has held posts on the SMA Executive Committee and as Lecturer and Research Fellow at Birmingham Conservatoire. In addition to current roles as Lecturer in Music, Performance Co-ordinator and School Liaison Officer for SDMS at the University of Hull, he is Hull Music Hub’s Vice Chair and Singing Strategy Head, and Managing and Artistic Director for Sinfonia UK and the Portumnus Ensemble.
Helena Tulve (session 4a) Estonian Academy of Music and Theatre firstname.lastname@example.org
Please see Dr Geir Johansen for abstract Helena Tulve (b. 1972) is Estonian composer whose music is characterised by constant change and continuous processes. Her music grows out from simple primary impulses, being influenced by natural patterns, organics and synchronicity. No sound can be excluded from Tulve’s music: it can always find its meaningful time and place. Besides composition she has thoroughly studied Gregorian chant and various oral musical traditions are still her subject of interest. Helena Tulve has been commissioned by Estonian Philharmonic Chamber Choir, Deutschlandradio, ISCM, ensemble diferencias, the Netherlands’ Chamber Choir, Munich Chamber Orchestra, Seattle Chamber Players, et al. Helena Tulve has co-worked with video artists, written film music and released three albums : “Sula” (Estonian Radio, 2005), “Lijnen” (ECM, 2008) and “Arboles lloran por lluvia” (ECM, 2014) Since 2000 Helena Tulve has lectured on composition and in 2012 was appointed as Vice-Rector for Development at the Estonian Academy of Music and Theatre.
Jane Turner (session 8e) London Metropolitan University email@example.com
Please see Dr Richard Hoadley for abstract Choreographer Jane Turner has led dancetheatre company TURNING WORLDS since the 90s, during which time she has has created and toured numerous new productions and participatory projects. She has been involved in many performance productions that involve diverse communities in response to unusual and distinct sites, most recently Parade for London’s Conway Hall, May
Professor Dr Øivind Varkøy (session 8b) Norwegian Academy of Music firstname.lastname@example.org The social mission of higher music education and the idea of art as critique In this philosophical paper I focus the tension between the calling for social relevance and focus on the social mandate or mission of higher music education on the one hand – and the idea of the autonomy of art on the other. Pierre Bourdieu claims that the idea of the autonomy of art is socially constructed. In spite of this he endeavours to protect this autonomy. Why? Because he believes the autonomous art has a political potential, a potential that is located precisely in the art’s autonomy. It is this independence of art that lays the foundation for art’s ability to have a critical and emancipating function – in a social and political perspective. This critical function includes questioning our social and political “taken-for-granted-nesses”. What then, are our “taken-for-granted-nesses” today? I will claim that one of our most extensive “taken-for-granted-nesses” today, limiting human and social independence, is the narrow minded discourse of utilitarianism. Our tendency of always asking the question: “What is this good for?” reduces all human activities to means for ends outside of what we are doing. Is it not, then, a danger that this might threaten the human independence and autonomy expressed in our love of “aimless” activities – activities we like on its own conditions – like art? It is reason for considering what options art would lose as critical potential – both with respect to thinking about humans, society and the world – if the focus on relevance and social mission of music and higher music education becomes too narrow. Perhaps we should be careful with pressuring music and art underneath the modern technocratic social planning? Might the prize be that also the art ends up being understood as something one-dimensional, rational, possible to plan, edifying, and as a means for adjustment to the prevailing truths and “spirit of the age”? Must we let go of the ideas of the art’s fundamental “unpredictability” and “unreliability” – as
well as the artist’s “calling” for acting “unfaithfully” and “disloyally” – towards both the “power” and the “revolt”? I will argue that music and art is “useful” and “relevant” – in the meaning of useful for what is beyond utility. This opens up the possibility that the relevance of art is related to questioning the relevance thinking itself. By this reflection my aim is to focus the relevance and social mission of higher music education as being an arena which questions and challenges our culture – by appearing outside the hegemony of narrow minded relevance thinking. Øivind Varkøy is professor in music education and head of the Phd programme at Norwegian Academy of Music, as well as visiting professor in musicology at Örebro University. He holds a Phd in musicology. His main research interest is in the philosophy of music education. Latest publications in English: “A reflection on musical experience as existential experience: an ontological turn” (with F. Pio. In: Philosophy of Music Education Review, Fall 2012), “Technical rationality, techné and music education” (In: Professional Knowledge in Music Teacher Education, Ashgate 2013), and “What is music good for? A dialogue on technical and ritual rationality” (with S. Røyseng, in Action, Criticism and Theory for Music Education, March 2014).
Dr Maria Varvarigou (session L2e) Canterbury Christ Church University email@example.com Promoting collaborative playful experimentation through group ear playing in Higher Education Forty-six first-year, primarily classically trained, undergraduate students took part in an exploratory research study on Group Ear Playing (GEP) in Higher Education. The students attended the ‘Playing by Ear’ component of the Practical Musicianship module, which adopts the materials and strategies on playing by ear in the instrumental lesson developed by Lucy Green (2012; 2014). The students were divided into eight groups, they were provided with audio material (one pop song, a selection of classical pieces from which to select one and a free choice piece) and were instructed to copy the music by ear as a group for 40 minutes each week for five weeks. Data were collected through individual reflective logs collected each week (n=196) and end-of-programme feedback forms that included open questions and rating scales. The findings of the study suggest firstly, that the students engaged in playful experimentation in a collaborative manner, where the more confident musicians supported their less confident colleagues. Secondly, a variety of strategies for improvising together was explored, which included adding ornaments based on scales, playing chords and rhythms for variety, altering the pieces’ structure, adding or changing rhythms, and missing notes out. Thirdly, although the focus of the activity was on copying music by ear from recordings, all groups included an improvisation section at each piece they rehearsed, where all musicians playfully experimented 224
together rather than as soloists, in order to ‘change things slightly’ and ‘make the piece sound more interesting’. Finally, the students reported that GEP not only helped them to feel more confident about playing by ear (85%) but also to be more confident about improvising (72%) and to become more confident musicians (78%). This study proposes that group ear playing from recordings successfully facilitates collaborative playful experimentation and motivates apprehensive classically trained musicians in Higher Education contexts to become ‘less self-conscious’ and ‘enjoy new ways of improvising’ Maria Varvarigou is a Senior Lecturer in Music and Performing Arts at Canterbury Christ Church University and a Visiting Research Associate at the Institute of Education, University of London. She completed her PhD in 2009 as a scholar of the A. S. Onassis Foundation. Maria is a Fellow of the Royal Society for the Encouragement of Arts, Manufactures and Commerce (RSA) and a Fellow of the Higher Education Academy. Her special areas of interest include music, health and wellbeing; intergenerational music-making; ear-playing and vernacular performance practices; choral conducting education and effective teaching and learning in higher and professional education.
Jonathan Vaughan (chair session L1a) Guildhall School of Music & Drama firstname.lastname@example.org The orchestral musician of the future What does the orchestral musician of the future look like? Beyond the basic requirement of instrumental excellence, how best to equip today’s would-be professional orchestral players with the professional and entrepreneurial skills, knowledge and capability to become high achieving 21st century musicians? A roundtable discussion including insights from the LSO/Guildhall School’s new Orchestral Artistry Masters programme, drawing in the experiences and ideas from those in the room to take a snapshot of the current situation, and – perhaps – come up with a blueprint for future training developments. Jonathan Vaughan is Vice Principal and Director of Music at the Guildhall School of Music & Drama. He was formally Director of the National Youth Orchestra and before that, Chairman and playing member of the London Symphony Orchestra. He is a Senior Fellowship to the Higher Education Academy and a Governor of Wells Cathedral School where he is also Chair of its Music Committee. He lives in Wiltshire with his wife, three children and one sadly neglected double bass.
Hannie van Veldhoven (session 7d) HKU Utrechts Conservatorium email@example.com
The h-APP-ening: a transmedial improvising project HKU Jazz&Pop (the Netherlands) realised a co-operation last year with HKU Theatre and Media&Technology in a research project concerning transmedial improvisation. Topic: how can improvisation arise at the intersection of and in connection with different media and disciplines (time, space, sound, vision)? How does improvisation, as the jazz musician uses it in his performative creative making process, relate to other art disciplines? Aim was to develop possibilities for students to get in equal improvisational dialogue with each other: each with his/her own instrument, language, techniques and skills. In a 'Media and Performance Laboratory' (HKU Maplab) the 'instruments' of the students, like f.e. midipad, wiimote, digital theatre lights, next to analog instruments like saxophone or guitar, could be investigated. It was a challenging research for the students to explore possibilities, and meant the start of a production in co-operation with 15 students: jazz&pop, writing, theatre design, interactive performance design, media&technology. They all worked together fulltime for 6 weeks to establish a performance where they could equally improvise through different media, with different disciplines. Besides this production, technology students also developed software tools (like an app to use) to connect the instruments of 60 musicians, making interaction and improvisation from vision to sound, and from sound to vision, possible. It meant an innovative way of interdisciplinary working, project-based and student-centred, with great responsibility for the students to explore what is improvisation, and the creative process of different disciplines relating to each other. It was also this meeting of analog improvisation with interactive digital technology, which made this project challenging and worthwhile for HKU. It leads towards the transmedia storytelling concept of Henry Jenkins, where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified experience. In this project: an improvising experience. The project raised many intriguing questions, to be researched in further projects, as: how to develop equal capacities for improvising communication, how to develop equal mastery of different 'instruments' from different disciplines? How to find a common language to communicate in an improvisational transmedial way? The results have been documented in an online publication 'Keuze is beheersing' (Dutch for: 'choice is a matter of mastery'), in a thesis 'the h-APP-ening: a transmedial improvising project', and the works of the students were presented in several performances, presenting two dimensional (sound and vision) as well as three dimensional (sound, vision, space) transmedial improvisations.
Hannie van Veldhoven MA(Ed) - (1959): pianist/composer. Course leader Jazz&Pop at HKU Utrechts Conservatorium (the Netherlands), teacher piano and methodology. Hannie van Veldhoven has a decennia long experience of interdisciplinary working in the music theatre field: composing and playing youth operas and music theatre works, based on own compositions as well as classical and non-classical music, arranged for theatre. She combined for many years artistic research as a musical director in a company where actors and musicians were performing together, next to working at the HKU Utrechts Conservatorium as a teacher and course leader Jazz&Pop. In 2014 she finished the interdisciplinary Master's degree in Amsterdam AHK (Amsterdam School of the Arts).
David Vinden (session 8f) Guildhall School of Music & Drama firstname.lastname@example.org Kodály demonstration class Bartók and Kodály were very close friends and Bartók was well aware of what Kodály was dreaming of in terms of a better way of training the next generation of musicians. This class will examine some of the music Bartók composed using Kodály’s relative solfa to unlock many of those aspects which trouble listeners today. Students will look at the:- The Modes, the Acoustic scale, and the Alternating distance scales. Material covered will include Microcosmos, some of the 2 & 3 part 27 choruses for SSA (virtually unknown in England) and other great works. Musicianship development will include and explore how to deliver really effective dictations; Two-part hearing development (Follow the Lieder) etc. and develop better left/right brain facility with the sing and play work as well as chordal singing including 7th chords. The class will show how musicianship is integrated into the development of really essential musical skills as well as giving students a better understanding of one of the 20th century’s greatest composers. There will also be references to Berlioz, Liszt and Debussy all of whom had a profound effect on both Kodály and Bartók. David Vinden began his musical life as a chorister at Truro Cathedral. He studied at the Royal Academy of Music and at Royal Holloway College. After teaching for 5 years he went on to study at the Kodály Institute in Kecskemét, Hungary for two years and returned to teach at the Purcell School, later becoming its director of music. He retired from that to lecture at Trinity College of Music and Birmingham Conservatoire and is now at the Guildhall School. He is an elected member of the International Kodály Society and lectures all over the world.
Dr Geoffrey Webber (session 3d) University of Cambridge email@example.com
Please see Professor John Rink for abstract Geoffrey Webber is Precentor and Director of Studies in Music at Gonville & Caius College, Cambridge, and an Affiliated Lecturer in Music at the University of Cambridge. He directs the Caius College Choir, which is widely regarded as one of the finest college choirs in the UK (www.cai.cam.ac.uk/choir) and is well-known for its innovative and research-led CD recordings. In 2010 Geoffrey Webber designed a Master’s degree in Choral Studies (MMus) which focuses on choral conducting. His academic publications have centred on German and English music of the seventeenth century but also include (as co-editor) The Cambridge Companion to the Organ.
Professor Graham F. Welch (session 4d) UCL Institute of Education firstname.lastname@example.org Children’s instrumental learning and its wider benefits The symposium is focused on providing an overview of children’s instrumental learning and its wider benefits through data drawn from two distinct initiatives, i.e., using the lens of the In Harmony programme in England, with examples from In Harmony Leeds and In Harmony Newcastle/Gateshead, as well as the Newham Every Child a Musician programme in East London. Collectively, these three programmes account for over 10,000 children learning a musical instrument each year and employ several hundred professional musicians as instrumental tutors. Two contrasting and inclusive approaches in provision will be reported as part of the symposium: (a) the boroughwide core participation in Newham for all children and young people aged 9-12 years; which is set alongside (b) the individual whole school approaches for all children aged 5+ to 11+ years in Leeds (provided by Opera North) and Newcastle/Gateshead (provided by Sage Gateshead). One key common feature of the internal monitoring of each of these programmes is the investigation of whether there are twin impacts on children’s learning and development, i.e., both in music and through music, and the extent to which any such impacts are linked. Data will be presented on different aspects of children’s musical learning, as assessed by their instrumental tutors, as well as children’s attitudinal data and survey-based evidence of wider benefits on their social, emotional and academic development. The intention of the symposium is to celebrate the successes of each programme, as well as providing insights into common challenges and more generic findings, including the implications for the preparation of expert musicians to undertake this kind of professional activity. Every Child a Musician: in Autumn 2010, the London Borough of Newham began the ‘Every Child a Musician’ (Newham ECaM) service offering a unique music programme that provides a 228
free musical instrument and up to three years free tuition to all children in school Years 5, 6 (Primary school) and 7 (Secondary school). This scheme is the only example of this type in the country and is seen as an example of Newham’s commitment to inclusive education and learning. Following a pilot year in 2010-2011 in a small number of schools, Newham ECaM was made available to approximately 6,500 Year 5 and Year 6 primary pupils in 2011-2012. In the following year (2012-2013), Newham ECaM expanded into Newham secondary schools by offering tuition across Year 7. The number of children participating had increased to 10,000 by the Autumn of 2013, supported by 170 specialist tutors. Evaluation of the programme over the first two years, both internally and in collaboration with a team from the Institute of Education, indicated that children enjoyed their learning experiences and demonstrated high levels of engagement, irrespective of gender and ethnicity. Children also made significant progress in their instrumental learning, with ethnicity and social deprivation having relatively little impact on their musical learning. There is some evidence of gender differences, with girls being assessed as slightly higher in their instrumental learning than boys, but the actual differences are small. In terms of evidence of wider benefits, there is a strong correlation between children’s instrumental learning and their scores at age 11+ in writing, reading and mathematics. Higher attainment academically is correlated with higher Newham ECaM instrumental learning ratings. However, there are a small number of children who succeed well in their instrumental learning, despite not achieving academically. Overall, all children, irrespective of school year group, report a very positive sense of social inclusion and of health and happiness. In particular, ECaM children progressing from Year 5 to Year 6 reported themselves as having a significantly greater sense of being social included (i.e., having a more positive sense of self and of being socially integrated). Their health and happiness ratings also improved from one year to the next. The In Harmony Opera North programme at Windmill Primary School, Leeds began in the Spring term of 2013. The intentions of the programme, drawing on Opera North’s musical profile and strengths, have been to provide sustained instrumental and singing tuition to all 320 children in the school over a three-year period, 2012-2015. As part of the evaluation of the programme, the different stakeholders (children, teachers, tutors, parents/carers) have provided feedback on their experiences of the programme. Opportunity has also been taken to gather structured data on children’s musical development and attitudes to their music learning, as well as on possible wider social and emotional benefits. Data from the opening (shortened) year of the programme revealed significant early progress in children’s instrumental learning and in their positive attitudes to music making and aspects of self and social inclusion. At the time of the Guildhall School event, it will be possible to present evidence on the opening eighteen months of the programme. In Harmony Newcastle/Gateshead (Sage Gateshead): the three-year In Harmony programme at Hawthorn Primary School is provided by Sage Gateshead, one of Europe’s leading concert halls and a UK regional centre for music education across the lifespan. Sage Gateshead has an extensive programme of music teaching across the North East of England, including work in a wide diversity of non-formal and formal community settings. The concert hall’s local oversight of the In Harmony initiative draws on the advanced musical performance expertise that is available through its in-house orchestra, the Royal Northern Sinfonia. One feature of the 229
internal evaluation is focused on how the programme is impacting in music and through music on the youngest children, aged six, who began their instrumental learning in the Autumn term of 2013. Data will be presented on these children’s first experiences of instrumental learning and of the emergence of any positive (or negative) associations with other aspects of their social, emotional and intellectual development. Professor Graham Welch holds the Institute of Education, University of London Established Chair of Music Education (since 2001). He is Immediate Past President of the International Society for Music Education (ISME) (serving from 2012 to 2014), elected Chair of the internationally based Society for Education, Music and Psychology Research (SEMPRE) and past Co-Chair of the ISME Research Commission of ISME. He holds Visiting Professorships at universities in the UK and overseas and he is also a member of the UK Arts and Humanities Research Council (AHRC) Review College for Music. Internationally, he has acted as a specialist external consultant on aspects of children’s singing and vocal development for UK and Italian Government agencies, as well as for specialist research centres in the USA, Australia and Sweden. Publications number over 300.
Julian West (sessions 4b & 8a) Royal Academy of Music email@example.com
Please see Clare Lovett for abstract (session 4b) Chamber Challenge: creativity, collaboration and community Chamber Challenge is a collaborative composition and performance project. The project places a professional string quartet in residence in a primary school to explore collaborative composition and communication through ensemble playing. In small groups, children compose and perform their own new works alongside the string quartet, who also create their own individual parts. Key to the success of the project is the application of the knowledge and highly developed skills of the musicians involved. By close personal involvement in the creative process themselves, the quartet members bring their own identities as musicians to the work, skillfully and powerfully scaffolding the creative journey of the young people. This session examines the skills, awarenesses and abilities of the musicians that are necessary for this project to succeed: This session will include a presentation of the Chamber Challenge project, together with discussion about the issues arising: • •
What skills, abilities, approaches and awarenesses are necessary in professional musicians engaging in this type of work? Which of these have professional musicians acquired through their own musical development, and which need to be learned?
Over the last 20 years, Julian West has developed ground-breaking creative learning and participation projects for many organisations, including Wigmore Hall, Glyndebourne Opera, Britten Sinfonia and Spitalfields Music. Julian is Head of Open Academy at the Royal Academy of Music, where he lectures on creative music leadership, researches best practice, and leads creative projects with some of the world's most talented young musicians. Julian's work is characterised by the forging of meaningful connections with and between those involved. The resulting work is not only for, about, and in response to the participants but could not exist without them.
Donald Wetherick (session 3h) Guildhall School of Music & Drama firstname.lastname@example.org ‘Don’t say it, play it!’ Group free improvisation as musical encounter When musicians encounter each other it is usually with a performance, rehearsal or compositional aim in mind. The personal encounter accompanying this may be taken for granted, or be developed as a necessary but ultimately secondary aspect of the primary musical project. What can happen if the personal encounter through music is seen instead as an end in itself? If, as Martin Buber wrote, ‘All true living is meeting', can we ‘play’ our meeting? This experiential improvisation workshop is offered to a small group (ideally 8, maximum 10 plus the facilitators) conference delegates who can sign up for it on Thursday or Friday morning at the registration desk. It will be facilitated by two members of the Guildhall School music therapy staff: Donald Wetherick, Tutor in Music Therapy techniques, and Ann Sloboda, programme leader. It is not intended as a therapy group, but will be run in a similar way to an ‘open group’ in a music therapy context. There will be no observers. Participants are invited to bring their own instruments if they wish, but this is not essential, and percussion instruments will be provided. Vocalists are welcome too. Some activities will involve using simple percussion instruments only (where technical expertise is not required). No prior skill or experience in improvisation is necessary Non-performers with an interest in improvisation and encounter are also welcome. After a short introduction, the group will share in one or more musical improvisations, with time to reflect in between as needed. In the final part of the workshop we will invite group members to discuss their experiences and how it relates to their own work as musicians, teachers and researchers. The workshop explores the potential for ‘musical meeting’ through free improvisation, drawing on the facilitators’ experience as music therapists, free improvisers and teachers in a 231
conservatoire setting. Improvisational music therapy uses free improvisation alongside and as an alternative to verbal group therapy practice, while free improvisation brings musicians with different abilities and skills together in both social and creative ways. In a conservatoire context, free improvisation can have similar benefits, bringing musicians from different disciplines together and providing relief for students from the stress of often challenging performance oriented activities. Donald Wetherick is a music therapist, musician and educator. He studied music at Edinburgh and Cambridge before training as a music therapist at the Nordoff Robbins Centre in London. He has worked as a music therapist with children and adults with learning difficulties and since 2008 has been a staff tutor in Music Therapy at the Guildhall School of Music & Drama. He is a Partner with the Health and Care Professions Council (which regulates music therapy practice) and is currently Chair of the British Association for Music Therapy. He is also active as a pianist, church musician and composer.
Sara Wilén (sessions 2c & 6d) Malmö Academy of Music, Lund University email@example.com
Please see Dr Karin Johansson for abstract (session 2c) Images at play: to communicate, create and research through vocal improvised performance This spoken research paper will focus on collaborative creative processes of improvisation with examples from two projects in which I as a classically trained singer, a performing improviser and a PhD student work with the following questions:
• • •
How does musical and scenic interplay between improvisers influence the emergent improvisations? How can improvisatory practice be used as a performative space? How can collaborative improvisational processes be documented and communicated?
The project Opera Nova – power, gender, remix (ON) was made by Operaimprovisatörerna (The Opera Improvisers) in 2012. In a series of performances, we investigated representations of gender and power in opera by playing with and remixing scenes from famous operas such as Carmen, Tosca and Don Giovanni. We used improvisational techniques such as changing roles, situated acting in realistic settings and parody, and also performed short, entirely extemporated, operas in dialogue with audiences. In the ongoing, experimental project Facets a pianist, myself and an improvising light designer investigate how visual bodily representation in traditional Lied music settings can be problematized by the integration of music and light in improvised performance. We use a ‘fourth wall’, where our performing bodies are projected in colour, thus presenting a visual space of facets to the audience. These facets are created by the light designer, as the musicians 232
produce actions and narratives in music. This artistic format is a collaborative, imaginary and audiovisual playground, or performative space, for our improvisatory interaction. In ON, stimulated recall sessions and qualitative interviews were made with the improvisers, which led to a model for interplay analysis. This was used for investigating our communication through musical dynamics, actions and intentions as well as in narrative structures. In Facets, an autoethnographic approach is used with the aim of catching experiences from within the improvisational situations in writing. Together with video recorded performances and transcribed joint reflections, this demonstrates how we in the process of creating music and images together experience, communicate and negotiate inner pictures, actions, and emotions in imaginary situations along with technical work. The presentation will picture how these research projects have motivated new lines of artistic development in experimental, public performances of the two freelancing ensembles. Preliminary results from the doctoral project regarding (i) relations between research and artistic methods, (ii) described strategies and experiences of situated musical, imagery and narrative interactions, and, (iii) how creative processes can be communicated to a wider audience, will be discussed. Sara Wilén is a classically trained singer, improviser, PhD student and teacher at the Malmö Academy of Music/ Lund University (MAM). Since her master at the vocal programme in Performing Arts at MAM in 2003, she has performed roles in operas by for example Mozart, Verdi, Rossini and Janacek as well as in contemporary music, chamber music and oratorios. As improviser in Operaimprovisatörerna and Impromans, she regularly performs in productions, festivals and tours all over Sweden. Since many years, Sara is also engaged as guest teacher in opera improvisation, both nationally and abroad.
Jane Williams (sessions L1a & 2e) Guildhall School of Music & Drama firstname.lastname@example.org
Please see Jonathan Vaughan for abstract (session L1a) Please see Dr Karen Wise for abstract (session 2e) © Sarah Hickson
Jane Williams is a British arts manager and consultant, and has held senior management positions with English National Opera, the London Sinfonietta and publisher Music Sales. She has significant experience in contemporary classical music and has worked closely with many of the leading composers of our day. She is currently working on projects with the Guildhall School (the Reflective Conservatoire Conference 2015) and the London Symphony Orchestra (Orchestral Artistry Masters programme).
Jane is a Fellow of the Royal Society of Arts, a Trustee of Orchestras Live and a member of Spitalfields Music's programme advisory group. She has served on juries for the Royal Philharmonic Society Music Awards and for Classical:NEXT 2015.
Dr Karen Wise (session 2e, & chair session 8d) Guildhall School of Music & Drama email@example.com Developing artists through research: what conservatoire students gained from research participation as audience members The ‘Composers, Performers and their Audiences’ project was a collaboration between the Guildhall School, Britten Sinfonia and the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) based at the University of Cambridge. It aimed to investigate how audiences’ experience of new music might be enhanced, and to explore ways in which dialogue might be opened up between audiences, artists, and artistic providers. At the centre of the project were two specially recruited groups of ‘Audience Consultants’, one comprised of Britten Sinfonia audience members, the other a group of Guildhall School music students. They participated in a series of curated events centred on two concerts in Britten Sinfonia’s Milton Court season, including an open rehearsal, panel discussions, a questionnaire, and a one-day conference. During the latter, the research results were presented to the research participants and industry professionals, and reflection was invited during small group discussions. Feedback from student participants was also gained at a separate debrief meeting and via email at the conclusion of the project. While the original aims of the project focused on understanding audiences, and did not explicitly include an educational element, the involvement of the student group proved to be a powerful and important aspect of the project. This presentation takes a pedagogical view of the project, its impact on the students, and the implications for curriculum development. We will present data from the core research and from participants’ reflective feedback, revealing that the impact of having taken part in the project was felt on a number of levels. These included inspiration drawn from close contact with Britten Sinfonia and other industry professionals, and an increased awareness of audience that students can take forward into their own artistic practice. Indeed, some students reported specific developments and innovations they had made in their work following the project. Taking part in the project was a valuable form of experiential learning in itself, and transformative for some individuals, empowering them to think about their relationship with audiences, and how they might shape their future professional roles in a changing cultural landscape. Dr Karen Wise is Research Fellow at the Guildhall School of Music & Drama. A psychologist and classical mezzo soprano, she researches the psychology of musical perception and performance. Her work at the Guildhall School has included collaborations with Britten Sinfonia and English Touring Opera, as well as projects following her interests in 'non-singing' and 'tone-deaf' adults. She was previously Research Associate in the AHRC Centre for Musical Performance as Creative Practice (CMPCP) at the University of Cambridge, and Teaching
Fellow in Psychology at Keele University. She currently lectures in Music Psychology at the Royal Northern College of Music.
Professor Richard Wistreich (session 4a) Royal College of Music, London firstname.lastname@example.org
Please see Dr Geir Johansen for abstract Richard Wistreich is Direcftor of Research at the Royal College of Music, where he also has overall responsibility for all programmes. He joined the RCM from the Royal Northern College of Music in Manchester in September 2014, where he had been Dean of Research and Enterprise since 2010. Before that he was successively Professor of Early Singing at the Staatliche Hochschule fĂźr Musik, Trossingen (1999-2003) and Senior Lecturer in Music and Head of Performance at Newcastle University, UK (2003-2010) Richard is a scholar and teacher with wide-ranging research interests; and in particular, vocal performance in Europe between 1500 and 1800. He has published widely on aspects of the cultural history of singing and, among other books, co-edited the Cambridge Companion to Monteverdi. He is currently the co-editor of the Cambridge History of Sixteenth Century Music. Richard Wistreich is also an internationally renowned performer of both early and contemporary music. He has made concert, radio and television appearances worldwide, and recorded more than 100 CDs. In 1989 he co-founded the ensemble Red Byrd, dedicated to performing both old and new music, often side-by-side in the same concerts.
Professor Dr Clemens WĂśllner (session 5b) University of Hamburg email@example.com Implicit teaching? The role of instructors for music studentsâ€™ focus of attention Implicit skill acquisition occurs when the learner is not aware of the process of learning. There are numerous examples of high-ranking professionals who acquired their skills in rather informal learning settings, by trial and error, analogy and discovery learning, imitation and improvisation. Many of these approaches are characterized by limited awareness, which challenges the concept of deliberate practice in expertise theory as a conscious, effortful and feedback-based process. What is the role of the instructor in implicit types of learning? Key features in music, such as musical grammar or tuning systems, are learned implicitly merely by repeated exposure and without awareness. Learning in music listening may resemble the acquisition of language skills and was, accordingly, described as an act of enculturation. Studies in sport psychology first presented evidence that implicit learning is not only possible for cognitive structures, but also for motor skills even at initial learning stages. In contrast to 235
traditional views of learning, conceptual stages in the beginning must not always precede more automatic, procedural (i.e. implicit) learning phases. Research has shown that implicit skill acquisition is quicker than explicit, conscious learning and relatively independent of intelligence and age. In addition, learning without full attention may reduce the vulnerability to performance stress. According to the Constrained Action Theory, attempts to control body movements by focusing the attention directly on motor processes may have negative effects on performance. In a series of interviews with eight piano and voice conservatoire professors, we asked them about their (implicit) teaching strategies with regard to focusing the students’ attention on body movements, promoting explicit knowledge of physiology, and the ratio between verbal and nonverbal teaching. While all interviewees emphasized the importance of the students’ autonomous, self-contained learning, differences emerged between voice and piano teachers in the function of imitation. Voice professors generally supported the idea of imitation for students to achieve a sense of bodily exertions, and piano professors laid more emphasis on explicit demonstrations of the movements. Some professors deliberately attempt to distract their students during the lessons or ask them to focus their attention on something else while performing. Guiding attention away from bodily processes may be beneficial especially in stressful performance situations. This may challenge some embodied teaching approaches. Clemens Wöllner is professor of Systematic Musicology at the University of Hamburg. He holds an MA in Psychology of Music from the University of Sheffield and a PhD from the University of Halle Wittenberg. Before taking up his current post, he was a lecturer and interim professor at conservatoires and universities in Germany and a research fellow at the Royal Northern College of Music in Manchester. His research focusses on orchestral conducting, social factors and empathy in ensemble performance, expressiveness, multimodal perception, and reflexivity in research.
Tony Woodcock (chair session 7c) New England Conservatory, Boston firstname.lastname@example.org British-born Tony Woodcock became president of New England Conservatory in 2007, after a career as an orchestra manager in both the UK and United States. After graduating from Cardiff University in 1974 he began a career in arts management and is widely respected for revitalizing the financial performance and artistic leadership of the Royal Liverpool Philharmonic Orchestra, Bournemouth Symphony, Oregon Symphony, and Minnesota Orchestra. At NEC, he spearheaded a new Strategic Plan, completed a $115 million capital campaign, revamped orchestra and opera programmes, and launched a campus redevelopment plan that includes a new Student Life and Performance Center to open in 2017. With a passion for education and deep concern for preparing young musicians to make gratifying careers in the 21st century, he maintains that leading NEC is “the best job in the world where any dream or spark of creativity can ignite.” Tony returned to Cardiff University in July of 2014 to receive an 236
Honorary Fellowship. He is married to Virginia, a soprano, chef and teacher, and their son Thomas is studying international relations at City College in New York City.
Michelle Wright (session 7a and chair session 6a) email@example.com
Please see Marshall Marcus for abstract (session 7a) Michelle Wright trained at the Guildhall School and played the violin professional for a number of years before moving into the charity sector. In 2009 she founded Cause4 a social enterprise supporting charities and social enterprises to grow and now supporting an extensive philanthropy and CSR portfolio. The organisation has raised over £38m since it started and operates in the UK and internationally. Michelle leads the Creative Entrepreneurs programme in partnership with the Guildhall School and is interested in how enterprise skills could form part of the core curriculum in a conservatoire setting, as well as how conservatoires might support students to more readily recognise their transferable skills into other creative and entrepreneurial disciplines.
Armin Zanner (chair session 2f & Schoenberg in Hollywood post-performance discussion) Guildhall School of Music & Drama firstname.lastname@example.org Armin Zanner was born in Glasgow and read Music at Selwyn College, Cambridge, staying to complete an MPhil on the music of Bartók. He subsequently pursued studies as a singer with Penelope MacKay and Rudolf Piernay at the Guildhall School of Music & Drama, then privately with baritone Tom Krause and in mastercourses at the Britten-Pears Young Artist Programme, the Franz-SchubertInstitut in Baden, Austria, and the Académie musicale de Villecroze, France. Since 2001 Armin has taught German language and diction at the Guildhall School, later becoming a Music Studies tutor and Masters-level mentor, and teaching classes on German recitative and the performance, poetry and history of German song. He also created the School’s contemporary vocal music programme and leads on the Voiceworks project in collaboration with Wigmore Hall and Birkbeck College. He was appointed Deputy Head of Vocal Studies in 2009 and Head from April 2014. In addition to his role at the Guildhall School, Armin is Artistic Director of the FranzSchubert-Institut in Baden, Austria, and from 2011-12 he was Artistic Assistant in the inaugural years of the Internationale Meistersinger Akademie in Neumarkt, Germany. He is a Creative Director of the Innovative Conservatoire (ICON) seminars, a programme of international professional development for conservatoire teachers, and he is a Senior Fellow of the UK’s Higher Education Academy. 237
Natasha Zielazinski (session 7b) Guildhall School of Music & Drama email@example.com Approaches to composition within collaborative and participatory settings Aims and context Over the last thirty years the Guildhall School of Music & Drama has built up an international reputation for being a leader in collaborative, cross-disciplinary and participatory practice and research. With the creation of the Barbican Guildhall Creative Learning (BGCL) department and the collaboration between this department and the Guildhall School this work is more than ever a central part of the artistic and cultural hub that is formed by both organisations. In the past seven years we, Detta Danford and Natasha Zielazinski, have been a part of the Guildhall School and BGCL community as students, performing musicians, practitioners, tutors and leaders. In 2013 we were given a grant by the Guildhall School Research Department to develop a project which investigates differing approaches to composition and their impact on collaborative practice. This project was sparked by our own joint artistic practice and a particular interest in the creative process and how people work together. The aims of the research are to
• • • • •
understand differing approaches to composition and collaboration come together to experiment, re-interpret and create new ways of working share practice and expertise and draw together the experiences of tutors, staff, students and young people contribute to the understanding of collaborative and participatory work within the Guildhall School and Barbican Guildhall Creative Learning research community
Methodology The research is being conducted over a year long period and is broken down into three stages:
October 2013 – January 2014: one on one interviews with Guildhall School staff and graduates (Rolf Hind, Mike Roberts, Bill Thompson, Llywelyn Ap Myrrdin, Dave Smith and Jo Wills) April/May 2014: practical LAB project involving a group of current Guildhall School students, graduates and young people from the BGCL community. The LAB project consists 6 whole group sessions involving both practical playing, improvising and
composing sessions with discussions and reflective sessions, documented by film maker Vittoria Belli June â€“ September 2014: analysis of data and documentation, film editing, production of written report
The research is still in the final phase of analysis and production. Key outcomes will include a short documentary film, a portfolio of scores and participant responses and a paper to be presented at Peabody Institute of Music (Baltimore, USA), the Prince Claus Conservatoire (Netherlands) and puntComp (Netherlands) between September 2014 - June 2015. Natasha Zielazinski is a London based cellist and composer. She is co-founder of contemporary music ensemble Jetsam and has performed at Sadler's Wells, the Southbank Centre, the Barbican Centre, the Melbourne International Festival, and Madison Square Gardens. Most recently Natasha composed and toured Brand New Ancients with poet Kate Tempest, produced by the Battersea Arts Centre. Natasha has worked extensively with Barbican Guildhall Creative Learning, the London Symphony Orchestra, the Royal Philharmonic Orchestra, the BBC Symphony Orchestra, Tokyo College of Music and Peabody Institute of Music, and is a course tutor at the Guildhall School of Music & Drama.
The full schedule for the Guildhall School's Reflective Conservatoire Conference, 26 Feb - 1 March 2015.
Published on Jan 29, 2015
The full schedule for the Guildhall School's Reflective Conservatoire Conference, 26 Feb - 1 March 2015.