Performance Studies Network Conference 2018

The Norwegian Academy of Music, Oslo 5–8 July 2018

www.psn2018.org

It is my great honour and privilege to welcome you Dear guests, to the Norwegian Academy of Music and the 5th International Conference of the Performing Studies Network (PSN).

As one of the leading conservatoires in Scandinavia, the Academy is home to a distinguished faculty of international experts, covering a wide range of academic and artistic disciplines. Our students are sys- tematically encouraged to explore connections between musical practice and research. The recent addition of a PhD in Artistic Research to the doctoral program deepens our commitment to understanding musical performance from the perspective of the artist-researcher.

I’m truly pleased to see such a broad rostrum of

Photo: David Engmo scholars and performers presenting at the conference and look forward to take part in many discussions. It is my hope that the ideas radiating from the Oslo conference will contribute to the further development of the increasingly essential dialogue between doing, observing, articulating and – ultimately – understanding music.

Welcome!

Peter Tornquist

Principal

2 On behalf of the Norwegian Academy of Music I should like to thank the distinguished individuals Welcome to (NMH) and its Arne Nordheim Centre for Artistic who have accepted the invitation to serve as Research (NordART) it gives me great pleasure to members of the Expert Panel and who, through their PSN 2018! welcome you to the Fifth Performance Studies statements and opening up debate, may help us Network (PSN) International Conference, the first to towards a collectively deepened and enhanced be held outside the United Kingdom. The conference understanding of the field. And special thanks, of has been convened through the Performance course, go to John Rink, whose visits and ongoing Studies Network, previously hosted by the AHRC advice have helped us in organising the event Research Centre for Musical Performance Studies outside the usual UK sphere, and to Amanda Bayley (CMPCP), now by the Cambridge Centre for Musical for all the wisdom she has passed on from her Performance Studies, launched in April 2015. experience of running the previous PSN conference at Bath Spa University in 2016. Thanks to the abundance of submissions arising from the Call for Proposals, we are pleased to offer Finally, I must pay tribute to the full organisational a wide-ranging programme of presentations and team at NMH, whose members have worked performances that we hope will articulate a diverse extremely hard to create a memorable event for PSN but coherent picture of the current status of perfor- delegates. They and I hope that this fifth conference

Photo: NMH mance studies and artistic research across the of PSN will fully live up to its forerunners and will globe. We are pleased to include presentations not point the way to an ever-more internationally con- only from experienced scholars but also from those nected network of performance studies scholars and who are just beginning to make their way in the field. artist researchers.

I am deeply grateful to the members of the PSN Prof. Darla Crispin Programme Committee for their hard work in reviewing the over 150 submissions we received for the Vice Rector for Research and Artistic Development event and for carefully selecting from these. I and (NMH) the Committee are also indebted to the musicians Director for the Arne Nordheim Centre for Artistic who will be performing for us at various points Research (NordART) throughout the conference and who will give insights into various aspects of Norwegian musical life.

3 About the Arne Nordheim Centre for Artistic Research (NordART)

In 2015, the Norwegian Academy of Music (NMH) We are very grateful to all who join us here in Oslo, launched NordART as a conceptual home for artistic whether from nearby or from further afield. We hope research within the institution and as the organising you will find these few long summer days in our body for collaborative research events, such as this Northern latitudes to be filled with interesting and conference, which advance the field. In emulation of thought-provoking discourse and, just as import- Norwegian composer Arne Nordheim’s open antly, with warm and enjoyable networking accom- approach to creativity, NordART’s activities range panied by good food and drink! from honouring and revivifying the legacy of Norwegian and other music of the past to develop- Prof. Darla Crispin ing our understanding of musical practices of the present; from new curations of established work to Vice Rector for Research and Artistic Development new compositions and free improvisation. Above all, (NMH) the Centre is dedicated to considering how artistic Director for the Arne Nordheim Centre for Artistic research should impact upon music-making in a Research (NordART) socially-situated, global context.

By linking evolving artistic research practices with the ethos of personal and professional development that has always been strong in NMH, NordART aims to make distinctive contributions to research activities and networks within the Nordic countries and beyond.

4 Contents

About the Arne Nordheim Centre for Artistic Research (NordART)...... 4 Practical informaton...... 6 Acknowledgements...... 10 PSN Programme...... 11 Thursday, 5 July 2018...... 12 Friday, 6 July 2018...... 14 Saturday, 7 July 2018...... 17 Sunday, 8 July 2018...... 21 Abstracts, Thursday, 5 July...... 23 Performance: Institute for post-human performance practice...... 24 Performance: Music as Emotion...... 50 Abstracts, Friday, 6 July...... 55 Performance: Can I turn you on can you turn me off when you turn me on can I turn you off...... 96 Abstracts, Saturday, 7 July ...... 133 Performance: Slåttepiano...... 172 Abstracts, Sunday, 8 July...... 215 Briefing Note: Final Panel Discussion, Sunday 8 July, 11:50–13:00: Artistic Enquiry in a World of ‘Alternative Facts’...... 232 Sixth Performance Studies Network International Conference, University of Huddersfield UK, 2 to 5 July 2020...... 234 Arne Nordheim 20/20: Retrospective/Prospective...... 235 PSN 2018 Conference Proceedings and Publication ...... 236

5 Practical informaton

1. Conference venues Breakfast for delegates staying in the hotels Thursday, Friday and Saturday evening a bar will be served: will be available on a cash/credit card basis in Parallel sessions will be held at the Norwegian Chateau Neuf. There is ATM cash machine Academy of Music (Norges musikkhøgskole) and • Comfort Hotel Børsparken: close to the Metro stations. Chateau Neuf – Det Norske Studentersamfund, −− from 06:30 on weekdays. Slemdalsveien 11, 0363 Oslo, Norway. −− from 08:00 in the weekend. 3. Public transportation From the Metro station Majorstuen there is • Comfort Hotel Grand Central: 3–5 minute walk to the venues. −− from 06:00 on weekdays. All metro lines traffic both Jernbanetorget −− from 07:00 in the weekend. (Oslo S) and Majorstuen stations.

All other meals will be served at the confer- You may also get to Majorstuen by bus no. 20, ence venues at the times specified in the 22, 44, 45 and 46 or by tram no. 11, 12 and 19. conference timetable.

2. Accommodation and meals

Delegate accommodation is at Comfort Hotel Børsparken (Tollbugata 4, 0152 Oslo) and Comfort Hotel Grand Central (Jernbanetorget 1, 0154 Oslo). The nearest Metro station is Jernbanetorget (Oslo S). 6 Tickets Delegates arriving outside these times should Set-ups Download the RuterBillett app and let the Conference Director know beforehand. Recommended set-up: using your own laptop buy tickets on your mobile. This is the computer or device. easiest way to buy tickets. Conference badges given to delegates when they register must be worn at all times, as a We recommend that delegates prepare and You may also buy travelcards with tickets or badge is required to gain access to confer- deliver their presentation on their own laptop pay-as-you-go credit in kiosks and at Ruter ence sessions and meals. Tea and coffee will (or tablet, etc.), which can be either a Windows customer service centre and service point. not be served during the breaks to delegates machine or a Macintosh. The device will be A new travelcard costs NOK 50. Take good without badges. hooked up to our outboard presentation hard- care of your card! It can be reused. You can ware. Delegates who cannot come with their top up your card in ticket machines and 5. Presentations own laptop will be able to deliver their presen kiosks, or at Ruter customer service centre or tation using a Windows PC. Speakers who plan service points. You cannot top up your card Session formats to use one of our computers should test their online. For more information: www.ruter.no. • Individual papers: up to 30 minutes, presentation thoroughly on a computer other followed by 10 minutes of discussion. than the one on which it was created. Tickets can be used on Ruter’s metro, trams, • Special sessions: approximately 80 minutes buses and ferries, and on NSB’s trains in Oslo in total, including discussion. NB! We will provide wifi connectivity; however, and Akershus. There is no night fare. You can • Research Reports: 10 minutes, followed by delegates are recommended to avoid the use the same tickets both day and night. up to 20 minutes of discussion. need for ‘live’ internet feed during presentations when possible. 4. Conference registration It is essential that speakers bring any hand outs and other materials required for their The device will be hooked up to our outboard Delegates arriving during Thursday morning presentation. Photocopying facilities will not presentation hardware consisting of screen, or lunchtime, who are staying at the hotels, be available at the conference venues. The projector and 2-channel stereo audio play- should check into their accommodation before conference timetable is supplied separately. back. Delegates must provide themselves with registering at the conference venue. All dele- All rooms are equipped with a data projector the necessary audio or video adaptors so we gates should register for the conference at the and video/audio playback equipment. can connect according to the technical equip- registration and information desk at the main ment available – see specified list below. foyer at the Norwegian Academy of Music. We provide two possible presentation set-up The registration desk will be staffed as follows: solutions for delegates planning to use Laptop owners should: PowerPoint or another form of multimedia • Rehearse the presentation with a laptop • Thursday, 5 July 13:00 to 21:30 presentation. These two set-ups are outlined connected to an external video projector • Friday, 6 July 08:30 to 18:00 below. so the laptop is set up correctly to deal with • Saturday, 7 July 08:30 to 18:00 the dual monitor situation (built-in display + • Sunday, 8 July 09:00 to 11:30 external display).

7 • Rehearse the playback of the video/audio • They should have at least a few copies of Chateau Neuf – Jan P. Syses Sal on their laptop and ensure it works their presentation printed in a handout In Jan P. Syses Sal there is a HDMI and a smoothly. format that can be circulated to parti- stationary PC with single screen and a blu-ray • Be prepared for a back-up solution in case cipants in case of total computer failure. player for blu-ray/DVD/CD. Here the presenters AV playback fails; for example have the • They should have back-up copies of their will not need to use a microphone during their video material available also as videoclip presentation files stored in different storage presentations. files stored on your laptop AND on USB stick media (hard disk or USB memory stick). (Quicktime, Windows Media Video, etc.). It would be advisable to have copies of the Technical testing • Have audio material as audioclip files presentation and media files in different file Technical testing with dedicated Room stored on your laptop AND on USB stick formats to minimize the likelihood of com- Assistants will take place in the conference rather than on a CD, unless your laptop patibility issues. rooms designated for your session in the includes a CD drive. Even so, it is still worth pause before you are on. All speakers are backing up the audio files. We can only Power socket expected to have attended the relevant supply a CD player if this has been In Norway the power sockets technical testing so that the conference requested. are of type F. The standard sessions run smoothly. • Bring their personal PowerPoint remote if voltage is 230 V and the this is to be used during presentation. standard frequency is 50 Hz. • THURSDAY, 5 JULY Delegates should acquire −− 13:00 Individual paper; session 1 and 2 Alternative set-up: using one of our computers suitable adaptors, if necessary. −− 16:35 Individual paper; session 3, 4 and 5 Delegates who cannot come with their own laptop will be able to deliver their presentation Technical equipment • FRIDAY, 6 JULY using our stationary Windows PC (incl. The Norwegian Academy of Music −− 08:30 Individual paper; session 6, 7, 8 PowerPoint remote). (Norges musikkhøgskole) and 9 In all three halls (Lindemansalen, Levinsalen −− 11:30 Individual paper; session 10, 11, 12, Speakers who plan to use one of our com- and Fellesrommet) there is a presentation desk and 13 puters should test their presentation thor- with HDMI/VGA/mini-jack, a stationary PC −− 13:20 Special session 1 + Individual oughly on a computer other than the one on with single screen and a blu-ray player for paper; session 14 and 15 which it was created. The presentation and blu-ray/DVD/CD. In addition to this there is −− 16:45 Individual paper; session 16, 17, 18 media files should be run/played directly from a presentation desk microphone, 2 wireless and 19 the USB memory stick. headworn and 2 wireless handheld microphones in Lindemansalen and Levinsalen. We • SATURDAY, 7 JULY Delegates should note the following: would recommend all presenters to use head- −− 08:30 Individual paper; session 20, 21, • They should NOT count on internet connec- worn microphone during their presentations. 22 and 23 tivity in the conference rooms for their pres- In Fellesrommet there are no need for a −− 11:30 Special session 2 + Individual entation. microphone. paper; session 24, 25 and 26

8 −− 13:20 Individual paper; session 27, 28, 8. Parking 12. Weather 29 and 30 −− 17:15 Individual pape; session 31 + Parking in Slemdalsveien is for residents only July is one of the hottest months of the year Research Reports and parking in front of the Norwegian as temperatures average 20°C (68°F), Academy of Music is not permitted. If you reaching an average high of over 26°C. • SUNDAY, 8 JULY arrive by car, you have to search for fee-based Weather forecast at www.yr.no −− 09:00 Individual paper; session 32, 33, parking on city-owned parking spaces or in 34 and 35 public streets around the Academy. The price 13. Contact details −− 11:20 Invited Panel will depend on where the vehicle is parked, time and the duration of the parking. • Conference Website: www.psn2018.org 6. Photography and/or filming • Conference Team: [email protected] 9. Fire evacuation and security procedures −− Conference Director, Darla Crispin Please be aware that photographs and filming −− Financial matters, Otto Christian Pay may take place during the sessions. The Fire evacuation and security procedures are −− Accommodation and technical matters, photographs and films may be published, displayed at various points throughout the Thomas Møller transmitted or broadcast in official publica- venues and in delegate bedrooms. All escape tions, the Academy’s websites and may be routes must be kept clear. Please note them 14. Visit OSLO circulated to the press and other broadcast for your own safety. media, social media and internet websites VisitOSLO.com is the Official Travel Guide to for publication, transmission or broadcast. 10. Taxis Oslo and their aim is to provide all the Should you have queries, please contact information you need to plan you visit to Oslo. the Conference Director. Oslo Taxi: +47 02323 You may also download their Oslo app on your smartphone. For more information: 7. Internet/email 11. Mobile phones www.visitoslo.com/en/

Free wireless internet access will be available: Please ensure that mobile phones are switched off, or in silent mode, during The Norwegian Chateau conference sessions and concerts. Academy of Neuf Music venue venue

WIFI: psn2018 Neufwifi

Password: nmhpsn18 18131813

9 Acknowledgements

15. Conference Bar The Norwegian Academy of Music (NMH) The Arne Nordheim Centre for Artistic Research (NordART) The Norwegian Student Society (DNS) is the Peter Tornquist (Rector, NMH) second home to many of the students in Oslo Otto Christian Pay and is situated in beautiful surroundings at Birgitte Oppegaard Pollen Chateau Neuf, Majorstuen, next to The Anders Eggen Norwegian Academy of Music. During the Lars Kurverud and the in-house support team PSN 2018 Conference, Betonghaven and Ellen Ugelvik Glassbaren are open to our delegates every Jennifer Torrence afternoon/evening if there are guests (and no Thomas Møller Kulturproduksjon longer than 03:00). Our conference bar offers Kjetil Asdal Bjørgan beverages at friendly prices. Ingrid Holst Sollie Ingvild Sollund asamisimasa Ivar Grydeland Ingfrid Breie Nyhus John Rink Amanda Bayley Tanja Orning Peter Edwards David Gorton

10 PSN Programme

PSN Programme Thursday, 5 July 2018

13.00 Registration and coffee – and presentation set-ups NMH Foyer Lindeman 14:45 Opening performance by Jennifer Torrence: Trond Reinholdtsen: Institute for post-human performance practice (2017) salen Lindeman 14:55 Plenary Welcome: Peter Tornquist, Darla Crispin and John Rink salen Individual Papers 1: Individual Papers 2: Performance ecologies and Reinventing improvisation infrastructures (Chair: Jeremy Cox) (Chair: John Rink) 15:15 Marc Duby: Levinsalen Floris Schuiling: Felles Minds, music, and Notation and rommet motion: ecologies entextualization in of ensemble improvised music performance 15:55 Emil Bernhardt: Levinsalen Jonathan James: Felles Performed The ‘reinvention rommet reflection – Nikolaus exercise’: a Harnoncourt and the methodology for Berlin Philharmonic paired, cross-stylistic in Schubert’s 6. improvisation Symphony (last between advanced movement) classical and jazz students 16:35 Coffee + snack break – and presentation set-ups NMH Foyer

12 Individual Papers 3: Individual Papers 4: Individual Papers 5: Collaborative creativity Opera composers through the Performer agency and questions and agency lens of performance of authorship (Chair: Stephen Emmerson) (Chair: Erling Guldbrandsen) (Chair: Per Dahl) 17:00 Catherine Laws: Levinsalen Joshua Neumann: Felles Bjørnar Habbestad: Jan P. ‘Player Piano’, or Dying Between rommet Performing after High Syses Sal she-plays-it-plays- Convention and Modernism them: agency Tradition: Data in collaborative Science and Turandot’s performance making Liù at the Met 17:40 Simon Desbrulais Levinsalen Daniel Barolsky: Felles Darla Crispin: Jan P. and Mark Slater: The Aesthetics of rommet Werktreue and the Syses Sal Interrogating the Antisemitism in Monstrous in Arnold creative partnership: Performance: Wagner Schoenberg’s Fünf ‘Apheresis’ for as a Conductor Klavierstücke Op.23 Trumpet and Live Electronics 18:20 Simon Desbrulais Levinsalen Miku Oya: Felles Stephen Preston and Jan P. and Mark Slater: Rose, Mirror and rommet Tom Armstrong: Syses Sal Performance: Rococo. Tendencies of What does a work do? ‘Apheresis’ for today’s productions of A Deleuzian approach Trumpet and Live Der Rosenkavalier to problems of Electronics ensemble and interpretation 19:00 Reception NMH Foyer Lindeman 20:00 Opening concert: asamisimasa: Music as Emotion salen Chateau 21:15 Bar Neuf

13 Friday, 6 July 2018

08:30 Registration and coffee – and presentation set-ups NMH Foyer Individual Papers 6: Individual Papers 7: Individual Papers 8: Individual Papers 9: Reimagining the Piano Improvising the unexpected; When it hurts: restriction, The prismatic nature of (Chair: Hilde Halvorsrød) recovering the past trauma, failure and meaning in collaborative practices in music (Chair: J. Murphy McCaleb) performance (Chair: Philip Thomas) (Chair: Catherine Laws) 09:30 Philip Thomas: Lindeman- Clément Canonne: Levinsalen Kathryn Williams: Felles Alice Barron: Jan P. Documentary and salen Creating an Coming Up for Air rommet A Karnatic Guru in Syses Sal digital approaches improvisation device: London: Teacher- to performing John an inquiry into the Student Collaborative Cage’s Concert for instrumental practices Practice Piano and Orchestra of contemporary free improvisers 10:10 Mark Ferraguto: Lindeman- Helena Marinho: Levinsalen Tuomo Tiisala: Felles David Gorton and Jan P. Interior Virtuosity in salen New music for Representing and rommet Mieko Kanno: Syses Sal Beethoven’s Fourth old instruments: Working Through Cerro Rico: the Piano Concerto Expanding the Trauma’s Temporal coproduction of a fortepiano Structure in Sound discursive voice in chamber music 10:50 Julian Hellaby: Lindeman- Nico Couck: Levinsalen Naomi Woo: Felles Agata Kubiak: Does Jan P. Beautiful Piano Tone – salen An unintentional by- The Body in Pain at rommet composer-performer Syses Sal A Matthay Legacy? product of that way of the Piano: Where collaboration working: performance Form Meets Failure in stimulate creativity? practice in recent Ligeti’s Etudes pour A study of string music Piano players 11:30 Coffee + snack break – and presentation set-ups NMH Foyer

14 Individual Papers 10: Individual Papers 11: Individual Papers 12: Individual Papers 13: Concerts, curation and distant Pedagogical perspectives in Insights through choral Musical thought, technology and communication Performance Studies performance the future (Chair: Mary Hunter) (Chair: Mathias Gillebo) (Chair: Amanda Bayley) (Chair: David Gorton) 12:00 Sarah Price: Lindeman- J. Murphy McCaleb: Levinsalen Caiti Hauck-Silva: Felles Larry Goves: Jan P. Musical familiarity salen Ethos, Technique, Text articulation and rommet Multimodal performer Syses Sal and concert selection and Performance: musical articulation in interaction as a amongst classical Rethinking Ensembles choral performance: a creative composi- music audiences in Higher Education case study tional parameter 12:40 Tanja Orning: Lindeman- László Stachó: Levinsalen Daniel Galbreath: Felles Juan Parra Cancino Jan P. Musician as curator salen A new model of Choral Complexity: rommet and Jonathan Impett Syses Sal performers’ attentional Aleatorism and (co-authors): processes and Nested Decision Thought, Technology strategies: Implications Making and Performance: for performance Lessons from the pedagogy and music Future (read by Juan theory Parra Cancino) 13:20 Lunch – and presentation set-ups NMH Foyer Lindeman- 14:30 Concert: Ivar Grydeland: Can I turn you on can you turn me off when you turn me on can I turn you off salen Individual Papers 14: Individual Papers 15: Black and white, day and night: Modes, topics and genres in colouring the monochrome interpretation and analysis (Chair: Cecilia Oinas) (Chair: Anthony Gritten) 15:25 SPECIAL SESSION 1 Lindeman- Stephen Emmerson Levinsalen Per Dahl: Felles GRiNM Gender Relations in New Music – discussion session salen and Bernard Lanskey: Modes of rommet Chair: Darla Crispin Debussy: Beyond communication in Black and White classical music 16:05 Daphne Leong and Levinsalen Yan Zou: Felles Michiko Theurer: Topics and Genres rommet Resonances: Cross- in Analysis and disciplinary Performance: From approaches to Crumb’s Theory to Practice Nocturnes 16:45 Coffee + snack break – and presentation set-ups NMH Foyer

15 Individual Papers 16: Individual Papers 17: Individual Papers 18: Individual Papers 19: Voice, body, humans and humanity Three places, three times: Identity and the creation of Musical constructions and (Chair: Astrid Kvalbein) anthropological readings of meaning in performance deconstructions performance events and traditions (Chair: Emil Bernhardt) (Chair: Jennifer Torrence) (Chair: Peter Tornquist) 17:15 Ingela Tägil: Lindeman- Laura Ellestad: Levinsalen Bede Williams: Felles Bill Solomon: Jan P. The female voice of salen Cultural Performance Conducting rommet Percussion as Queer Syses Sal the Garcia School: and Musical Performances as Practice Research on opera Affect: A Study of Events vocal techniques from Performance Contexts a gender perspective for Norwegian- American Fiddle Music 17:55 Kathryn Whitney: Lindeman- Sean Williams: Levinsalen Carmen-Helena Tellez: Felles Anders Førisdal: Jan P. Confrontations at the salen Architecture for Performance Studies rommet Deconstruction and Syses Sal ‘heart of Schubert’: musical performance: and the New Music performativity in the amateurism vs backstage at the West Conductor guitar works of Aldo professionalism in German spherical Clementi the performance of pavilion at Expo 70, Schubert song Osaka. 18:35 Francesca Placanica: Lindeman- Verica Grmusa: Levinsalen Lina Navickaitė- Felles Karin Wetzel: Jan P. Remediation and salen Performing the Martinelli: rommet Polywork Cycles: Syses Sal Voice-Body Practices ‘National’ Song P Is for Person, Interrelationships and in the Music Theatre in the South Slav Performance, Interdependencies of Du Yun Territories a Century Pogorelich: between Form and Later: A Performer’s Performer’s Identity as Performance Perspective Creative Tool Courtyard Easy outdoor dining Chateau 19:15 Neuf Chateau Bar Neuf

16 Saturday, 7 July 2018

08:30 Registration and coffee – and presentation set-ups NMH Foyer Individual Papers 20: Individual papers 21: Individual Papers 22: Individual Papers 23: ‘Work’ as malleable practice Rhythm and metre as keys to Woman and Origins: three Old recordings and new insights (Chair: Floris Schuiling) performance perspectives (Chair: Anna Scott) (Chair: Juan Parra Cancino) (Chair: Francesca Placanica) 09:30 Astrid Kvalbein and Lindeman- Clare Wilson: Levinsalen Elisabeth Holmertz: Felles Inja Stanovic: Jan P. Gjertrud Pedersen: salen A diffusion of rhythm: The otherness of the rommet (Re)constructing Early Syses Sal Musicianship as metric perspectives self – L’Orfeo Recordings: the Julius gardening on interpreting André Block project Caplet’s Le vieux coffret 10:10 Alan Taylor: Lindeman- Beau Stocker: Levinsalen Lise Karin Meling: Felles Erlend Hovland: Jan P. The death of salen Exploration of drum From innocent rommet A Mahlerian Practice Syses Sal the composer? set sounds through pastime to aesthetic of Performance? The making of East African rhythmic pleasure: the piano as A case study of ‘meaning’ through structures a female instrument Mengelberg’s the performance of in 19th century recording of Mahler’s Western Art Music. Norwegian literature Fourth Symphony 10:50 Bryan Hayslett: Levinsalen Merit Ariane Felles Georgia Volioti: Jan P. Linguistic Stress and Stephanos: rommet Narrativity in Grieg’s Syses Sal Its Relationship to Woman at Point Zero Ballade Revisited: The Phrasing: Rhythm and Nineteenth- Century Meter in Lee Hyla’s Pianist as Storyteller Dream of Innocent III 11:30 Coffee + snack break – and presentation set-ups NMH Foyer

17 Individual Papers 24: Individual Papers 25: Past vocal Individual Papers 26: Something from nothing: silence practices and innovative views on Piano Unstrung: Genre, Gender and improvisation vocal aesthetics and Generation (Chair: Bernard Lanskey) (Chair: Kathryn Whitney) (Chair: Ellen Ugelvik) 12:00 Anthony Gritten: Lindeman- Natasha Loges: Levinsalen Edward Venn and Felles SPECIAL SESSION 2 Jan P. Does the performer salen Interruptions in the Henry Weekes: rommet Maksim Stsura, and Syses Sal have to listen? Journey: Schubert's Making Darknesse colleagues from RCM Winterreise in the 19th Visible: Emerging London: century Concert Hall traditions in the Challenges of Music performance of Notation in the Thomas Adès’s Twenty-First Century Darknesse Visible Chair: Anders Førisdal 12:40 Tor Espen Aspaas: Lindeman- Hilde Halvorsrød: Levinsalen Laura Wahlfors: Felles Unfolding Beethoven salen Webern and the Voice Queer Embodiments rommet extempore – Vocal Performance at the Piano: An Aesthetics in Musical Erotohistoriography Modernism 13:20 Lunch – and presentation set-ups NMH Foyer Lindeman- 14:15 Concert: Ingfrid Breie Nyhus: Slåttepiano salen

18 Individual Papers 27: Individual Papers 28: Individual Papers 29: Individual Papers 30: Instruments and the Modern: Figures, Words, Stories, Histories Taking note: musical notation Reverence, reflection and Insights from practices (Chair: Øivind Varkøy) and creative collaboration re-creation in classical music (Chair: Tanja Orning) (Chair: Erlend Hovland) performance (Chair: Gjertrud Pedersen) 15:15 Roger Heaton: Lindeman- Mary Hunter: Levinsalen Amanda Bayley and Felles Daniel Leech- Jan P. Playing the salen The Senses of Stevie Wishart: rommet Wilkinson: Syses Sal unplayable: Horatiu History in Historically Notating the future, Aspects of belief Radulescu’s The Inner Informed Performance embodying the past: and attachment in Time creative solutions the performance of explored classical music 15:55 Alfia Nakipbekova: Lindeman- Erling E. Levinsalen Jeremy Cox: Felles Victoria Tzotzkova: Jan P. Lecture- Recital: salen Guldbrandsen: Performers will rommet Creative Agency Syses Sal Contemporary Witty, Clumsy, Ironic, be performers: in Classical Music Cello Technique: or Sad? Studying composers’ notated Performance: Performance and Recordings of Mahler’s instructions as pre- Theorizing, Observing, Practice Ninth Symphony, emptive corrections Experiencing Second Movement: to anticipated Ländler from the last performative 80 Years transgressions 16:35 Ellen Fallowfield: Lindeman- Anna Scott and Levinsalen Russell Wimbish: Felles Tania Lisboa, Jan P. Multiphonics for salen Valentin Gloor: ‘Is this your rommet read by Pétur Syses Sal Stringed Instruments: Brahmsphantasie: composition or is Jonasson: Performance Practice Performing Historical this some sort of Ensemble and Research Practice Fictions collaboration?’ performance over What the Western high-speed networks musician’s attitude towards graphic notation can tell us 17:15 Coffee + snack break – and presentation set-ups NMH Foyer

19 Individual Papers 31: Research Reports Research Reports Time travels in harmony and (Mentor Group: David Gorton, (Mentor Group: Jeremy Cox, expression Catherine Laws) Anthony Gritten) (Chair: Emil Bernhardt) 17:45 Massimo Zicari: Lindeman- Monika Voithofer: Levinsalen Benjamin Redman: Jan P. Expressive tempo salen “That it’s not too late The use of low- Syses Sal modifications in for us to have bodies”: latency (LOLA) early twentieth- Notes on extended videoconferencing century recorded Performance Practices for performance, performances of in Contemporary rehearsal, recording operatic arias Music and education 18:15 Ulf A. S. Holbrook: Levinsalen Mathias Gillebo: Jan P. Textures of Singing as Ethical Syses Sal performances in Demand and Public spatial composition Discourse: Exploring ethical implications of classical singing 18:25 Tomoyo Ueda: Lindeman- Baroque harmonic salen language and chord playing on the marimba: one piece, many options 18:45 Hild Borchgrevink: Levinsalen Lorenzo Vanelli: Jan P. Entertainment, Hidden meanings in Syses Sal public discourse or plain sight: the use of protection of the Field Hollers in the Jim unsayable? The Crow South performative as public sphere in Norway – an essay in progress 19:15 Reception Outdoors 20:00 Conference dinner NMH Foyer Chateau 22:00 Bar Neuf

20 Sunday, 8 July 2018

Hotel Check-out 09:00 Registration and coffee + storage of luggage (for those who haven’t used the boxes on Oslo S – Foyer) – and presentation set-ups NMH Foyer Individual Papers 32: A duet with Individual Papers 33: Releasing Individual Papers 34: The Individual Papers 35: Performers in the ‘four-handed monster’ HIP: Realisation, improvisation and science and poetry of romantic history and historically-informed (Chair: Ellen Ugelvik) unexpected options interpretation performance – two cases (Chair: Helena Marinho) (Chair: Lina Navickaitė-Martinelli) (Chair: Mieko Kanno) 10:00 Liam Viney and Anna Lindeman- David Chung: Levinsalen Mine Doğantan-Dack: Felles Jian Yang: Jan P. Grinberg: salen Transcribing Sombering rommet Historically Informed Syses Sal Reimagining the Couperin’s preludes Rachmaninoff’s Performance Four-Handed Monster à la D’Anglebert: Second Piano Encounters Music a journey into the Concerto Education and creative processes Examination: The case of the 17th -century of Vivaldi’s RV 356 improvised tradition 10:40 Cecilia Oinas: Lindeman- Christian Kjos: Levinsalen Thomas Wozonig: Felles Job Ter Haar: Jan P. From four-handed salen Releasing the Aspects of the Poetic rommet “A very disembodied Syses Sal monster to an all- ‘loudie’ – harpsichord and Romanticism in violoncello”; Victorian embracing Vishnu: on accompaniment in G. the Interpretation of perspectives on an sensitivity, intimacy, F. Handel’s continuo Jan Ladislav Dussek's Italian virtuoso and corporeal cantatas Élégie harmonique interaction in György Kurtág’s four-handed works 11:20 Coffee + snack break NMH Foyer 11:50 Invitation to PSN 2020 Huddersfield, UK with Philip Thomas, followed by: Lindeman- INVITED PANEL: Mine Doğantan-Dack, Mieko Kanno, Øivind Varkøy, John Rink, Bernard Lanskey. Moderator: Darla Crispin salen 13:00 Farewell words: Darla Crispin, John Rink, Peter Tornquist Lunch and departure NMH Foyer

15:00 Evaluation Team

Abstracts, Thursday, 5 July

Abstracts, Thursday, 5 July Institute for post-human performance practice

Trond Reinholdtsen The Institute for Post-Human Performance Practice is Jennifer Torrence is an Oslo-based new music per- (1972, Norway): a performance, documentary film, and installation cussionist and performer. She is currently an artistic The Institute for Post-Human by Trond Reinholdtsen and Jennifer Torrence. research fellow at the Norwegian Academy of Music Performance Practice (2017) Today’s performance features an excerpt performed where she also lectures and teaches privately. by Jennifer Torrence. Jennifer undertook her studies at the Oberlin Conservatory of Music, the Guildhall School of Jennifer Torrence, The Institute for Post-Human Performance Practice Music, and the University of California, San Diego. performance is the world’s leading mobile institute dedicated to She is the former principal percussionist of the Arctic preparing classical musicians for the technologies of Philharmonic & NOSO Sinfonietta (Norway), a former the future. Spanning a wide range of activities, the Fulbright Scholar (United Kingdom). She is currently institute develops musical body enhancements, a member of the Percussive Arts Society, Committee robotics, and artificial intelligence creativities, for New Music/Research and the Queer Percussion among other cutting-edge initiatives. Research Group. For more information please visit www.jennifertorrence.com. The Institute for Post-Human Performance Practice is made with support from Arts Council Norway, the Norwegian Artistic Research Program, and the Norwegian Academy of Music.

24 Jennifer Torrence and Trond Reinholdtsen. Photo: Elizabeth Peacocke

25 Individual Papers 1: Performance ecologies and infrastructures (Chair: John Rink) Minds, music, and motion: ecologies of ensemble performance

Bio: Abstract: Marc Duby began his professional According to recent neuroscientific literature, expert musical perform- career as electric and acoustic ance is one of the most complex and challenging tasks humans under- bassist in Cape Town in 1972. take and constitutes an important potential area of inquiry into neuro- Awarded the ﬁrst masters’ degree cognitive aspects of motor knowledge and brain plasticity, among other in jazz performance (cum laude) concerns (Schlaug 2015; Brown, Zatorre, and Penhune 2015). While in Durban 1987 under the super there exist a large number of research projects focussing on individual vision of Prof. Darius Brubeck, he performance, ensemble performance has not altogether garnered the completed his PhD thesis at the same degree of attention, notwithstanding significant contributions University of Pretoria in 2007 on from perspectives such as ecological psychology incorporating notions the topic of Soundpainting, the of affordances under the aegis of what has become loosely known as framework for live composition 4E cognition (Clarke 2005; Windsor 2011; Windsor and de Bezenac 2012; developed by the New York Walton et al. 2015). composer/saxophonist Walter Thompson. Over more than four This paper aims to explore some opportunities and challenges that Marc Duby decades, Duby has performed arise from a broadly ecological perspective as applied to ensemble University of South Africa professionally with a host of local performance, arguing that there is a fundamental difference between South Africa and international artists. An inter- individuals as soloists and individuals as part of performing ensembles: nationally recognised musician in short, that the ensuing dynamics within performing groups can not and researcher, Duby has per- be straightforwardly understood as additive processes (in which formed in England, France, individual contributions result in a group outcome in linear fashion). Holland, India, Mexico, Thailand, Such an approach, it is argued, cannot do justice to the emergent and the United States, as well as character of music in performance, when considered as an activity presenting academic papers in (Small 1998) rather than an object of analysis. South Africa and abroad. An NRF-rated researcher and award- Studies of emergent relationships within ensemble performance (Borgo winning composer of ﬁlm music, 2005; Sawyer 2006; Sawyer and DeZutter 2009; Barrett 2014) seem to Duby is active as a performer, exhibit a natural kinship with improvisation, whether in theatre or composer/arranger, and music music. The question remains as to the applicability of these various educator, and serves as Professor approaches – which incorporate concepts from systems theory as in Musicology at the University of models to account for unpredictable dynamic outcomes of group South Africa. processes – to performances where the outcomes are constrained by the composer’s authoritative directions (as in the score of a Beethoven symphony, for argument’s sake) or by less specific cultural concerns as

26 Abstracts, Thursday, 5 July 15:15, Levinsalen

to performance etiquette (as in ‘traditional’ jazz improvisation, drawing from the canon of the Great American Songbook).

While systems theory brings the undoubted advantages of taking into account music’s mutable nature and sometimes unpredictable outcomes, it is less certain to what extent its tenets of non-linearity, emergence, and changeability are applicable beyond the genre- boundaries of free improvisation. The mathematical language of ‘hard’ systems theory (complexity and chaos theory, differential equations, non-linear dynamics, and so on) has gained traction in explaining large- scale complex phenomena such as weather systems and epidemics. To what extent these concepts can be scaled down to more intimate processes such as the musical and gestural interactions within a given ensemble also remains an open question, since these interactions will generate altogether different sets of data from natural processes.

This paper aims to offer a snapshot of current research in this emerging field of analysis in discussing the opportunities and challenges at play when aspects of ecological psychology and systems theory are applied to ensemble performance.

In my presentation I will use rehearsal footage from rehearsals of ‘Six Spiders’ by Bartek Szafranski and ‘String Quartet no9’ by Martin Jones as well as interviews with world renowned new music specialists: cellists Neil Heyde and Lawrence Stomberg and a violinist Timothy Schwarz.

27 Performed reflection – Nikolaus Harnoncourt and the Berlin Philharmonic in Schubert’s 6. Symphony (last movement)

Bio: Abstract: Emil Bernhardt (b. 1979) studied Background the violin at Barratt Due Music In 2003–06, the Austrian conductor Nikolaus Harnoncourt recorded the Institute (until 2000), and then Schubert symphonies with the Berlin Philharmonic. Harnoncourt composition (Bachelor, 2005)) emphasizes the importance of Viennese dialect in Schubert’s music, a at Norwegian Academy of Music. way of playing with which the Berlin Philharmonic has no immediate As part of his Bachelor, he was connection. Therefore, a reflective explanation of how to perform this also an exchange-student in dialect is needed during the rehearsals. However, according to Freiburg, Germany for one Harnoncourt, this process makes the result even more interesting. The semester. Later Bernhardt studied challenge is particularly relevant to the 6. Symphony (1817–18). Here Philosophy (Master, 2012) at the Schubert combines the Viennese tradition with a reflective – if not ironic University of Oslo. After ﬁnishing – play with the influence of Rossini, who was extremely popular in his studies, Bernhardt worked as Vienna in these years. a freelance music critic in several national and international papers Research questions Emil Bernhardt and journals. Since 2012 he has From a philosophical point of view, one might argue that there is a Norwegian Academy of Music regularly been reviewing classical tension between reflection and performance: Basically, reflection Norway and contemporary music for the means looking back, taking different aspects into consideration, while Norwegian weekly newspaper performance means acting, towards the future, without knowing the Morgenbladet. He has also result. In the present case, this tension appears on several levels: written for several international Schubert ‘performs’ a Viennese tradition, but still reflects upon the journals, given a lecture at the Rossini-influence; the Berlin Philharmonic performs a Viennese dialect, Darmstadt Ferienkurse about the brought about through a reflective rehearsal work; Harnoncourt music of Ragnhild Berstad, and interprets Schubert’s music with the Berlin orchestra and thus gives a made two radio-programs for ‘performative answer’ to the question of the relationship between Deutschlandradio Kultur in Berlin. reflection and performance. Two fundamental questions remain: Is Emil Bernhardt is currently a Schubert actually reflecting upon, or rather performing, his tradition? Research Fellow at the Norwegian Academy of Music, working on And – more important: Is it possible for Harnoncourt to maintain this the performance practice of the aspect of reflection in the actual performance? Is it at all possible to Austrian conductor Nikolaus perform reflection in music, and if so, how? Harnoncourt.

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Aims With Harnoncourt’s Schubert-performance as an example, I want to discuss if, and how, the concept of reflection can possibly shed light on the performance-concept. As an introduction, I will briefly discuss the tension between the two concepts. I also want to suggest a relation to Schubert’s musical context. However, the main focus will be on Harnoncourt’s actual performance with the Berlin Philharmonic, presented as an example of how reflection and performance is combined, although perhaps critically. Thus, I also want to show how this tension, in my view, characterizes Harnoncourt’s performance practice on a more general level.

Summary of content This paper basically asks whether it is possible to combine the two concepts of performance and reflection, and if so, how this combination becomes manifest in an actual performance. I would like to argue that Harnoncourt’s performance of Schubert with the Berlin Philharmonic provides an interesting possibility to discuss this complex question. I would also argue that Harnoncourt actually succeeds in combining reflection and performance in a highly individual way, and that this particular combination is one of the characteristics that makes him interesting as an artist and musical interpreter.

Significance As the theme of the conference is new approaches to Schubert Lieder, I hope a further discussion of Schubert’s (performative) relation to his cultural background, also in other genres, will be of interest. Moreover, the paper will deal thoroughly with some interesting aspects of the concept of musical performance.

29 Individual Papers 2: Reinventing improvisation (Chair: Jeremy Cox) Notation and entextualization in improvised music

Bio: Abstract: Floris Schuiling is a Veni Post This paper presents preliminary results from an ethnographic research doctoral Fellow at Utrecht project on “Notation Cultures”, investigating the role of different kinds University. His project “Notation of notation in the creative processes across a variety of musical Cultures in Contemporary Music” practices. Presented here are results from two case studies of impro- investigates the role of music vised music. One is the Genetic Choir, a fully improvisational choir that notation across a variety of uses rules and concepts to practice and reflect on methods of impro musical practices, and is visation in their workshops and performances. The second is Kobranie, supported by a Veni postdoctoral a group of musicians that uses conducted improvisation in its own grant from the Dutch Organization performances, but also in educational contexts with participants for Scientiﬁc Research (NWO). ranging from schoolchildren to conservatory musicians.

Although the learning and performance of jazz and improvised music have frequently been described as oral and immediate, many impro vising musicians use forms of notation or other kinds of symbolic Floris Schuiling representation in their work, either to develop new ways of working, Utrecht University stimulate musicians’ creativity, or to communicate existing methods to Netherlands other musicians. Although musicological understanding of the creative processes in improvisation has made significant progress in the past decades, the role of such compositional structures within these socio- musical processes remains little understood. However, this topic forms an interesting perspective for understanding the role of notation in creative processes in music more generally.

I describe the processes of codification and signification encountered in these processes using the concept of “entextualization”. Drawn from linguistic anthropology, this concept refers to the social process by which instances of discourse are made into “texts”, rendered as repeatable, separate entities detachable from their original context of utterance. A consequence of this concept is that it decouples writing and text. Because of this, notation becomes a way not do define a text but rather to negotiate the relation between text and performance.

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Anthropologically, texts allow one to speak in a name other than one’s own (for instance one’s culture, forefathers, or deities). One of the most striking results of my research is that the musicians in my fieldwork similarly indicated that their use of notation helped them to develop a compositional consciousness, and to focus on the music itself rather than their personal contributions or those of their fellow musicians. In fact, they indicated that personal expression could be detrimental to the process of collective improvisation. This presents rather a different point of view than the one usually offered in accounts of improvised music, where community, interpersonal interaction, and expressiveness have been highlighted as special characteristics of improvisation, as opposed to the “centralized planning” and subservience to the s core supposedly found in the performance of pre-composed music. In the fieldwork that I have conducted, notation emerges not as a dominating force, but as an interface for imagining musical relationships.

31 The ‘reinvention exercise’: a methodology for paired, cross-stylistic improvisation between advanced classical and jazz students

Bio: Abstract: Currently in his ﬁnal year (P/T) of Background: a PhD in Music Education, Collaborative learning is commonly advocated in places of advanced Jonathan James works as a freel- musical training, yet classical and jazz students tend to remain in ance lecturer and workshop separate ‘tribes’ from a curricular perspective. When they do collabor- leader for orchestras and concert ate, the opportunity to learn from each other’s thinking and playing venues. He is a ‘Discovery Guide’ style is rarely maximized. When this collaboration requires improvising, for the BBC National Orchestra of the jazz students often take the lead. This study tests a methodology – Wales, an Associate of the the ‘reinvention exercise’ – for paired improvisation across styles, Bournemouth Symphony Orchestra observing aspects of collaborative and style-specific musical creativity and a regular presenter for the and their impact on practical musicianship. Royal Philharmonic Orchestra, drawing on his experience as Research questions: both a conductor and a trained • How might advanced classical and jazz instrumentalists learn teacher. together on equal terms through cross-stylistic improvisation, and Jonathan James what is the perceived impact on their musical creativity when they Bristol University He runs a ‘Pre-Conservatoire’ in do? United Kingdom his home city of Bristol for • Which musical language and syntax best facilitates equal sharing of talented young classical and jazz this kind? students, and writes regularly for • Are there trends within the creative thinking according to style, and the UK’s Music Teacher magazine does this help narrow definitions of musical creativities? on a range of education issues. • What are the effects of different modes of learning (individual, cross-paired, like-paired) on the creative output? • What is the student feedback on the usefulness and relevance of the cross-stylistic exercises to their studies, in particular their practical musicianship?

Aim: The main objective is to test whether the ‘reinvention exercise’ facilitates improvising and learning in pairs across classical and jazz styles in a way that apportions equal task leadership to each pair.

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Summary content: Comparative case studies were conducted over 18 months with 6 advanced instrumentalists (average age 17) with either classical or jazz as their primary study. Drawing on models for creative cognition proposed by Finke (1991) and Webster (1990), as well as tactics typically used by an orchestral workshop leader, a series of cross-stylistic ‘reinvention exercises’ were devised that incorporate a cycle of convergent and divergent creative tasks, carried out individually and in both like- and cross-style pairs. With some initial guidance, paired participants are asked to deconstruct various pieces of different predominant styles and then ‘reinvent’ them through improvising in their own musical language.

Data was collected through semi-structured interviews, video and audio recordings of the reinvention process, and quantitative surveys, all thematically coded to highlight cognitive, collaborative and pedagogical processes. Post-Vygotskian socio-cultural theories around paired learning (mainly relating to Participation theory, Rogoff 2008) are examined in practice. The reinvention exercise is validated as a means of facilitating cross-stylistic improvisation and learning across pairs, and suggestions for its application are considered.

Significance: This study offers a deeper understanding about aspects of collaborative creativity that remain under-developed in the literature, suggesting new practical strategies for improvisation and paired learning. It develops the current discussion on the potential importance of both the latter for an advanced performance studies curriculum, advocating the need for collaborative approaches of this kind in the first year of a higher music education course.

33 Individual Papers 3: Collaborative creativity and agency (Chair: Stephen Emmerson) ‘Player Piano’, or she-plays-it-plays-them: agency in collaborative performance making

Bio: Abstract: Catherine Laws is a musicologist This presentation is concerned with the relationship between com- and pianist. She is a Reader in posers, performers and instruments, and the complex ways in which Music at the University of York, these creative agencies feed into performance, creating forms of UK, and a Senior Artistic Research musical identity. Matters of collaboration have been subjected to Fellow at the Orpheus Institute, increasing levels of scrutiny in recent years, and in the musical context Ghent. As a performer Catherine this has led to a number of useful studies of the ways in which com- specializes in contemporary posers and performers work together. Nevertheless, I will argue that music, working collaboratively despite some significant exceptions, more attention is generally still with composers and often paid to composers than the creative contribution of performers. drawing other artists, especially Additionally, the material agency of the instrument deserves greater theatre and ﬁlm makers, into her consideration: beyond the notion of ‘instrumentality’, the ‘thing power’ projects. Her practice-led of the instrument (to appropriate Jane Bennett’s term), as physical research is focused variously on object, sound source and cultural agent, often plays a significant role in processes of embodiment, sub- the development of new musical materials through collaborative pro- Catherine Laws jectivity and collaboration in cesses of making; more so than is generally acknowledged. University of York/ Orpheus contemporary performance Institute, Ghent. practices, and she currently leads This paper will concentrate on aspects of a recent large scale multime- United Kingdom the research cluster ‘Performance, dia performance project, ‘Player Piano’, devised and performed myself Subjectivity and Experimentation’ but developed in collaboration with four composers, a theatre maker at the Orpheus Institute. and a film-maker. The focus is on two of the collaborations, with composers Edward Jessen and Paul Whitty, which operated in strikingly dif- Much of her musicological work ferent ways despite the similarity of the brief, the working relationships examines the relationship and the commonality of overall context. Exploring the creative pro- between music, language and cesses at work here helps to expose some of the very different ways in meaning, with a particular focus which the distributed, collaborative and resistant relationships between on the musicality of Beckett’s performer, composer and instrumental context contribute to the pro- work and composers’ responses duction of a musical subject-in-process. Judith Butler’s work on per- to it. She has published many art- formativity and embodiment, still relatively little used in the field of icles in this ﬁeld and her book, musical performance, is drawn into a consideration of the dynamic Headaches Among the interaction of agency and subjection that is brought into play in this Overtones: Music in Beckett/ work. For Butler, the simultaneous use and disruption of the conven- Beckett in Music, came out in tional, habitual and (re)iterative can contribute to a de-constituting 2013 (Editions Rodopi). possibility: a space of new understanding with the potential to make us look again, to consider our perceptions and our own positionality and

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agency, whether as composers, performers or listeners. Barbara Bolt argues similarly for the transformative creative potential of the performative, but how, then, does this manifest in specific contexts of collaborative production?

35 Interrogating the creative partnership: ‘Apheresis’ for Trumpet and Live Electronics

Bio: Simon Desbruslais is a trumpet Mark Slater is a composer, soloist, whose performances have producer and musicologist with been critically acclaimed as ‘steel- an interest in the processes of lipped’, ‘musically compelling’ and how music is made, usually possessing ‘supreme conﬁdence including uses of technology and and ﬂair’. Equally active in baroque improvisation in some way. and contemporary music, Simon has recorded extensively for Whether working as a composer Signum Classics including two or producer, Dr Slater’s work is albums of newly-commissioned fuelled by an exploration of trumpet concertos, ‘Psalm: spontaneity and collaboration – Contemporary British Trumpet regardless of style. The focus of Concertos’ and ‘The Art of Dancing’. his music-making is on cele Simon Desbruslais brating the abilities and idio University of Hull Since his breakthrough season in syncrasies of the musicians he United Kingdom 2012/13, Simon has given concerto works with. performances in China and Brazil, appeared as soloist with Royal As a writer, he interrogates the Northern Sinfonia, English patterns and processes of Symphony Orchestra, BBC National music-making from theoretical Orchestra of Wales, Orchestra of and philosophical perspectives the Swan, Charivari Agréable, to understand something about Brook Street Band, Ensemble what’s going on when people Diderot and London Concertante, make music. and as a guest chamber musician with the Ligeti Quartet.

Simon is currently Lecturer in Music and Performance Coordi nator at the University of Hull and his monograph on Paul Hindemith Mark Slater is due for publication in 2018. University of Hull United Kingdom

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Abstract: ‘Apheresis’, for trumpet and live electronics, was composed between 2015 and 2017 and first premiered at the Janáček Academy of Music and Performing Arts, Brno on 09 October 2017. It embodies creative and technical journeys – for the solo trumpeter, who had previously special- ised in acoustic repertoire, and for the composer, who assumed the additional roles of producer and sound engineer.

This paper will include live extracts from the piece, with reference to sketch materials, to illustrate several of the techniques developed during the creative process, namely the use of time-stretching, live canon, pre-recorded chorale voicing and transcribed improvisation. These techniques reflect upon the history of trumpet with electronics, such as the use of tape-delay systems, which had been used in the 1980s by composers such as Sebastian Forbes and Jonathan Harvey, in addition to utilising more recent real-time and offline processing using software such as MaxMSP.

This paper asks penetrating questions about the nature of authorship and ownership emanating from the fact that the work was composed not only for a performer, but with a performer in the manner of an ‘open-loop’ collaboration (Haydn & Windsor, 2007). The aim of this paper is to interrogate the creative processes exploited and extended through the composition of ‘Apheresis’ through the lens of recent scholarship and case studies (Clarke, Doffman and Timmers, 2016; Slater 2016).

Falling within the expanding field of composer-performer study, this paper generates new insights into the collaborative creative process and the development of the electroacoustic trumpet repertoire in two ways: 1) by reflecting on how past practices can be re-contextualised using the technology of the present and 2) examining the socio-cultural dynamics at play during the creation of a new piece of music.

37 Individual Papers 4: Opera composers through the lens of performance (Chair: Erling Guldbrandsen) Dying Between Convention and Tradition: Data Science and Turandot’s Liù at the Met

Bio: Abstract: Joshua Neumann is Visiting Performance tradition is an integral component of the social, aesthetic, Assistant Professor of musicology and intellectual life of opera and its participants. This community, at the University of Florida. His comprised of composers, singers, audiences, and scholars, over primary research focuses on whelmingly identifies tradition as the trans-historical and trans-national applications of data science and connections between those who engage the same work, most often via network theory to opera perform- performance. Like for most operatic genres, a broad spectrum of ance. He is currently editing a nuanced interpretations exists within the seemingly narrow dramatic two-volume series on opera in the scope of giovane scuola opera, which the presence of diverse produc- digital age, focusing on genre tions and performance styles evinces. Even so, and with a more com- creation and production prac- prehensive recording history available compared to operas from earlier tices, as well as digital analyses generations, scholars have yet to firmly distinguish between tradition and objects in opera. and convention. This paper argues that, while closely related, these entities are not the same. Tradition is an evolving, passive, and percep- His publications include writings tual construct in one’s consciousness resulting from all encountered Joshua Neumann on music data analysis, data performances. Convention, conversely, is a benchmark of expected or University of Florida generation for archival-only acceptable practices within a tradition. Semantic links between critical United States access recordings, music and descriptions of these concepts and data science offer room for recon- gender representations in Alfred sideration of their relationship. Hitchcock’s 1956 remake of The Man Who Knew Too Much, and Giacomo Puccini’s Turandot’s recorded performance history at the reviews of a wide range of work, Metropolitan Opera dates from 1961, includes some of the most iconic including 18th century music and performers of this era, and is the most comprehensive such corpus texts devoted dance music, currently available. It is thus an ideal case study for assessing an overall conducting, and digital scholar- performance tradition, and establishing the conventions existing ship. Neumann holds a PhD in therein. In this aria, singers do not seem to follow a given set of conven- musicology and a Graduate tions for tempo over the course of the recorded performance history. Certiﬁcate in digital humanities Using data generated from close and augmented listening, this paper from the University of Florida. argues that this aria’s performance history at the Metropolitan Opera offers a unique opportunity to parse key nuances and differences of tradition and convention. Both statistical analysis of tempo data and the application of correlation network analysis suggest that, whether deliberate or not, individuality emerges as the prevailing house style for this aria.

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While not entirely unprecedented, this aria’s lack of cohesion to expected demographic components of Turandot’s history at the Met, such as conductors, singers, or productions, stands in stark contrast to the opera’s other primary solo passages. Liù’s Act 1 aria, “Signore, ascolta!”, Calaf’s “Non piangere, Liù” and “Nessun dorma!”, Turandot’s “In questa Reggia,” and the Riddle scene, “Straniero, ascolta!” all exhibit clear cohesion into subgroups with clear links to personnel and productions.

Given the apparent lack of consistency and therefore lack of conventions for tempo and pacing in “Tu che di gel sei cinta,” the tradition that results reflects the individuality for every. Without a clear, prevailing coalescence of performance practices, claiming tradition as a delimiter becomes untenable, and convention alone becomes a purveyor of expectation in performance practice. In short, the performance tradition and history of this aria at the USA’s preeminent opera house is devoid of convention other than that every Liù who sings there must die on her own distinct terms.

39 The Aesthetics of Antisemitism in Performance: Wagner as a Conductor

Bio: Abstract: Daniel Barolsky is an associate Responding to Richard Wagner’s “Judaism in Music” from 1850, scholars professor of music at Beloit have long debated the extent to which the composer’s racism could be College. His recent scholarship located within his musical dramas. In the last twenty years, David Levin and research focuses on the has redirected the analytic focus and proposed, instead, “to seek out relationship between perform- the traces of antisemitism in the aesthetic register rather than the polit- ance and analysis and the role of ical or biographical.”1 In this paper, I build on Levin’s methods, but performers in music history. rather than focus on readings of Wagner’s operas, I use Wagner’s Daniel is currently the editor of “Judaism in Music” as a lens through which to read Wagner’s celebrated Open Access Musicology. pamphlet from 1869, On Conducting.

Wagner’s treatise has received most of its attention from conductors, who aspire to imitate (or reject for its paradigmatic representation of Romanticism) the interpretive aspirations and techniques espoused by author.2 Additionally, historians have turned to the work as a way to Daniel Barolsky understand the reception history of certain compositions (especially Beloit College Beethoven’s Ninth Symphony3) or the changing styles of interpretation United States over the 19th century.4 Little attention, however, has been paid to how Wagner’s writings about performance and interpretation conflate aesthetics and German nationalism in ways that resonate with the philosophical values espoused in his antisemitic essay.

Ever the self-promoting egotist, Wagner, in On Conducting, takes aim at multiple conductors for failing to live up to his musical standards. But his commentary on the “Jewish” Felix Mendelssohn’s conducting extends beyond the criticism of the individual. Read through the lens of “Judaism in Music,” Wagner’s critique of Mendelssohn clearly reflects an aesthetic of antisemitism, one that is applied to tempo and all methods of interpretation. The Jew, Wagner writes in 1850, no matter

1 David Levin, “Reading Beckmesser Reading: Antisemitism and Aesthetic Practice in The Mastersingers of Nuremberg,” New German Critique 69 (Fall 1996): 127-46. 2 Gunther Schuller, The Compleat Conductor (Oxford: Oxford University Press, 1998). 3 Raymond Holden, “The Iconic Symphony: Performing Beethoven’s Ninth Wagner’s Way,” The Musical Times 152, no. 1917 (Winter 2011): 3-14. 4 Jürg Stenzl and Irene Zedlacher, “In Search of a History of Musical Interpretation,” The Musical Quarterly 79, no. 4 (Winter 1995): 683–699 40 Abstracts, Thursday, 5 July 17:40, Fellesrommet

how assimilated, speaks German as a foreigner; the Jewish musician is inexpressive, superficial, imitates without understanding, and is more concerned with commercial successes than with true artistic creation. Mendelssohn, the conductor, Wagner writes in 1869, is similarly cast, his performances indifferent to musical substance and superficial, his pref- erence for fast tempi a reflection of his greater attention to societal fashions and financial concerns (“time is money5”). Yet Wagner is dependent on Mendelssohn as a foil, the negative other, against whom to frame the ideals of a true German performing artist. Wagner needs Mendelssohn, whose presence dominates Wagner’s book on conducting, in order to dispense with him, a Beckmesser to his Walther, a Mime to his Siegfried.

Building upon the work of Nina Eidsheim, I suggest that most conversations around the aesthetics of performance, as manifest in the criteria used to evaluate performers or shape new performances, fail to recognize the latent, or in the case of Wagner, unsubtle racism, that under- girds many dominant aesthetic claims.6 Instead we often presume that aesthetic reactions are either individually subjective or abstract, and thus separate from the topic of identity politics. Only by exploring the foundations and myriad manifestations of this bigotry might we begin the process of examining more critically the way we read and write about performance aesthetics.

5 Richard Wagner, On Conducting, trans. Edward Dannreuther (New York: Dover, 1989), 43. 41 Rose, Mirror and Rococo. Tendencies of today’s productions of Der Rosenkavalier

Bio: Abstract: Miku Oya is a second year PhD Der Rosenkavalier by Richard Strauss had been staged in the rococo candidate in the Department of style which followed the scenery and costume of the first performance Theatre, Film and Media Studies by Alfred Roller. While other major operas by composers like Mozart, at the University of Vienna. Her Wagner, and Verdi have been staged with new concepts at earliest research interest is opera staging since the 1920s and mostly since 1945, the dominance of the first and production in Austria and staging of Der Rosenkavalier was weakened only after the end of the Germany. Her dissertation twentieth century. Since then, directors try to direct this opera in differ- focuses on historical productions ent ways. However, even today, it is an important assumption, how a and contemporary productions new production can give up the concept of the first performance in the of Der Rosenkavalier by Richard rococo style and how it can transform elements of the directions of the Strauss. She holds a BA in Theory first performance to the modern form. However, there are less aca- and History of Arts from the demic articles about this opera until today. Hokkaido University and an MA in Music from Tokyo University of This paper discusses what tendencies productions of Der Rosenkavalier Miku Oya the Arts. She has written articles have. It is important that some directors used same motives to express University of Vienna on the opera staging in the early the world of this opera in different ways. In this paper, selected modern Austria 20th century like “The Role of productions are analyzed with the focus on three motives: rose, mirror, Director as a Collaborator in the and rococo. Opera Creation—Richard Strauss’ Die Frau ohne Schatten and First, the meaning of these motives in the original libretto and Alfred Roller—“(2015). Regiebuch (directionbook) are described as an assumption of modern productions. Second, the selected modern directions are analyzed. Four productions are here mainly discussed with comparison each other: Ruth Berghaus (Frankfurt 1993), Herbert Wernicke (Salzburg 1995), Peter Konwitschny (Hamburg 2002), Stefan Herheim (Stuttgart 2009). They are not only important modern productions for this opera, but also common to the point that they used at least two of those three motives as important motives which had different meanings from the original Libretto and Regiebuch. At the end, the relationship of these three motifs are discussed.

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The silver rose was used not only as a tool for the ritual in the second act but also as a musical motif repeated in the finale. Berghaus, Wernicke, and Konwitschny transformed it into a red rose in several scenes. The mirror in the Marschallin’s room in the first act makes her sad by recognizing her old. Herheim used also the mirror to reflect the distorted image of the Marschallin. Wernicke used the mirror for the background, which reflects the landscape of Vienna, persons on the stage and the audience in the auditorium, to describe the world of this opera. The rococo stage forms the world of Der Rosenkavalier which shows the audience the dream world in the past. Konwitschny used this frame as a means to express a kitsch society in the first act. Other directors like Wernicke and Herheim used this motive partly with ironical connotations.

Through this analysis, I would like to describe the basis to consider the relationship of important modern productions and the significance of this opera in the today’s society.

43 Individual Papers 5: Performer agency and questions of authorship (Chair: Per Dahl) Performing after High Modernism

Bio: Abstract: Bjørnar Habbestad (1976), ﬂutist After more than a century of ‘contemporary’ music, we can trace a and PhD-researcher at the certain dichotomy between the musicianships of ‘experimental’ and Norwegian Academy of Music in ‘new music’ practices. Despite numerous tangents between the two Oslo. He is educated in music, art found in performance histories, this reduction functions as a starting history and philosophy from point for discussing developments in what we could call current ‘con- Bergen, London and Amsterdam, temporary music’ musicianship. now working as a soloist, chamber- and ensemble musician One of the main differences is related to the production of meaning and in Scandinavia, Europe, Asia and the subsequent idea of ownership to this process. The experimental tra- the US. A founding member of the dition is often associated with collaborative creative processes, a high N-Collective, Artistic Director of degree of performer agency and great value put to performance ethos. +3DB records and former curator The ‘new music’ tradition has a much stronger association with the at Lydgalleriet, a Bergen based composers singular creative act, a lower degree of performer agency gallery for sound art. Habbestad’s and a creation ethos, thus the value is often attributed to «work itself», Bjørnar Habbestad artistic and research interests the composer or «the composers intention». I argue that both these Norwegian Academy of Music covers musical grounds from conceptions lack the necessary flexibility to be operational today. Norway classical contemporary to noise, electro-acoustic and free impro- I would like to address the differences in perceived authorship, agency vised music. and ethos in these traditions, mainly in order to discuss potential consequences as elements from these musicianships converge in hybrid work formats, creation processes and performance practices today. In 2018 – can we maintain the idea that a composer really «owns» the material found in her composition? Do the sounds of a free improviser truly «belong» to her and her alone? The tracing of different perceptions of authorship, outside the purely legal ones, is key in understanding how this music is developed, shared and performed.

The presentation builds on scholarly research and interviews as well as two artistic processes, one historic and one contemporary: The authors work performing Luigi Nono’s “Das Atmende Klarsein” and the development of the concert installation

Lemuria by the Norwegian experimental music ensemble Lemur. Sound examples will be given both live and from recordings.

44 Abstracts, Thursday, 5 July 17:00, Jan P. Syses Sal

Summary After more than a century of ‘contemporary’ music, we can trace a certain dichotomy between the musicianships of ‘experimental’ and ‘new music’ practices. What are the potential consequences as elements from these practices converge in the hybrid work formats, creation processes and performance practices found today? Differences in perceived authorship, agency and ethos and their relevance for contemporary music performance practice are discussed based on both scholarly research and artistic processes in order to clarify the role of the present-day performer of contemporary music.

45 Werktreue and the Monstrous in Arnold Schoenberg’s Fünf Klavierstücke Op.23.

Bio: Abstract: Professor Darla Crispin is Vice On 15 August 1922, Arnold Schoenberg wrote a short text entitled ‘Art Rector for Research and Artistic Golem’, in which he attempted to reconcile the differences between Development and Director of the spontaneous artistic expression and what he called an ‘invented piece Arne Nordheim Centre for Artistic of music’ (Auner 2003, 163). This is a significant text for the performer Research (NordART) at the seeking to make sense of the apparently contradictory forces at work in Norwegian Academy of Music the Fünf Klavierstücke Op.23, in which the creative force of instinct is set (NMH), Oslo. A Canadian pianist alongside the emergent organizational impetus of the twelve-note and scholar with a Concert approach. Op. 23 becomes a journey through this new kind of thinking Recital Diploma from the toward the ‘complete’ Art Golem that Schoenberg appears to be Guildhall School of Music & alluding to: the creation of a piece using twelve tones. We can equate Drama and a PhD from King’s the idea of ‘composition with twelve tones related to one another’ and College, London, Darla special- the means through which this comes into being with the emergence of ises in musical modernity, espe- the Golem figure from the common mud and clay that is at once just cially the works of the Second dross but also formative of all things. Darla Crispin Viennese School. She is an Norwegian Academy of Music acknowledged expert in the There is, however, another layer to this that merits consideration in light Norway developing ﬁeld of artistic of current critiques of the idea of Werktreue. This is the idea of the research, having co-authored one performer as Golem. ‘Performer Golems’ might be said to be animated of the seminal books on this through the inscriptions that they realise in performance. If twelve-tone subject, The Artistic Turn: rows make up a piece, then the performer comes alive through the A Manifesto (Leuven University strict inscription of the composer. Associated with this is the idea that Press/Orpheus Institute 2009). Golems lack cognitive autonomy, and are developed merely for serving Her forthcoming book, The Solo those who have both intellectual power and the will to use it. At a Piano Works of the Second deeper level, performers are supposed to be that will in the moments Viennese School: Performance, when a performance is generated. Ethics and Understanding will be published by Boydell & Brewer. However, important as they are, performers disappoint. Like the Golem, they go awry, exercising their own will to power in resistance to the compositional creator. In the bringing to life of the musical work, performers may even appal, becoming monstrous. Could it be that the strange and continued discomfort with considering performance as creation has to do with this

46 Abstracts, Thursday, 5 July 17:40, Jan P. Syses Sal

idea that it is in some ways appalling: that the ‘clean’ score and its apparently clear communication of will, when made flesh, becomes a mess of composites developed by creatures with wills of their own?

In a more productive, creative sense, we may wish to explore the potential of such unleashed creativity in challenging the boundaries of performative actions, especially in relation to Western art music; we might consider that even the category of ‘the monstrous’ has a vital place within this art practice. In Op. 23, the transformative nature of the collection of pieces provides potential for this: neither merely atonal nor fully serial, we may experiment with the concatenation of the past and the future in these pieces.

Through musical performance, recitation and visual elements, this presentation will suggest some ways of enacting an ‘unfinished performance’ of Op. 23, as part of a larger aim of revivifying how canonical music of high modernism is heard and understood.

47 What does a work do? A Deleuzian approach to problems of ensemble and interpretation

Bio: Stephen Preston is a pioneering Tom Armstrong studied composi- early music performer who estab- tion at York University, Dartington lished a worldwide reputation for Summer School and the Britten- his groundbreaking work with Pears School. He has received historical flutes. He later worked commissions for or-chestral, as a choreographer and found- chamber and vocal music, director of two dance companies. amateur musicians and dance. From researching birdsong as a Recent pieces, such as JPR for model for new techniques and Trio Aporia and Distant Beauties improvisation for the baroque commissioned by Images ballet flute he began performing new company, rework music, by acoustic and electro-acoustic Rameau and Tchaikovsky respec- music, and developed Ecosonics tively, through a process of Stephen Preston – improvisation modelled on erasure. Tom is interested in Royal Northern College of Music birdsong and gossip. In 2013 he revision as a com-positional tool United Kingdom formed Trio Aporia (Jane allowing radical intervention in Chapman – harpsichord, Richard pieces to create parallel versions, Boothby – viols) to explore histor- often with a critical stance ical instruments as contemporary towards their predecessors. He is voices. A current collaboration is a senior lecturer in music at the with composer Tom Armstrong University of Surrey and in 2016 (Surrey University) focused on his directed the AHRC-funded Rameau-inspired work for Aporia research network Music ‘JPR’ as the music for a Rameau Composition as Interdisciplinary themed Deleuzian influenced Practice. multi-media show devised and directed by Andy Lavender (Professor of Theatre & Performance Warwick University). Stephen teaches at the Royal Northern College of Music. Tom Armstrong University of Surrey United Kingdom

48 Abstracts, Thursday, 5 July 18:20, Jan P. Syses Sal

Abstract: musicians in Bayley’s study, which gives rise to some particularly vivid Arguably many musicians in learning new music fall back on habitually accounts of their initial reactions. Point ii): detachment was a prominent applied attitudes, approaching the score as an event that can be real- feature of the performers’ relationship to the piece and each other, the ised in performance simply by applying their customary interpretations; relatively autonomous nature of each part and the prominent role of typically asking: “How do we play it?”, instead of first trying to discern silence in the work in influencing the interpretation of the played its specific way of being different or of creating its specific problems. fragments. Silence plays a significant role not only contributing to the A potentially more creative approach might be Deleuzian. fragmentary nature of much of the material but potentially changing its nature. Each part has its own temporality, in which phrases from the In this presentation we explore the question of what a work does in Pièces arise as isolated events in undifferentiated flows of time, emer- relation to how it might change an ensemble’s approach to perform- ging, submerging and re-emerging, rather than a single flowing pro- ance, focusing on a recently commissioned work for a historical instru- gression of movement shared by the three players. The problem for the ment ensemble (formed specifically to play new repertoire). The musicians was to develop an approach to this specific work that went presentation is given by the commission’s composer and one of the beyond a fragmented performance of the original Pièces. ensemble’s performers. The data on which this paper is based come from two public performances, rehearsal recordings, the composer’s Our conclusion is that the problems mentioned above may be resolved journal entries and the recording of a conversation reflecting on an by approaching the work as a Deleuzian assemblage and asking with/ experimental, unstructured play-through session. Deleuze’s question “What does a work do?”.

The commission was inspired by Rameau’s Pièces de clavecin en concert, five trios for harpsichord, violin/flute and viola da gamba. Rameau required the highest degree of cohesion within the ensemble, consequently publishing the work in full score. The commissioned work takes a diametrically opposite approach with no full score and auto nomous parts – an assemblage of fragments from the Pièces played simultaneously in their respective different keys, time signatures and tempi.

We will examine the response of the ensemble’s performance to a score that i) lies between the indeterminacy of experimental music and the coordination of conventional notation and ii) consists of fragments from an C18th work with which, as historical specialists, the performers are totally familiar and have strongly developed interpretive responses. Point i) positions the score close to a piece like Finnissy’s Second String Quartet (see Bayley (2011)) but the problem for the ensemble was they were much less used to such an uncoordinated approach than the

49 Music as Emotion

Simon Løffler B (1981, Denmark): b (2012) for three musicians, three ‘In b, 3 musicians are playing with two parameters: in composition at the Royal Danish Academy of neon lights, effect pedals and Guitar pedals that are daisy chained whereby they Music. a loose jack cable modulate each other, and fluorescent lamps whose static electricity the musicians pass on through each Simon Løffler was awarded the 3-year work grant by other by touch. The Danish Arts Foundation (2015), The prestigious Carola Bauckholt stipendium prize at the Darmstadt Ferienkurse für (1959, Germany): My intention was to make one single instrumental Neue Musik (2014) and was awarded by The Danish Oh, I see (2015/16) body in which the musicians connect through the Arts Foundation for his work c (2013). for clarinet, cello, piano, two simplest of body movements (hands and feet).’ balloon players and video His works has been performed by ensembles as - Simon Løffler Neue Vocalsolisten Stuttgart, Ensemble Adapter, Trond Reinholdtsen asamisimasa, SUONO MOBILE, SCENATET, Plus- (1972, Norway): Minus Ensemble, Speak Percussion, Ensemble Music as Emotion (2007/11) Simon Løffler Pamplemousse, We Spoke, Ensemble hand werk, Simon Løffler’s works range from extremely intimate Curious Chamber Players, Athelas Sinfonietta, - set-ups to enigmatic constructions, embracing tradi- Defunensemble among others. tional instruments (transformed in various ways) as asamisimasa well as novel instrumental concepts.

Anders Førisdal, guitar, light, Løffler studied composition with Bent Sørensen, cable, pedals, balloon Hans Abrahamsen and Niels Rosing-Schow at The Tanja Orning, cello Royal Danish Academy of Music and music theory with Lars Bisgaard at The Royal Danish Academy of Kristine Tjøgersen, clarinet, light, Music, composition with Wolfgang Heiniger at pedals Hochschule für musik Hanns Eisler, Berlin, composi- Jennifer Torrence, percussion, tion with Simon Steen-Andersen at The Royal balloon Academy of Music in Aarhus. Further studies at A.PASS (advanced performance and scenography Ellen Ugelvik, piano, light, pedals studies), Brussels. Since 2017 he has been a lecturer Trond Reinholdtsen, voice

50 OH, I SEE

‘Time and again I am fascinated by our brain, especially by the logic of ‘In the brain, everything is in motion and almost everything is connec- our dreams. I have the impression that art, and music in particular, ted to everything else.’ What are the causal connections? What is comes closest to the processes that take place in our brain. triggered by what? Who reflects whom?’

In his book Dreams – a Journey Into Our Inner Reality, Stefan Klein - Carola Bauckholt writes: ‘Modern neuroscience ascribes the most important function to Translation: Wieland Hoban our feelings; they are the foundation for all conscious experience. […] Emotions are among the most elemental activities of the brain. We owe it to them that, in the course of evolution, something like a conscious- Carola Bauckholt ness of the self could develop at all. […] We constantly try to explain A central theme of Bauckholt’s work is the examination of the phenom- feelings with events by understanding them as a reaction to what ena of perception and understanding. Her compositions often blur the happens to us. […] We construct an emotional reality for ourselves – boundaries between visual arts, musical theater and concert music. and then we hold our surroundings responsible for our emotions. […] We She is especially fond of using noisy sounds, which are often produced create a theory of the world from all these inner images, thoughts and by unconventional means (such as extended instrumental techniques or feelings. We need them to interpret our sensory impressions. If we had bringing everyday objects to the concert hall). It is important to note no inner world, we would be unable to cope in the outside world. This that these noises are not just part of some kind of a predetermined inner world is a simulation.’1 So it is not simply a matter of external compositional structure, but rather they are carefully studied and left stimuli being processed. The brain itself independently produces free to unfold and develop at their own pace lending the compositions images and sounds, as has meanwhile been shown in experiments with their own unique rhythm. blind and deaf people. I still find it difficult to really grasp this fact. Bauckholt studied composition at Cologne Musikhochschule with The composition Oh, I see was written as part of the project Music with Mauricio Kagel from 1978 to1984. In 2013 she became a member of the the Real by Håkon Stene. In this piece, I depict external activities like Akademie der Künste in Berlin. In 2015 she was appointed professor of eye movements, from which the perceiving persons can draw conclu- composition with focus on contemporary music theatre at the Anton sions about inner processes. Sounds provide further information. Thus Bruckner Privatuniversität in Linz, Austria. the movements of a construct made of sound and images, which could remind one of a kind of composite artificial face, are only assembled into a whole within the perceiving person.

1 From Stefan Klein, Träume – eine Reise in unsere innere Wirklichkeit (Frankfurt: S. Fischer, 2014)

51 MUSIC AS EMOTION is a piece of music that explains itself asamisimasa asamisimasa was founded in 2001 by musicians sharing a passion and - Trond Reinholdtsen interest in avant-garde music and its history. Since then the ensemble has premiered numerous cross-media works especially written for them, often contextualized with classical repertoire and historical Trond Reinholdtsen avant-garde work. Trond Reinholdtsen studied composition at the Norwegian Academy of Music and finished his 3-year artistic fellowship in 2014. His works asamisimasa has collaborated with composers such as Helmut have been performed at the Darmstadt Ferienkurse für Neue Musik, Lachenmann, Mathias Spahlinger, Nicolaus A. Huber, Aldo Clementi, Donaueschingen Musiktage, Ultraschall, Monday Evening Concerts LA, Alvin Lucier, Brian Ferneyhough, Helmut Oehring, Clemens Huddersfield Contemporary Music Festival, SPOR, Happy Days and Gadenstätter, Klaus Lang, Johannes Kreidler, Joanna Bailie, and Ultima Oslo Contemporary Music Festival. extensively with cross-media composers such as Simon Steen- Andersen, Øyvind Torvund, Martin Schüttler, Matthew Shlomowitz From around 2002 his work took a significant turn towards a music and Trond Reinholdtsen. of an essayistic character, involving conceptual strategies, emphasis on semantic meaning and critical investigation of the genre and Performances include Berlin Philharmonie – Debüt im Deutschlandradio institutions of contemporary music, coupling references to the lecture, Kultur, WDR Cologne, Darmstadt Ferienkurse für Neue Musik, documentary, performance and banality with a profound interest in Donaueschingen Musiktage, Ultraschall, Ultima Oslo Contemporary narrative form, mathematical structure and communist propaganda, Music Festival, Huddersfield Contemporary Music Festival, Rainy Days, briskly discarding emotionality, subtleness and musicality on the way. Monday Evening Concerts LA, Other Minds Festival, ECLAT, Cutting For the last six years a substantial part of his artistic energy has been Edge, Angelica and SPOR among others. Their first two recordings, with invested in the project The Norwegian Opra www.thenorwegianopra.no music by Simon Steen-Andersen (DK) and Øyvind Torvund (NO) were which used to be an opera house in the composer’s own living room. awarded the Norwegian Grammy (Spellemann) for best contemporary music record of the year. Their latest release features works by British Now the institution has moved to a newly bought villa in the Swedish composer Laurence Crane. countryside where the first 15 episodes of the potentially infinite opera series “Ø” has been completed. The latest episodes were premiered at München Biennale für Neues Musikteater. In 2016 Reinholdtsen’s 70 minutes long piano concerto Theory of the Subject was premiered by the Oslo Philharmonic Orchestra and Ellen Ugelvik at the Ultima Oslo Contemporary Music Festival.

52 Jennifer Torrence, Ellen Ugelvik, Anders Førisdal, Kristine Tjøgersen and Tanja Orning. Photo: Thor Brødreskift/Borealis

Abstracts, Friday, 6 July

Abstracts, Friday, 6 July Individual Papers 6: Reimagining the Piano (Chair: Hilde Halvorsrød) Documentary and digital approaches to performing John Cage’s Concert for Piano and Orchestra

Bio: Abstract: Philip Thomas specialises in The premiere of John Cage’s Concert for Piano and orchestra (1957–58) performing experimental notated is notorious for being disrupted by the behaviour of the orchestral and improvised music as a soloist musicians, decried by Cage as ‘foolish and unprofessional’ (1968, p. 136). and with leading experimental Yet, scholarly discussion of the piece has tended to focus on the music group Apartment House, elaborate notations of the Solo for Piano part, with little attention given winners of the 2012 Royal to the innovations and peculiarities of the remaining thirteen instru Philharmonic Society award for mental parts. The Concert’s formal instructions state that the parts can Chamber Music and Song. Recent be played in any combination, including with other pieces, offering solo projects have included seemingly endless performance possibilities. How these possibilities are premiere performances of works experienced and operate in practice reveals a great deal about indi- by Michael Finnissy, Howard vidual and ensemble approaches to performing indeterminate music. Skempton and Christian Wolff; programmes of Canadian and This paper considers performing the Concert from two research angles, British experimental music; a drawing on material from a major data collection event with musicians Philip Thomas 12-hour performance of Cage’s from the ensemble Apartment House. First, using video interviews with University of Huddersﬁeld Electronic Music for Piano; and a the musicians, we explore the creative possibilities of Cage’s notations United Kingdom survey of Christian Wolff’s piano and how they respond to their complexities and ambiguities, and music. CD releases include a consider how these perspectives might contribute to a developing recording of Cage’s ‘Concert for performance practice surrounding the work and to the performance of Piano and Orchestra’ with indeterminate music more widely. Second, we present an interactive Apartment House, a triple-CD set website app, which allows the user to experiment with layering audio of Wolff’s solo piano music, music recordings of the separate performance parts to create infinitely vari- for multiple pianos by Morton able audio versions of the piece. The resource is designed to offer the Feldman, music by Martin Arnold, user the freedom to explore the heterogeneity of possible realisations, Christopher Fox, Jurg Frey, Tim whilst also making clear the interpretative decisions assumed by the Parkinson, Michael Parsons, musicians and by the research team in developing it. In employing Michael Pisaro and James these complementary approaches to examine the Concert as it relates Saunders. He is currently working to performance and practice, our aim is to demystify it in the broadest on an 3-year AHRC funded sense: to advance how it is viewed and understood and to provide project ‘John Cage and the insights and a range of possibilities to future performers. Concert for Piano and Orchestra’ with Professor Martin Iddon, Dr Conceptually and methodologically, our research builds on previous Emily Payne and Dr Chris Melen. studies that investigate the creative processes of performance in ‘contemporary’ musics, (see, e.g., Bayley, 2011; Clarke, Doffman, & Lim,

56 Abstracts, Friday, 6 July 09:30, Lindemansalen

2013; Clarke, Doffman, & Timmers, 2016) but it develops this work further in two significant ways: by grounding the research historically in detailed analysis of various archival sources relating to Cage’s work and the premiere and subsequent performances of the Concert; and by developing innovative methods to disseminate data and findings in an accessible manner through the website, a unique tool for performative and musicological understanding.

The paper is an output of the AHRC-funded project, ‘John Cage and the Concert for Piano and Orchestra’, based at the Universities of Huddersfield and Leeds. See www.cageconcert.org for further information.

57 Interior Virtuosity in Beethoven’s Fourth Piano Concerto

Bio: Abstract: Mark Ferraguto is Assistant The first movement of Beethoven’s Fourth Piano Concerto (1806), accord- Professor of Musicology at the ing to Leon Plantinga, represents a “conundrum”: “the piano as leader, Pennsylvania State University. show[s] occasional fine bursts of virtuosity, but remain[s] all the while A specialist in the music of the devoted to the cause of tranquil and nuanced reflection, a curb on the long eighteenth century, he orchestra’s propensity for energetic motion, for direct action.”1 Plantinga received his Ph.D. from Cornell aptly describes a movement in which the typical markers of concerto University in 2012. He has pub- style – brilliant passagework, bravura episodes, extreme technical diffi- lished articles on topics ranging culty – are rendered less significant than the solo part’s tendency from Buxtehude to Beethoven in toward introspective lyricism. Beethoven’s pupil Carl Czerny portrayed Music & Letters, the Journal of the the movement in similar terms; acknowledging that it makes consider- American Musicological Society, able demands on the performer, he nonetheless described its character Studia Musicologica, HAYDN, as “calm, simple and agreeable, almost in the pastoral style,” noting Eighteenth-Century Music, that a successful performance of the solo part “must partake consider- Keyboard Perspectives, and else- ably more of delicate lightness and fluency, than of actual bravura.”2 Mark Ferraguto where. Co-organizer of the inter- Pennsylvania State University national conference “Music and Concertos, then as now, were more than instrumental showpieces; they United States Diplomacy” (Harvard and Tufts also served as vehicles through which the concept of virtuosity was Universities, March 2013), he celebrated – and contested. In this paper, I reexamine the Fourth Piano co-edited the multidisciplinary Concerto through the lens of contemporary debates about virtuosity. collection Music and Diplomacy In particular, I focus on the emergence of interior virtuosity as the hall- from the Early Modern Era to the mark of the “true” virtuoso. The idea of interior virtuosity may be traced Present (Palgrave Macmillan, back to an opposition between mechanical and expressive playing that 2014). He has received awards had long figured into German-language criticism. C. P. E. Bach (1753) and grants from the Andrew W. and Leopold Mozart (1756) inveighed against technicians who sought to Mellon Foundation, the Deutscher astonish rather than move the emotions. In 1802, the pastor and music Akademischer Austauschdienst critic Johann Triest elaborated on this opposition. For Triest, it was not (DAAD), and the American enough for the virtuoso to move the listener; rather, “outer” expression Musicological Society, among must correlate with “inner” sensibility. The true virtuoso (wahre or ächte others, and was recently a Virtuos) does not merely play correctly and beautifully but also, and research associate and guest lec- more importantly, reveals “the inner voice of his soul” – his moral turer at IES Abroad in Vienna. He character – through the act of performance. is an active performer on organ 1 Leon Plantinga, Beethoven’s Concertos: History, Style, Performance (New York and London: and harpsichord. W. W. Norton & Company, 1999), 204. 2 Carl Czerny, On the Proper Performance of All Beethoven’s Works for the Piano, ed. by Paul Badura-Skoda (Vienna: Universal, 1970), 99, 100. 58 Abstracts, Friday, 6 July 10:10, Lindemansalen

Beethoven discussed virtuosity in similar language. In 1804, he told Nikolaus Simrock that he greatly preferred violinist Rodolphe Kreutzer’s “modesty and naturalness to all the exterior without any interior that is characteristic of most virtuosi.” In the Fourth Piano Concerto, I suggest, Beethoven not only emphasizes lyricism but also self-consciously frames the soloist’s utterances; in so doing, he proffers a new kind of relationship between virtuoso and public that centered on interior virtuosity—the spectacle of the self. The published concerto enshrines this approach, one that celebrates salient aspects of Beethoven’s “musical persona.”3 At the same time, concertos are unstable texts, always subject to further mediations; Beethoven’s handwritten revisions to the solo part after publication (A-Wgm, A 82 B) suggest that he sought to intensify the dramatic contrast between exterior and interior virtuosities in performance.

3 Philip Auslander, “Musical Personae,” The Drama Review 50, no. 1 (Spring 2006): 100–19. 59 Beautiful Piano Tone – A Matthay Legacy?

Bio: Abstract: Julian Hellaby studied piano Background under the late Denis Matthews Piano pedagogue Tobias Matthay (1858–1945) was a major influence on and later at London’s Royal English pianism in the first half of the twentieth century. His work, most Academy of Music. He has per- of which was carried out in the early years of the twentieth century, formed as soloist, concerto soloist emphasised tonal production and the means to achieve a beautiful and collaborative pianist through- sound. His influence on English piano playing was, for a time, very con- out the UK and overseas, and has siderable. released several CDs. More recently he entered the ﬁeld of Research question performance studies and his book Matthay’s most famous pupil, Myra Hess, was often critically commen- ‘Reading Musical Interpretation’ ded for her tone production but, for my research, I was keen to ascer- was published by Ashgate in tain whether beautiful tone was still a characteristic of Matthay’s pupils 2009. His second book, ‘The Mid- and grandpupils during the 1950s and 60s, a generation or more on Twentieth-Century Concert from the publication of his magnum opus The Act of Touch. The Julian Hellaby Pianist: An English Experience’ is research question therefore is: how significant was beautiful piano tone Coventry University due for publication by Routledge for mid-twentieth-century English pianism? United Kingdom in 2018. Aims Historical accounts of classical piano playing, such as Harold Schonberg’s (1987 [1963]) or Robert Philip’s (2004) refer to schools of pianism without investigating the matter in any great depth. An aim therefore of my research is to investigate a discrete area in more detail, specifically the longevity of the Matthay effect, and to ascertain whether the tonal aspect of the latter’s theories contributed to the identity of an English school. More broadly, the aim of the research is to contribute to critical investigations into piano performance, comple- menting work by, for example, Hamilton (2008) and Ellsworth and Wollenberg (Eds, 2007).

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Content summary In order to carry out the investigation, I set up the Tonal Beauty Project. This involved a series of focus groups comprising expert listeners who were played a selection of recordings, all featuring music of an expressive or lyrical nature which might therefore encourage pianists to engage a ‘beautiful’ touch. For comparative purposes, half of these recordings were made by Matthay-influenced English pianists, the other half by non-English pianists, and project participants were asked to rate the tonal beauty of the performances on a scale of 0 to 5. Listening was done ‘blind’ and, as far as possible, recordings used were of a similar audio quality. Some of the paper provides an account of this project, detailing procedures and outcomes, but it opens by considering relevant contextual information about Matthay and the English pianists featured as subjects for the project. There is also an analysis of what is meant by the term ‘tonal beauty’ and how it is recognized by expert pianists, teachers and listeners. As illustration, extracts from some of the higher-scoring recordings used are played during the presentation. The paper concludes by suggesting that what may be regarded as an English sound, recognizable in the middle years of the twentieth century, has now been largely absorbed into an international mainstream.

Significance No such empirical research has (to my knowledge) been undertaken prior to this project. Its results reveal some new and intriguing insights into mid-twentieth-century English pianism, and the closing section, outlined above, gives the paper’s content relevance to the contemporary scene.

61 Individual Papers 7: Improvising the unexpected; recovering the past (Chair: J. Murphy McCaleb) Creating an improvisation device: an inquiry into the instrumental practices of contemporary free improvisers

Bio: Abstract: Clément Canonne is a Researcher Background in the team “Analysis of Musical Improvisational practices are deeply linked to musical instruments. Practices” at IRCAM. His work is Indeed, by definition, to improvise is to create music with (or sometimes mainly focused on the contem- against) an instrument (including voice); in many ways, then, the act of porary forms of collective impro- improvisation is inseparable from the instrument onto which it is pro- visation, using concepts and duced. As saxophonist Steve Lacy once said, “the instrument – that’s methods from a large array of the matter – the stuff – your subject”(quoted in Bailey 1992): it plays a disciplines. Recent publications crucial role both in the improviser’s creative process over the course of include papers in Cognition, the performance and in the construction of a singular artistic signature Psychology of Music, Journal of over her career. New Music Research and Revue de Musicologie. Arguably, this appropriation of the instrument that is consubstantial to improvisational practices is pushed even farther in the free improvisation scene, where it is not uncommon to meet with musicians who use Clément Canonne their very own improvisation device – from custom-made instrumental STMS Lab (IRCAM-CNRS-UPMC) preparations to the h(ij)acking of various electronic devices to the France building from scratch of brand new instruments.

Research questions/Aims Which processes underlie the creation of such musical devices dedicated to improvisational practices? What problems arise in their constitution? Which criteria do the improvisers use in selecting the various objects that make up their set? How do these custom-made instruments or devices allow them to address the specific constraints of free improvisation, and particularly of collective free improvisation?

Method In order to answer these questions, I’ve interviewed 15 professional French improvisers (including pianists Ève Risser and Sophie Agnel, trombonist Thierry Madiot, tape-recorder-player Jérôme Noetinger, mixing-desk- player Arnaud Rivière, turntablist ErikM, guitarists Julien Desprez and Pascal Marzan, drummer Toma Gouband, “prepared chamber”-player Anton Mobin, “spat”-player Nicolas Chedmail, etc.), following each time the same protocol: I first video-taped them while

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performing a short improvisation with their instrument; I then asked them to watch the video and to comment out loud their musical and instrumental actions; finally, I asked them specific questions about their instrument, most notably regarding its evolutions over time.

Summary of content The many devices I’ve studied differ along six main dimensions: their degree of predictability; their degree of material diversity; their degree of autonomy; their degree of openness; their degree of immediacy; and their degree of functionalization. Indeed, in the creation of their device, musicians must deal with regulative objectives that often appear to be contradictory: the instrument must be controllable but it must also allow for some unpredictability; it must possess a large timbral range but it must also allow for quick reactivity; etc. Here, I will show how the different solutions that the musicians came up with to conciliate those regulative objectives reflect their conception of improvisation and the values that they ascribe to the practice of improvisation.

Significance Beyond a better understanding of the processes that underlie the creation of these improvisation devices, this presentation will also contribute to the material turn that has been recently promoted in musicology (De Souza 2017, Butler 2014), by shedding some light on the crucial role played by the material environment in the improvisers’ creative process: not only does the improviser’s instrument act as an “extended” mind (Clark and Chalmers 1998), a cognitive artefact carrying information that is exploited, manipulated and/or transformed as part of the improvisational process; it is also in itself an object of the improviser’s creativity – being progressively shaped and transformed under the improviser’s actions.

63 New music for old instruments: Expanding the fortepiano

Bio: Abstract: Helena Marinho is Senior Lecturer Historical keyboard instruments such as the harpsichord or the forte in the Communication and Arts piano are commonly associated with the performance of canonic Department of the University of period repertoire, but a significant corpus of contemporary works for Aveiro, Portugal. She is a fellow these instruments has been developing since the 20th century, exploring researcher of the Institute of their specific characteristics and instrumental / performing affordances. Ethnomusicology – Music and Acknowledging these recent approaches, this research has focused on Dance Studies Centre (INET-MD), a historical keyboard instrument, the fortepiano. Current manufacture and her research interests are of fortepiano copies nearly always omits most added devices, known as focused on performance studies Veränderungen or stops, operated by hand-stops, pedals or knee-levers, and 20th/21st-century Portuguese which produced percussive or timbre-altering effects (Cole 1998, music. She has published book Latcham 2008). Our sonic image of this instrument’s affordances may, chapters and articles on both therefore, be limited by a perception based on the standard surviving subjects, and participated in devices, the sustaining and the una corda pedals. several national and international Helena Marinho music research conferences. She This proposal addresses two research questions, departing from the University of Aveiro, INET-MD holds Master of Music degrees concepts of instrumentality (Bovermann et al. 2017) and post-experi- Portugal from the University of Kansas and mentalism (Gilmore 2014): Since sound-altering devices are normally the Norwegian State Academy of not available in modern copies of fortepianos, how can we conceive Music, and a PhD from the and apply experimental alternatives? How do the ensuing alterations University of Sheffield. modify instrumental perception and can contribute to the creation of alternative performing solutions, namely in association with improvisat- Helena also pursues a concert ory practices and sound synthesis? career, presenting chamber and solo recitals in the main This research has thus pursued the aims of developing a digital Portuguese festivals and concert expansion of fortepiano features, using techniques of sound design and halls, as well as abroad. She plays programming, and of studying how these interact with the performing the modern piano and the forte and improvising processes. piano, and has recorded 7 CDs of contemporary and classical rep- This research encompassed 5 interconnected and chronologically ertoire on both instruments. ordered tasks:

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1) review of organological studies in order to map and characterize the devices associated with the fortepiano, and its impact on the sound perception associated with this instrument;

2) using microphones, cameras and other electronic devices, to undertake sound and motion caption in order to test techniques of sound synthesis, sampling and programming with Max/MSP/Jitter;

3) testing the applications created in the previous task while under taking studio work;

4) creative studio work, involving historical/contemporary repertoire, free improvisation and the tested applications;

5) final characterization and discussion of the developed applications and artistic outputs.

This proposal presents and discusses some aspects of these steps, namely the creation, development and application of Xpanded Fortepiano, a Max MSP patch. This patch records music sections chosen by the performer while performing live, and reads audio slices randomly chosen, as regards their extension and location in time. It then applies pre-selected effects to these materials as they are played back, as the basis for a dialogue with the performer that can engage musical texts (repertoire in work sessions included works such as Cage’s In a Landscape, or Mozart Alla turca from Sonata KV331), improvisations or a combination of both. The research has exposed the aesthetic limitations of the digital production of effects, if merely considering historical re-construction. It has highlighted, however, a set of performing techniques, creative procedures and digital applications that can contribute to a deconstruction of the standard perception of the sound of historical keyboard instruments, and to the creation of experimental paths for performing and improvising on the fortepiano through the mediation of electronic interfaces and digital sound objects.

65 An unintentional by-product of that way of working: performance practice in recent music

Bio: Abstract: Nico Couck, born in Belgium in Background 1988, studied guitar with Roland Gradually, the performer’s knowledge and understanding of post-1950 Broux at the Royal Conservatoire music are deteriorating. Its experimental nature make yesterday’s and Antwerp. He is active as soloist, today’s composer/performer/score relations prone to complications. has performed with ensembles We are faced with time differentials between the original performance such as Ictus, Nadar, Talea and practice and ourselves, with an inadequate documentation of this Hermes Ensemble, and is artist-in- practice, and – the longer, the more – with the impossibility of commu- residence at ChampdAction. In nicating with a deceased composer. In addition, these complications addition to concerts throughout are silently manifesting and extending themselves in the 21st Century’s Europe and the U.S., past events performance practice. Both composers and performers unintentionally include the Internationale create interpretational boundaries. And already, as these margins are Ferienkurse für Neue Musik broadening, it becomes increasingly difficult to maintain a knowledge Darmstadt, Acht Brücken Festival, of what seems relevant to us today. Or is the performance practice of MaerzMusik, ISCM World Music post-1950 and contemporary music already destined for speculation? Nico Couck Days, Transit Festival, and others. Royal Conservatoire Antwerp He has collaborated with and Research questions Belgium premiered works by Oscar How do the different elements of the original performance practice (e.g. Bianchi, Chaya Czernowin, Jason reading the score, development and evolution of an interpretation, indi- Eckardt, Clemens Gadenstätter, vidualized relationships between the composer and performer, shifting Johannes Kreidler, Stefan Prins, of the instrumental/technical boundaries) relate to: Eva Reiter, Simon Steen-Andersen, Steven Takasugi, among others. a. each other; Nico Couck is currently assistant b. the aesthetical expectations of the composer; professor of guitar, chamber c. the individuality of the performer; music and music history at the d. and the development of a performance practice. Royal Conservatoire Antwerp. Aims The goal of the project is to document and analyze the original performance practice of contemporary music for guitar, based on the information retrieved from the collaboration between the researcher/ guitarist and the composers.

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Summary of content This presentation consists of an overview of the methodology as used in one of the case studies of the original research project (PhD research), being:

- the study of the original sketches and final score for guitar, combined with the detection and identification of practical performance issues; - the analysis of other guitar-related compositions by the composer, along with the instrumental/technical approach as developed by the composer; - the analysis of the workshops/rehearsals with the composer; - an analytic comparison of all the source materials (practical performance issues, analysis of the composer’s instrumental/technical approach, analysis of the compositional approach, workshops/ rehearsals etc.) - a live performance of the composition for guitar solo

Significance If today’s young generation of guitar players wishes to develop a keen interest in this kind of performance practice, they will find little or no literature available to study. Several guitar players, worldwide, unintentionally create interpretational margins for specific compositions because of such shortages in documentation. Throughout the years, as these margins broaden, it will become increasingly difficult for performers to pinpoint the interpretational boundaries in which the composer’s original aesthetic goals are or can be respected.

This post-war performance practice in guitar music is still very young. Unlike period music from traditional repertoire, there are still many performers alive today who had the chance to collaborate with the original composers. Considering their age, however, it is essential to document their expertise in order to preserve the original information. If we fail to gather and maintain that vast store of knowledge, much of the newly developed performance practice in guitar music may be lost forever.

67 Individual Papers 8: When it hurts: restriction, trauma, failure and meaning in performance (Chair: Catherine Laws) Coming Up for Air

Bio: Abstract: Kathryn Williams is a flautist and Coming Up for Air is a multi-faceted creative response to physical and educator based in Manchester, instrumental restrictions. The project currently explores the creative UK. Recent performances include possibilities and performance practice implications that emerge when concerts with Distractfold pieces of music are limited to a single breath. The impetus for the Ensemble, House of Bedlam, project came from a period when I was faced with a chronic sinus con- Ensemble Voix Nouvelle ancon- dition and asthma while pursuing my career as a flautist that ultimately certos with Manchester Camerata required surgical intervention. This highlighted radical differences in and Dayton Philharmonic. Kathryn’s breath capacity and control, and the physiological set-up required current solo project, Coming Up when playing demanding repertoire (in particular, Brian Ferneyhough for Air, explores the creative pos- Unity Capsule (1974), Alvin Lucier Self Portrait (1990) and Karlheinz sibilities that emerge when pieces Stockhausen Susani’s Echo (1985)). are limited to one breath. While recovering from these medical physical limitations I reflected on As a music educator Kathryn Ferneyhough’s comment ‘from restriction comes invention’ Kathryn Williams specialises in experimental (Ferneyhough, 1998) and artists from different disciplines where this has Huddersfield University performance practice and early- been applied (Lucier (1980), Oliveros (1980), Von Trier and Vintergerg United Kingdom years education. Recently this has (1995), Bök (2001) etc.). In response I have (to date) commissioned 17 included guest lecturing at the new pieces from multi-media artists which are limited to a single inhale Royal Northern College of Music and exhale. The resulting responses range between 24 seconds to over and Ohio State University, contri eight minutes in duration and include piccolo, C flute, closed hole C buting to courses with Aldeburgh flute, balloon with loop pedal, extreme physical exercise and a spoken Young Musicians, delivering per- poem. formances and workshops for Live Music Now, and long-term In my presentation, I will discuss in detail a selection of these pieces in residencies at Alder Hey Children’s relation to their notation, collaborative dynamic (where relevant) and Hospital and Manchester Museum. performance practice challenges with particular reference to how the resulting sounds are mediated through my body as well the effect this Kathryn earned a BMus, MMus, has on an audience. This is rendered more apparent through the single- and International Artist Diploma breath restriction. I will also demonstrate some of the techniques from the Royal Northern College involved and perform a selection of the pieces live. of Music and is currently studying for a PhD in Performance at Huddersfield University. www.kathryngwilliams.com

68 Abstracts, Friday, 6 July 09:30, Fellesrommet

Coming Up for Air is the initial project in my PhD research. The paper will also explore some further context for the project and explore its ongoing trajectory with breath at its core. I hope through concert and conference presentation to develop new insights and forge new collaborations.

69 Representing and Working Through Trauma’s Temporal Structure in Sound

Bio: Abstract: I am professional philosopher – My project studies the role of memory in the temporal structure of PhD, University of Chicago, 2016, human experience by focusing on trauma and its repetition. This is a currently working as Bersoff topic at the intersection of my current teaching and research in the Faculty Fellow at NYU – with a philosophy of psychiatry in the Department of Philosophy at New York longstanding interest in the aes- University, on the one hand, and a long personal struggle to identify, thetics of sound from both theor- confront, and work through certain traumatic experiences in my youth, etical and artistic perspectives. In on the other. I will explain below why sound art provides a uniquely addition, I am interested to compelling medium for this project. My presentation would ideally be explore performance as “a tech- a talk, including a sound piece ‘I Remember’ (duration 5:24) I have nique of the self,” to borrow a composed to represent the temporal structure of trauma and in doing term from Michel Foucault, so to serve me as a technique for working through the particular case namely as a means of self-trans- I am using as material. formation where the performer’s self undergoes a transformation The piece has two audio sources: (1) a song I composed and recorded Tuomo Tiisala as a result of her interaction with as a teenager in 2000 to express, as the title says, “Pain, Aggression, New York University an audience. I am particularly Anguish, Hate, and Everlasting Rage” that arose from the experience of United States interested in these possibilities in living alone with my father who was suffering from a serious case of connection with our most painful paranoid psychosis; (2) a radio recording of my father reading selec- and personal experiences that tions from his award-winning collections of poetry in the late 1980s makes us vulnerable and fragile. (from the archive of the Finnish Broadcasting Company). By taking my My piece on trauma entitled father’s recorded words on how past experiences haunt us in the present, “I remember,” which constitutes a but reorganizing them into a poem of my own, which I arranged with process of working through such reprocessed samples of the song from my teens, I sought to create a experiences from my past, illus- sonic representation of the structure of trauma. The result is a peculiar trates how I envision the aes- admixture of eeriness and reassuring wisdom, where snippets of my thetic, theoretical, and performat- frail teenage voice are interlaced with shades of noise, glitchy percus- ive aspects coming together. sion, and my father’s radio voice emerging from a manipulated past like an oracle that both describes how I will become paralyzed by his later psychosis and also suggests how the weight of the past is to be overcome.

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This understanding of trauma is directly relevant to my work in the philosophy of psychiatry. Against the naturalist view that all mental illness must be explainable in terms of neurological dysfunctions, I seek to show that the concept of trauma, which always refers to particular life events and emotional reactions to them, plays an indispensable role in certain psychiatric explanations of mental illness. Combining features of Freud’s account of trauma with the latest psychiatric research on dissociation, I argue that overcoming a traumatic experience requires that one is able to express and thereby discharge the emotional overload the trauma has generated in one’s mental life. Otherwise, that overload will have to be dissociated, repressed and removed away from one’s attention, which does not mean that it will disappear or become sterile — quite the contrary. In making this sound piece, then, I have also sought an emotional discharge for the trauma it studies. Thus the piece also serves as an experiment of working through and overcoming.

71 The Body in Pain at the Piano: Where Form Meets Failure in Ligeti’s Etudes pour Piano

Bio: Abstract: Originally from Canada, I am a The genre of the piano étude is often associated with an ideology and pianist, conductor, and researcher, aesthetics of performance grounded in excellence and perfection. The currently completing a PhD at Etudes pour Piano of Gyorgy Ligeti, which follow in the transcendental Cambridge. My current research virtuosic tradition of studies by Chopin and Liszt, have become com- uses methodology from literary monplaces of the repertoire for contemporary concert pianists, dazzling criticism, queer theory, perform- audiences and dominating competitions. This assumption would seem ance studies, and auto- to reinforce an ontology of music in which the score and ‘work’ are ethnography to explore the dominant, and in which performance is merely a poor copy that strives impossible in piano etudes by towards the written ideal. However, this paper suggests that a per- composers including John Cage, formers’ engagement with the score of an étude by Ligeti revolves György Ligeti, and Nicole Lizée. around process, pedagogy, and physicality in a way that privileges Previously, I have studied math- failure more than success. ematics, philosophy, and music at Yale University and Université The paper uses performers’ accounts and auto-ethnographic research Naomi Woo de Montréal. As a pianist and to examine the creative process of preparing and performing several of University of Cambridge conductor, I frequently engage in the Etudes, focusing on Étude no. 3: Touches bloquées. In particular, the United Kingdom multidisciplinary and research- paper emphasizes gaps between the appearance on the score, the oriented performance. In parti audible experience of the listener, and the physical experience of cular, my ongoing collaboration performance, and seeks to understand the effect that these gaps have with Sasha Amaya, tick tock, is an on the performer herself. Given that these three approaches to the ideas and performance lab for score are all in conflict with each other, and the performer cannot hold sonic and choreographic arts, all three at once, the performer is constantly caught in an evolving focused on producing, inter relationship between them. Additionally, the paper suggests that the preting, and devising aesthetics of failure is reflected in the formal and thematic content of the étude itself. The technical device of the Touches bloquées, in which certain notes are held down with one hand while the other hand attempts to play them, simulates an uneven scale, and the piece also contains rapid successions of octaves in which ‘wrong’ notes are included. Not only do these devices mimic failure, they also create a feeling of cognitive dissonance in the performer, who must constantly revise her performative instincts throughout the process of learning and performing. Furthermore, the paper emphasises the effort, difficulty, and pain involved in practicing and learning at the piano, as a counter- part to research that focuses on cognitive states of pleasure and ‘flow’

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in performance. By emphasising the infinitely evolving and ephemerally temporal nature of these pieces – and of the étude genre in general – the paper suggests that analysis from the perspective of listening or looking at the score will always be radically incomplete.

Analysis of these accounts and experiences draws on a range of theoretical approaches to failure, and ultimately suggests re-thinking failure outside of its dichotomous relationship with success. The project has significance as an exploration in failure, a contribution to theories of embodiment in performance studies, and a theory of pedagogy at the piano.

Research questions - What is the creative process of practicing and performing the Études pour piano by Ligeti?

- What is the relationship between preparation and performance?

- How does the Étude genre contribute to our understanding of performance studies and musical ontology?

73 Individual Papers 9: The prismatic nature of collaborative practices in music (Chair: Philip Thomas) A Karnatic in London: Teacher-Student Collaborative Practice

Bio: Abstract: Alice Barron is a violinist, collab- Studies of musical collaborations with Indian musicians tend to focus orator and researcher based in on traditional working relationships between performers in the London, performing throughout Hindustani (Northern) and Karnatic (Southern) classical traditions. Europe, India, Hong Kong, Focusing on my experiences studying with three Karnatic violinists in Australia and New Zealand. Chennai, Mysore and London, this paper examines a collaboration Specialising in contemporary and between guru and shishya (broadly defined as master and disciple). world music, Alice performs with The collaboration challenges the conventional roles; that of the shishya Nigel Kennedy’s Orchestra of Life, being subservient to the guru and learning through direct imitation. London Sinfonietta, Sam Lee and I reveal how the roles of guru and shishya are deeply embedded within her band, iyatraQuartet, who broader cultural and historical frameworks that drive traditional teach- released a 5-star debut album in ing practice in India. A number of practitioners and writers have 2015. Her explorations studying considered the value of one-to-one oral teaching traditions, which can Karnatic violin playing with the be defined as a process of enculturation (Farrell 2001: 57) in contrast to Mysore Brothers in India have been more structured and systematised methods of learning found in institu- Alice Barron generously supported by SEMPRE tions. This paper extends discourses on teaching methodologies by University of Oxford and Somerville College and are revealing how gurukula teaching in South India brings cultural insight to United Kingdom part of a practice-led DPhil at the my working relationship with Karnatic violinist Jyotsna Srikanth. University of Oxford. Alice previously studied the Royal Academy Through investigating a collaboration that is not limited to the conven- of Music, where she was awarded tions of the Karnatic music system, I discuss how the interpersonal a distinction for her Masters in dynamics of the guru-shishya tradition subsequently determine the performance and research. stylistic genre and authorship of this music. My request to experiment in www.alicebarron.co.uk a collaborative manner, potentially moving away from the guru-shishya model, was intended without adherence to any specific musical style. However, as the sessions unfolded, the roles of guru and shishya were re-established with Jyotsna making creative decisions, working within the parameters of Karnatic classical music and ultimately retaining the position of a guru.

This paper aims to discuss the dynamics between guru and shishya by examining how these play out in two collaborative sessions with Jyotsna Srikanth – and material from a collaborative session with a different Karnatic violinist, which followed an almost identical pattern. I will ask:

74 Abstracts, Friday, 6 July 09:30, Jan P. Syses Sal

(1) What is the significance of terminologies relating to teaching practices as well as broader cultural ramifications? Teacher-student or guru-shishya?

(2) How do questions of authorship play out in collaborative practice between a guru and shishya?

Similar questions have been addressed in practitioner-led accounts of the guru-shishya relationship by John Baily (2001), David Clarke (2013), Gerry Farrell (2001), David Henderson (2009) and Amanda Weidman (2006; 2008). In considering these and other perspectives, the paper addresses some of the ways in which my findings relate to broader shifts and challenges facing traditional teaching in India in the twenty- first century; namely technology.

Returning to my experiences in London, this research demonstrates how urban environments provide opportunities for multiple cultural traditions to thrive independently as well as in exchange with one another. To conclude, I will propose a model for creative collaboration as a method for learning and interacting with Karnatic music. I will highlight the fact that while creative collaboration has become a prominent topic in recent research, collaborations involving cultural exchange are still relatively unexplored.

75 Cerro Rico: the coproduction of a discursive voice in chamber music

Bio: David Gorton ﬁrst came to public Violinist Mieko Kanno first came attention in 2001 when he was to international attention in the awarded the Royal Philharmonic 1980s when she won prizes in Society Composition Prize. international competitions such Commissions followed for as the Carl Flesch, Queen ensembles that include the Elisabeth of Belgium and London Sinfonietta, the BBC Hannover. Later she developed an Symphony Orchestra, Ensemble interest in performing contempor- Exposé, Jane’s Minstrels, Chroma, ary music and received the Hermes, and the Kreutzer Kranichsteiner Musikpreis at the Quartet. His compositions have Darmstadt New Music Institute in been performed throughout 1994. Since then she has been a Europe and America, in China, prime exponent of new music for David Gorton and in Vietnam. He has released violin throughout Europe and Royal Academy of Music, three portrait albums on the given many first performances as University of London Métier and Toccata Classics soloist as well as in ensembles. United Kingdom labels, the most recent of which is She has a parallel career as musi- framed as a set of variations on cian and academic, and is dedic- music by John Dowland and was ated in both capacities to the featured on BBC Radio 3’s Record development of new practices in Review programme. David Gorton music. She is especially known for was a student at Durham her pioneering work on subjects University, King’s College London, such as complex notation and and the Royal Academy of Music, microtonality. She has taught and studying composition with researched at Durham University Harrison Birtwistle and Simon (UK) and the Royal Conservatoire Bainbridge. He has taught at the of Scotland, and is currently Royal Academy of Music since Professor in Artistic Doctoral 2006, where he is an Associate Studies at the Sibelius Academy, Professor of the University of the University of the Arts Helsinki. London. Mieko Kanno Sibelius Academy University of the Arts Helsinki

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Abstract: Significance Background, aims, and summary Composer–performer collaboration has often been discussed in relation Cerro Rico for charango and soprano violin is a very slow piece. While to a pre-compositional phase, or an editing phase of musical produc- the two instrumentalists occupy different conceptions of tempo, both tion (see for example Fitch & Heyde, 2007; Clarke, Doffman, & Lim, are operating at the extreme ends of slowness, with the guitar player 2013), but this discourse is rarely extended into the moment of working with a metronome mark of quaver=15 and the violinist playing rehearsal or performance (Kanno, 2012). The model of collaboration mostly breves, longs, and dotted longs. From these opposed positions proposed here develops the concept of the ‘discursive voice’ (Gorton & the performers find a shared understanding of time. Östersjö, 2016), specifically in relation to the performance of a chamber piece, and thus suggests a framework for considering subjectivity in This presentation aims to develop an understanding of subjectivity ensemble performance. Furthermore, the model develops further per- within a collaborative chamber music context. Drawing on the theory of spectives on the discursive voice: between two performers, and situated cognition (see for example Brown, Collins, & Duguid, 1989), and between the two performers and the composer. the concept of subjective ‘voice’ in performance (Cumming, 2001), the presentation will develop the model proposed by Gorton and Östersjö (2016) in which a ‘discursive voice’ may emerge from the process of composer–performer collaboration. Through an appraisal of video footage taken from the first rehearsals of Cerro Rico, it is argued that the malleable character of coordination, shaping, and timing that is afforded in performance by the extreme slowness of the piece, creates the conditions for the emergence of a discursive voice of the two performers and the composer. The ‘collaboration’ between the composer and performers can be conceived as being situated within this discursive voice, manifested as a sense of shared ownership of the materials.

Research questions How is subjectivity manifested in a performance of Cerro Rico? How does a collaborative ‘discursive voice’ emerge in a chamber music context? What can the idiosyncrasies of Cerro Rico suggest about subjectivity in ensemble performance in general?

77 Does composer-performer collaboration stimulate creativity? A study of string players.

Bio: Abstract: Born in Poland, Agata started her Composer-performer collaboration is a phenomenon connected with music education at the age of 6. new music performance. This unique social situation often creates an Agata completed her BMus at opportunity of an artistic dialogue that would not occur otherwise. London College of Music with a New music performance has been a rich source for music academia First Class Honours in 2011. Since but as stated by Fitch and Heyde (2007): ‘Very little attention has been graduating she has toured Europe paid to the performer’s potentially significant mediation between and Asia with Avizo String composer and piece’. Quartet, I Maestri Orchestra, Symphonic Orchestra of India. In this paper I examine advantages and challenges of composer- She completed PgDip in Music performer collaboration. Through analysis of the rehearsal process and Performance with a distinction in communication as well as semi-structured interviews with participants 2014. Agata is currently a lecturer and professionals I am able to gain insight into the process and ask and a PhD candidate researching important questions about the nature of authorship in new music creativity and new music in performance. Pieces involved in this research range in culture from Agata Kubiak classically trained string players neo-romanticism to spectralism and require creative involvement from London College of Music, at London College of Music. Her the performer at different stages. I look for and examine sources of cre- University of West London work is being supervised by ative stimulus and determine how these ideas can be linked with one of United Kingdom professors Simon Zagorski- the major cognitive psychology approaches to creativity, which is Thomas and David Osbon. Agata problem finding (Getzels, Csikszentmihalyi 1989) and solving (Ericsson, is an active chamber musician Weisberg 1999, 2006). and a soloist and her research is practice based. She is also a jazz In my presentation I will use rehearsal footage from rehearsals of ‘Six musician. She was a ﬁnalist in the Spiders’ by Bartek Szafranski and ‘String Quartet no9’ by Martin Jones Riga Jazz Stage international jazz as well as interviews with world renowned new music specialists: competition and got included in cellists Neil Heyde and Lawrence Stomberg and a violinist Timothy top 20 female jazz singers by the Schwarz. european jazz magazine Jazz Forum.

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79 Individual Papers 10: Concerts, curation and distant communication (Chair: Mary Hunter) Musical familiarity and concert selection amongst classical music audiences

Bio: Abstract: Sarah Price is a Research pieces of music. Organisations and the recorded music industry in the Associate in the Department of UK have capitalised on this desire for the familiar by producing ‘pops’ Music at the University of series, radio stations such as Classic FM, and countless compilation Sheffield. She is currently working CDs focussing on shorter, lighter, well-known pieces or extracts. The on Understanding Audiences for relationship between musical familiarity and enjoyment has been the Contemporary Arts, a 2.5-year explored in music psychology, but little has been done to connect these project investigating audience theories to research with current concert audiences. This paper reports engagement with the contempor- on a study with a UK regional symphony orchestra, comparing the ary arts across multiple art forms choices and experiences of 42 audience members for core and populist in ﬁve UK cities. As both an aca- classical music concerts. In these in-depth qualitative interviews, most demic and freelance audience participants described how they preferred to hear music in concerts researcher, Sarah has conducted that was familiar to them. This was not simply a case of risk-aversion, audience research projects as participants felt that familiar music was inherently more enjoyable to collaboratively with numerous listen to than unfamiliar works. I suggest that liveness has an important Sarah Price arts organisations, including a role to play in the enjoyment of familiar music and in listeners’ regula- Sheffield Performer and Audience Collaborative Doctoral Award tion of over-familiarity, Live performances bring fresh listening experi- Research Centre, University of with the City of Birmingham ences to well-known pieces of music, as a result of new interpretations, Sheffield Symphony Orchestra. Her the 3D live sound, and the focussed listening afforded by the concert United Kingdom research interests are in the value hall environment. This interaction of freshness and familiarity may of arts engagement, methods and explain why audiences overwhelmingly choose to hear well-known ideology of audience develop- pieces when attending concerts. ment, and the role of academic research within the arts industry.

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81 Musician as curator

Bio: Abstract: Tanja Orning is a cellist and The audience of classical music is declining and the institutions and music researcher active in the musicians struggle to renew themselves and face the new challenges. field of contemporary and experi- In a globally changing music life, we see the need for stronger individual mental music. After studies at the artistic identities, with experimentation and risk taking at the core of Norwegian Academy of Music, in developing artistic skills. Central here is the question if the musician London with William Pleeth, and sees herself as an artist or artisan. To make the leap from a traditional in the US with Janos Starker (as a instrumentalist role to an artist /curator role requires commitment in an Fulbright Scholar), she held the entirely different way. According to art curator Hans Ulrich Obrist the position as co-principal cellist in professional curator’s role coalesce around four functions: preserving the Stavanger Symphony for five in the sense of safeguarding the heritage of art, selecting new works, years until she left for Oslo in contributing and connecting to art history, and displaying or arranging order to realise a number of pro- the works (Obrist, 2014, p. 43). He further describes curating as “the jects as a performer, improviser attempted pollination of culture, or a form of map-making that opens and composer. She performs with new routes through a city, a people, or a world” (ibid, p. 1). Tanja Orning groups such as asamisimasa (two Norwegian Academy of Music Grammy awards), BOA trio, Dr.Ox, If we apply curatorial perspectives from the arts to musical performance Norway Oslo Sinfonietta, Ensemble Ernst, practice, certain questions arise: How can we relate our musical prac- and her solo-project Cellotronics. tices to our contemporary society? How can we use our musicianship in Past groups include Christian relationship with other art forms, politics and social contexts? How can Wallumrød Ensemble, Ensemble we bridge the gap between the ideas of music as autonomous and Polygon, Plus Minus Ensemble music as serving certain functions or needs? Can we see the artist/ (London), Kyberia, Ametri string curator role as influencing, commenting upon or criticising society quartet, Wunderkammer, Sound through artistic practice? Can these roles challenge our expectations, of Movement with dancer Ellen perceptions and ideas about the world? Johannesen, and the performance group Mobile Homes. I will investigate these questions based on interviews and observations Orning owns a doctorate in the from two linked 5- days intensive boot camps in Oslo (in February) and field of performance practice Helsinki (in April) which will explore different ways of thinking and from the Academy where she is working with these themes. The participants, 28 music students and now employed as a post-doc., teachers from 5 European countries, will be exposed to festival curat- and also teaches contemporary ors, artists, designers and artistic entrepreneurs. They will form music. collaborative teams which will curate, create and produce projects which will be performed in various contexts in the two cities at the end of the five-days boot camps.

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In the discussion, I will draw on curatorial theory from the art field (Mørland & Amundsen 2015, Smith 2015, Obrist 2014), as well as contemporary discourses around the extended use of the term curating across the arts and society.

The overarching aim of the study is to investigate contemporary and creative routes and practices for performing musicians in the 21st century. To explore curatorial thinking and philosophies as tools in creating projects. To expand our thinking and performing repertory around what a musician is and what a concert can be. To explore roles as artists in society with a potential of making a difference through practice and interactions.

The study might open up new perspectives that are relevant to musicians, offering thinking- and acting tools for developing socially- or context engaged practices where they can be artist citizens with a responsi bility beyond the stage, but where the artistic excellence is not com- promised. It might also be significant for the expansion of art music, which is in acute need of strategies for re-vitalisation and re-interpretation in order to become relevant and linked up to our time.

83 Individual Papers 11: Pedagogical perspectives in Performance Studies (Chair: Mathias Gillebo) Ethos, Technique, and Performance: Rethinking Ensembles in Higher Education

Bio: Abstract: Murphy McCaleb is a senior Ensemble performance curricula within UK higher education is primarily lecturer of music at York St John based on the assumption that mere participation in ensembles will University. He received his catalyse students’ development as ensemble performers. This approach doctorate in performance studies to teaching can easily remain unexamined, either through habit or from Birmingham Conservatoire presumed beneficence, and thus music programmes and lecturers miss after studying trombone perform- opportunities to explore potentially more efficient and effective ways of ance and chamber music at working. As Patrick Freer notes, ensembles in educational institutions the University of Alaska and the are simultaneously expected to yield high-level performances whilst University of Michigan. As a bass being effective pedagogic environments, a paradox which persists trombonist and pianist, Murphy ‘partly because [ensemble] teachers rarely seize the opportunity to engages in a wide range of question what they do or why they do it’ (2011, p. 172). Emerging from music, including classical, jazz, increasing amounts of research on ensemble interaction, this paper rock, folk, electronic, and experi- explores the question of how ensemble curricula might be rethought to mental, and performs as part of encourage more holistic and effective student development. J. Murphy McCaleb the New York Brass Band. He has York St John University recorded on multiple albums, the Recent research on ensemble interaction (particularly work by Allsup United Kingdom newest being Mythical and Angry, (2012), McCaleb (2014), Tan (2014), and Shieh and Allsup (2016)) high- a funk collaboration with Andy lights the importance of democratisation in ensembles, alternating Edwards. His ﬁrst book, Embodied leadership, and meaningful musical decision-making within ensembles. Knowledge in Ensemble Building upon these concepts, an ensembles curriculum for a three-year Performance, was released by undergraduate degree programme is proposed which features three Ashgate in March 2014. key areas of growth. The first of these areas is ethos: regardless of genre or repertoire, students take responsibility for the creative decisions made within an ensemble and critically reflect on the ensemble’s progress. The second area is technique: students gain not only an understanding of rehearsal techniques, but also how those techniques vary based on musical tradition, genre, notation styles, and the roles each musician might play within their ensembles. The third and final area is performance: ensemble learning is not limited to what is happening when the musicians play together, but includes ways of effectively preparing for rehearsals, performances, and other events.

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This paper explores how students’ long-term development as ensemble musicians can be structured around these three areas. Throughout the 2017/18 academic year, the initial impact of this curriculum is being assessed via observations of rehearsals, performances, and lessons in addition to focus groups and interviews with students across all three years of an undergraduate music programme. Two themes have emerged thus far. First, in order to teach effectively in this curriculum, ensemble lecturers will sometimes need to break from the traditions that they themselves were taught within. This highlights the need for staff to develop as reflective practitioners within their roles as lecturers and ensemble musicians. Second, the range of ensemble opportunities provided by universities needs to encourage student engagement not only with a range of repertoire, but also with a range of ways of working. Equipping students with the skills and qualities needed to be adaptable and effective in ensembles requires a range of experiences across modes of music-making, and thus the kinds of ensemble experiences they have may differ greatly from those which are currently being provided. Ultimately, this project envisions a research-led curriculum which provides students with the structured experiences and support to help them develop effectively as ensemble musicians.

85 A new model of performers’ attentional processes and strategies: Implications for performance pedagogy and music theory

Bio: Abstract: László Stachó is a musicologist, Background psychologist and musician The music performer’s attentional processing in the act of performance working at the Liszt Academy of is of substantial significance as the perceived quality, expressiveness Music (Budapest) and the Faculty and individuality of a performance largely depends on the performer’s of Music at the University of feelings and thoughts during performance, as well as on his/her atten- Szeged. His research focuses on tional processing, i.e., to which moments of the musical process the Bartók analysis, early 20th- performer attends at a certain point of time. Despite the overwhelming century performing practice, theoretical and practical importance of the topic for music psychology, emotional communication in aesthetics, analysis and pedagogy, it has never been investigated in music performance and per depth but in a few studies only, which is mainly due to the highly inter- formers’ attentional skills and disciplinary nature of the topic, as well as to difficulties in its theoretical strategies. Over the past decade, and empirical approachability. he has been involved in a country wide planning of music education Research questions László Stachó curricula in Hungary, including – How can performers’ attentional processes and strategies, correlated Liszt Academy of Music, Budapest the National Core Curriculum in with expressiveness and individuality, be modelled in the most ergo- Hungary music and conservatoire curricula. nomic way possible? As a pianist and chamber musician, he has performed in several – How can this model of attentional processing be tested and most effi- European countries and the US, ciently implemented in music performance pedagogy? and conducts Practice Metho dology (his own attentional train- – What are its implications for music theory? ing for performers) workshops and chamber music coaching – How can the effectiveness of a performance methodology, based on sessions at international master- the model, be assessed? classes in several countries including Hungary, Great Britain, Aims Italy, Turkey, and Romania. In In our paper, we introduce a model of attentional processes and 2014, he was CMPCP Visiting strategies based on temporality which can be implemented into ped- Fellow based at the University of agogical practice through a novel methodology of performance skills Cambridge and in 2017, Visiting training. Further, we intend to present preliminary empirical results of Fellow at the Cambridge Faculty testing of Music. the effectiveness of the methodology. An assessment of the effectiveness of the methodology involves qualitative research on performers’

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attentional strategies as a function of their performances’ perceived expressiveness; eye-tracking measurements of direction of gaze, as a function of attentional focus; and correlational analyses of microtiming pattern regularities of performers’ live recordings and attentional processing. Finally, we intend to show how testing the model of attentional processes and strategies can contribute to a novel approach to conceptualizing musical structure.

Summary of content Attentional processes and strategies underlying the expression and communication of musical structure involve expressing and empa thizing with feelings in real time in the act of performance. Based on research in psychology of music and sport psychology, attention research and pedagogical practice, we propose that during a performance that is perceived to be highly expressive, intelligible and individual this activity is connected to a vivid mental imagery process. Typically, this process builds on moments of deep immersion and involves a specific, “navigating” type of attentional processing that includes the dir- ecting of attention forward (“anticipation”), backward (“retrospection”), and to the present moment (“mindfulness”) at well-definable points of the musical process.

Significance The notion of “navigating” mental imagery has a strong potential for applications in music pedagogy (through the development of a novel methodology of enhancing and practicing performing abilities), and further development and operationalization of the theory of attentional processes and strategies brings a new cognitive approach not only to performance pedagogy but to music theory as well. Operationalization of the theory of mental imagery, involving eye-tracking measurements of gaze direction as a function of attentional focus, lays the foundation of a fundamentally cognitive theory of musical structure through a genuine performance-to-analysis approach.

87 Individual Papers 12: Insights through choral performance (Chair: Amanda Bayley) Text articulation and musical articulation in choral performance: a case study

Bio: Abstract: Caiti Hauck-Silva holds a PhD in In music, the term “articulation” is often understood as the relationship Music, a Masters in Music and a between contiguous notes in terms of connecting them or not, or also in Bachelor in Music Education from terms of their duration and/or dynamics. In vocal music, “articulation” the University of São Paulo also means the formation of vowels and consonants (i.e. the physical (Brazil). Her PhD research dis- action of producing them). Although Western musical notation makes cussed aspects of text diction in the relationship between text articulation and musical articulation choral works sung in German and potentially invisible (since it does not specify the duration and the was partly conducted at the dynamics of vowels and consonants), the use of the same term already University of Cambridge (UK), suggests a connection. Indeed, authors on vocal pedagogy or choral with the support of a CAPES singing mention, for instance, the influence of the manner of articulating Foundation grant. Her Masters the text on a legato line. The influence of text articulation on musical dissertation focused on voice articulation, however, is an aspect that has not been investigated in building activities in community performance. Of what exactly consists the influence of text articulation choirs. Caiti is a member of the on musical articulation? What are the effects of different durations and Caiti Hauck-Silva Multidisciplinary Group of Studies dynamics of vowels and consonants on musical articulation? This paper CAPES Foundation and Research on the Art of aims to discuss the influence of text articulation on musical articulation Brazil Singing (GEPEMAC), which is in choral works sung in German. It compares analyses of writings on based at the University of São choral conducting, interviews with conductors, and recording analyses Paulo. She also works as a choral of the pieces “Abendständchen” op. 42 nº 1 and “Darthulas conductor and a double bass Grabesgesang” op. 42 nº 3 by Johannes Brahms, which are used as player. Her current research case studies. Results show some consistencies between conductors’ interests include choral music in suggestions (in the writings on choral conducting or in the interviews) the 19th century, performance and the analysed recordings, principally in that long vowels and short studies, and expressivity in consonants tend to result in a legato articulation, and that short vowels musical performance. and long consonants tend to result in a non-legato. Nonetheless, recording analyses of “Darthulas Grabesgesang” also show that there is a proportional relationship: vowels longer than consonants tend to sound legato, and vowels shorter than consonants tend to sound non- legato. This relationship, however, can be completely inverted depending on the type of consonant (if voiced or voiceless) and the position of the consonant in the musical motif or cell (if at the beginning, in the middle, or at the end of it). The dynamics of consonants and vowels also have an influence on musical articulation: a steady dynamic when moving from vowel to consonant and again to vowel results in a legato, while

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greater dynamic differences (e.g. loud vowel and soft consonant) result in a non-legato. Furthermore, recording analyses do not corroborate the suggestion of some authors that plosive consonants should be softened to achieve a legato: recording analyses of “Abendständchen” show that plosive consonants are clearly articulated and that such articulation does not break the legato line. These results suggest that in vocal performance (or at least in choral performance) one cannot discuss musical articulation without discussing text articulation. Although text diction is an aspect not often researched in studies on performance, it has an effect on several elements of performance, not least on articulation and, therefore, on expressivity.

89 Choral Complexity: Aleatorism and Nested Decision Making

Bio: Abstract: Daniel Galbreath is a conductor Background and researcher based in Following the European transformation of Cagean ‘indeterminacy’ into Birmingham, UK. His PhD work ‘aleatorism’ (Feisst 2002), improvisatory textures increasingly appeared at the Royal Birmingham in choral composition. Choral aleatorism was sometimes employed to Conservatoire, supervised by balance textural complexity and idiomatic vocal writing (Bodman 1994) Prof Deborah Mawer, interrogates against choral music’s general conservatism (Strimple 2002); or, as the experience and emergent Pauline Oliveros suggests, to afford a uniquely embodied and liberatory practice of singers performing performance experience (2004). The primacy of the performer – aleatory choral music. At the whether in terms of entrainment or agency – crucially predicates both Conservatoire, he teaches under- rationales. Yet little has been written about these performers’ experi- graduate choral conducting and ences or the processes they undertake in performing works which often vocal devising. He is also active employ novel or innovative compositional techniques. as a workshop leader in schools, and designed and coordinates Research Questions Daniel Galbreath the English Choral Experience My research seeks to answer the question: How do performers under- Royal Birmingham Conservatoire, Conducting Course. He founded take and experience choral aleatorism, and how might these processes Birmingham City University and conducts Via Nova, a vocal suggest an emergent practice that can inform the efforts of singers, United Kingdom ensemble dedicated to contem- conductors, and composers? porary and experimental music, which has performed for broad- Aims cast on BBC Radio3, at the The central aim of this paper is to bring the findings of ongoing case Huddersﬁeld Contemporary studies (June 2015–November 2017) with choirs ranging from amateur Music Festival, and with the to early-career professional-level into dialogue with the field of Birmingham Contemporary Music Complexity Theory. The former suggest that performers, as individuals Group. Originally from Wyoming and as a performing corpus, construct processes to navigate the in the USA, Daniel studied viola performance of aleatorism. These processes are evidently informed by performance as an undergradu- multiple contributory constructions – of composer, concept, localised ate. ‘tradition’, and other elements. I will explore how these construed entities interact within a singer and a choir.

Summary of Content This paper will outline two action-research case studies: the first with the contemporary vocal ensemble Via Nova (Birmingham), work shopping new pieces in collaboration with composers; the second with

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amateur choirs (Birmingham, Warwickshire, and London), rehearsing established aleatory works. Preliminary conclusions yielded by Grounded Theory Method data analysis will be offered. Adapting Davis and Sumara’s (2002, 2006) argument that complexity thinking not only reconciles the disparity between the social and personal strands of constructivism (e.g. Vygotsky and Piaget), but also addresses constructivism’s inability to propose action or method, I contend that singers’ decision-making exists within, and is mutually effective with, nested complex systems. The connections and reciprocity inherent to improvisatory textures occur between multiple strata in these structures, where ‘complex unities are often composed of and often comprise other unities that might be properly identified as complex’ and which ‘exchange […] energy with their surroundings’ (Davis and Sumara 2006).

This paper offers an understanding of how these interactions occur within both singers and ensembles, and how they impact and bound each other, highlighting the transphenomenal nature (Davis 2008) of repertoire to which singers bring multiple traditions and physical entrainments, and in which the rehearsal and performance situation itself reifies numerous external phenomena.

Significance These findings offer insight into the nature of the performance of choral aleatorism. More significantly, however, they point towards a practice. Complexity thinking provides a pragmatic approach to the performance of these works, revealing to composers, conductors, and singers how decisions are made and musical outcomes emerge from scores, in such a way as might productively influence the structuring and ethos of their rehearsal and performance.

91 Individual Papers 13: Musical thought, technology and the future (Chair: David Gorton) Multimodal performer interaction as a creative compositional parameter

Bio: Abstract: Larry Goves is a composer based This paper is an exploration of and reflection on a recent body of in Manchester (UK). His music has compositional work and current work-in-progress that considers the been performed and broadcast possibilities of multimodal performer interaction as a primary creative around the world and released on compositional parameter. Multimodal embodied interaction, particularly NMC, Dutton, Prima Facie, Slip, in terms of communication through language and the body, is a feature nonclassical, Prah and on The of (almost) all music that involves more than one performer. This has London Sinfonietta’s Label. He been explored in relation to performer interpretation and behaviour directs ensemble The House of (Wing (2014), Haviland (2011), Vuoskoski, Thompson, Clarke and Spence Bedlam, curates the Decontami (2014 and 2016) etc.) but less as a creative or analytical musical tool. nation concert series at the Royal Northern College of Music (RNCM) The investigation for the compositions discussed in this paper began and has co-curated their New with a survey of performer interactions in Olivier Messiaen’s Quatuor Music North West Festival. He is pour le fin du temp and older music of my own. This has led to a number a Paul Hamlyn Award for of pieces in which performer interaction/coordination contributes dir- Larry Goves Composers recipient and has ectly to the sound of the music outside of more typical interpretation/ Royal Northern College of Music been shortlisted for an RPS improvisation models. A recent example is an ensemble work in which United Kingdom Award. He is a composition the use of text as rhythmic notation problematizes performer coordina- lecturer at the RNCM and a com- tion in such a way that their aspiration to play precisely together affects position tutor for the National the surface of the music. Youth Orchestra of Great Britain. In a new work (for two saxophones and electronic sounds) conventional, cued and text notations are employed more fluidly, structured around a gradual transformation from less to more apparently coordinated behaviour. Further, the work places the level of apparent coordination in the notation into a state of play, sometimes distinct from the level of coordination potentially/probably apparent in the sonic result.

The paper also speculates on the next stage in this compositional exploration, particularly in the potential to apply Emanuel Schegloff’s concept of ‘lexical affiliate’ to address the correspondence between a gesture and spoken utterance in a new musical notation. Current research centres around a theatrical work in its initial stages for two performers that responds to the parallel anthropological journeys of

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song to speech and gesture to handwriting to typography (as outlined by Tim Ingold in the first chapter of Lines (2007)).

Key questions centre around how performer interaction can be employed as a creative/compositional parameter and also exploring the value in developing a vocabulary and approach describing inter action in this way. This might be extended to consider performer interaction as compositional material potentially contributing to wider ‘new materialism’ scholarship. There is also a question as to whether this research could open up a conversation regarding creative performer interaction in more traditional repertoire and circumstances.

93 Thought, Technology and Performance: Lessons from the Future

Bio: Jonathan Impett is Director of Juan Parra Cancino (b. Chile, 1979) His work in the field of live Research at the Orpheus Institute, studied Composition at the Catholic electronic music has made him Ghent and Associate Professor at University of Chile and Sonology recipient of numerous grants such Middlesex University, London. at The Royal Conservatoire The as NFPK, Prins Bernhard Cultuur Hague (NL), where he obtained his fonds and the International Music His compositions explore the spaces Masters degree with focus on Council. between score and improvisation, composition and performance of integrating symbolic-compositional, electronic music. In 2014, Juan Since 2009 Parra is a fellow sound processing and improvisa- obtained his PhD degree from researcher at the Orpheus Institute tional materials. Early work with Leiden University with his thesis (Ghent, BE), focused on perform- the computer-extended meta- “Multiple Paths: Towards a Perfor ance practice in Computer Music. trumpet has led to continuing mance practice in Computer Music”. engagement with interactive tech- Jonathan Impett nologies, the acts and contexts of His compositions have been Orpheus Institute, Ghent performance. As a trumpeter he performed in Europe, Japan, North Belgium has premiered solo works by and South America in festivals Berio, Harvey and Scelsi, and per- such as ICMC, “Sonorities”, forms with ensembles such as “Synthese”, and “November Apartment House and in various Music”, among many others. improvisational contexts. He is also a member of The Orchestra His acousmatic piece Serenata a of the Eighteenth Century and The Bruno obtained a special mention Amsterdam Baroque Orchestra. at the Bourges electroacoustic music competition of 2003 and in His research is concerned with the 2004, his piece Tellura was discourses and practices of con- awarded with the residence prize temporary musical creativity and of the same competition. the nature of the contemporary technologically-situated musical Founder of The Electronic Hammer, artefact. A monograph on the a Computer and Percussion trio music of Nono will appear in 2018. and Wiregriot, (voice & electronics), Juan Parra Cancino He leads a research cluster at he collaborates regularly with Orpheus Institute, Ghent Orpheus: Music, Thought and Ensemble KLANG (NL) and Hermes Belgium Technology (BE), among many others.

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Abstract: are the implications of such work for the performance and understand- Music, Thought and Technology (MTT) is a research cluster investigating ing of earlier, historical repertoire. Is ‘technological’ performance the role of technology- and science-derived concepts in contemporary materially different to ‘conventional’ performance in a cultural context music practices: in technologically-facilitated music, of course, but also of shared models? more widely, in the creation, understanding, criticism, representation, pedagogy and discourses of music. As practitioners, we pursue this As traditional roles and contexts for performance are increasingly open work in the spirit of artistic research – through our own work as musi- to question, these issues are relevant to performers of all kinds of cians – and the methodological ethos of ‘critical technical practice’ music. These widely-diffused models of thought are common to all (Agre, 1995). contemporary modes of performance; indeed, they point to some important commonalities. Musical works have much in common with the virtual or digital objects we now seek to understand and with our new world of augmented materiality (Massumi, 2002). They exist in a unique state of materiality/ immateriality. While they are intensely bound to direct experience, to technologies, techniques and materials, this physicality can exist in multiple instantiations, they can be manipulated, engaged with and acted upon as cultural abstractions. In cultural terms, music is the area of human activity in which we deal with the virtual, with the constructive relationship between human affect and abstract structures or formal systems. Technological models thus influence all aspects of contemporary thought and practice, while our long cultural experience of art music offers precedents for understanding digital culture.

In working not only with new technologies but with the models of thought they embody, performance, imagination and creation come into a different alignment. The situatedness and distributedness of the work have to be acknowledged. The relationship between performer and work is transformed, particularly when the performer retains creative ownership over the evolution of the work, or the work itself has ‘intelligent’ agency. How are these situations reflected in the act of performance? In its preparation, reception and repetition? The trans- ductive nature of technological performance affords rich modes of representation, analysis and reflection. How do these inform the evolution of performance in particular cases in in general? We explore these aspects through case studies from MTT. Finally, we then consider what

95 Can I turn you on can you turn me off when you turn me on can I turn you off

Ivar Grydeland, Improvising with “creative” machines. In a Ivar Grydeland is a Norwegian guitarist mainly improvisation human-human improvisatory dialogue, we expect working with contemporary improvised music. most human improvisers to strive at creating He has toured regularly in Europe, Asia, North- and dialogue and music that “works”. Obviously, there South America over the last 18 years with his main are as many definitions of “when music works” as improvising ensembles Huntsville and Dans les there are practitioners and listeners. But still, one arbres, and with the Norwegian artist Hanne major distinction between humans and machines is Hukkelberg. He has released about 35 albums on that the machines do not want anything. They just labels like ECM, Hubro, Rune Grammofon and Sofa. produce numbers. Or put differently, they do not With Dans les arbres he was nominated for the care if the music “works”. How do we as human Nordic Council Music Prize 2015. In 2015 Grydeland improvisers operate in this domain? This is the completed his artistic research fellowship project framework for the artistic research project Goodbye “Ensemble & Ensemble of Me” at the Norwegian Intuition (2017–2020), hosted at The Norwegian Academy of Music, where he is now Associate Academy of Music. Professor.

In this performance Ivar Grydeland will improvise together with “creative” machines. At the core of the machines is an archiving algorithm, a sound collector whose musical output comprise fragments of sounds it has collected from the project members since the project began in October 2017. The machines improvise with sounds from Grydeland and the other project members Morten Qvenild (NOR), Andrea Neumann (GER) and Sidsel Endresen (NOR). Fragments are chewed and processed, and some are wildly “interpreted” by various midi- instruments.

96 Ivar Grydeland. Photo: Peter Gannushkin

97 Special session 1 GRiNM (Gender Relations in New Music) – discussion session

Bio: Abstract: This application is submitted by GRiNM is a collective of individuals who work together around the issue me on behalf of GRiNM (Gender of gender relations in the new music scene. GRiNM grew out of GRID - Relations in New Music), so the Gender Research at Darmstadt - which took place at the Darmstadt information included here is Summer School in 2016. about the collective and not me as an individual. - Rosanna In 2016 Ashley Fure, working on the 2016 HISTORAGE Project in the Darmstadt archive, looked at gender relations throughout the history of Think of GRINM as a coalition, or Darmstadt and generated important statistics regarding the balance, as a collaboration. or lack thereof, of male and female participation at different levels of the festival and summer school. Questions which emerged at this stage It’s made up of a large group of that are still key questions for GRiNM include: people, all of whom play a variety of roles in the ﬁeld of new music. What stories aren’t written down? Some are festival organizers, What histories speak through the cracks and absences in the archive? Rosanna Lovell others are composers, musicians, How did patterns shift over time? Gender Relations in New Music researchers, programers, aca- Where do we stand today, and where might we hope to move in the (GRiNM) & Universität der Künste demics, educators, directors and future? Berlin curators. Each of these people Germany have their own opinions and ideo- These are important questions can be considered in relation to any logies, but share a common recurring cultural event (festival, conference) that has a historical interest in this speciﬁc issue of legacy, as well as institutions, ensembles, etc. gender relations in new music. Following a lecture by Georgina Born and a panel discussion with a wider range of creative practicioners, self-organized GRID actions and events spontaneously developed in the days following during Darmstadt; think tanks, discussions and exchanges, interviews and websites were created. These events spanned generations and genders and included composers, performers and curators. GRiNM continues in the same direction and has presented workshops and presentations at Märzmusik (Berlin) 2017, Hoffnung 3000 (Berlin) 2017 as well as the Donaueschingen Musiktage (Donaueschingen) 2017.

GRiNM continues to generate new research and statistics by looking critically at publicly available archives, the most recent of which was

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presented in October 2017 at Donaueschingen (see image submitted as These issues are central to Performance Studies, as they impact per- part of this application). They are working on preparing programming formers, audiences, composers and institutions. They can inform us on contributions to Darmstadt and Donaueschingen for 2018 focusing how we understand the communities around our performances, prac- around issues of diversity and gender in music, composition and per- tice and the events we attend or perform at. We reflect and consider formance. possible futures and ask where might we hope to move in the future?

Although most research at this stage focuses on the categories of male It is interesting to note that GRiNM has also emerged at time when lots and female, GRINM goes beyond the man/woman binary. Talking about of research regarding the classical music and new music profession diversity and inequality of representation requires that transgender and and educational institutions is being published. How do we situate our intersex identities be included as composers, musicians, thinkers and work in relation to this new data, which can shift the discussion from artists. Speaking only of men and women automatically excludes so conjecture or rumour to a serious rethink of the functions and norms many conceptions of gender. GriNM focuses on how certain people, within this cultural field ? Research emerging in the last year (such as only on the basis of their appearance or origin, have been discrimin- Christina Scharff’s new book ‘Gender, Subjectivity, and Cultural Work: ated against for a long time in the new music scene. Included in this is a The Classical Music Profession’ or the Art.School.Differences Report post-colonial approach to how we think about quality and taste in new from the research team at ZhdK, Zürich) pose challenging questions to music, and how histories and canons are created and maintained. the position taken up by classical and new music and it’s assumed position regarding quality, taste and accessibility. Take a moment to reflect on the music organisations, ensembles and institutions surrounding us: The networking structures of those operate We would also look at the local context of Norway and Scandinavia to in repetitive and clear patterns. But why not step off the ways and try consider programs or events that have taken place there that could be something different? Why is the new music scene a basically white cis considered a model or inspiration for the change and diversity that we male club? feel necessary.

This is not a struggle between men and women. Rather, it is a common GriNM proposes a workshop format that would include talks and discus- struggle against systematic oppression, and about giving equal access sions, building on our previous presentations for example at Märzmusik to the same set of privileges, opportunities, compensation, and ability in Berlin in March 2016. Since GRiNM is a coalition of individuals to sustain their musical practices to everyone who wants to. working as professionals in different fields it is not possible at this stage to say exactly who would be convening this workshop, however we see The present cannot be changed without also re-assessing the past. The this not as a negative but as a positive. It leaves us open to respond to two processes of change must go hand in hand. We see a need to both the interest of the conference and other parts of the program as well as change the repertoire for instrumentalists and also for a new practice of to develop over the next months and present our work as it stands in diverse commissioning and curation, all of which then feeds into the July 2018. As with other events that we have presented at we would transformation of ‘history in the present’. open a dialogue regarding the potential of a GriNM session at the Performance Studies Network Conference 2018.

99 Individual Papers 14: Black and white, day and night: colouring the monochrome (Chair: Cecilia Oinas) Debussy: Beyond Black and White

Bio: Abstract: Stephen Emmerson has been on This presentation reimagines some music of Debussy in the centenary the teaching staff of Queensland year of his death. Given Debussy’s penchant for challenging convention Conservatorium since 1987. He or re-imagining musical possibilities, it seeks to raise some fundamental has been heavily involved with questions of authenticity in connection with contemporary perform- developments in artistic research ance: should we seek to be representing the literal substance or deeper through post-graduate super essence of the original inspiration? Might there be a risk of that essence vision and reflections on his own fading through time? Might a more creative and contemporary inter- performance projects. He has pretative approach help to refresh the music’s authentic essence? In Masters and Doctoral degrees performing work of an avowed innovator, should we not seek to be from Oxford University and is a somewhat iconoclastic? founding member of the Queensland Conservatorium The performers approach these questions by exploring the implications Research Centre. He maintains an of performing his music on instruments that offer sonic possibilities well Stephen Emmerson active career as a pianist both as beyond the technological capacities of his time. This raises further Queensland Conservatorium soloist and in various chamber questions as to what degree the soundscape of the composer’s imagin- Griffith University ensembles regularly performing ation fully was realised on the contemporary piano of his time. Excerpts Australia around Australia and beyond. from the composer’s extensive personal correspondence will be cited to illustrate aspects of his aesthetic concerns across his creative life. To Professor Bernard Lanskey – the what extent does the composer’s, indeed the period’s, own enthusiasm co-presenter of this presentation for orchestration and overtly sensuous colours invite the possibility of – is currently Director of the Yong further arrangements of the material as time unfolds? How might we Siew Toh Conservatory within the better represent in our contemporary environment the revolutionary National University of Singapore nature of Debussy’s sonic imagination? and widely active across various fields including as collaborative In investigating these questions, duo pianists Bernard Lanskey and pianist, scholar, chamber music Stephen Emmerson have chosen to explore the possibilities by inter coach, record producer, festival acting with two Nord Stage 3 keyboards. Notable amongst the most director and provocateur. Both recent examples of portable technology, these have become arguably Emmerson and Lanskey com- the instrument of choice by commercial keyboard players.1 However, to pleted undergraduate degrees at date, their possibilities (and those of comparable instruments) have the University of Queensland and been largely overlooked in performance by classical musicians. Bernard Lanskey subsequent studied piano with These Nord keyboards enable the mixing of acoustic piano samples in Yong Siew Toh Conservatory of Peter Wallfisch in London. Music, Singapore 1 Described as “Possibly the best piano you can buy that isn’t made of wood.” (From a MusicTech on-line review of the Nord 3, March 2017) 100 Abstracts, Friday, 6 July 15:25, Levinsalen

combination with selections from the vast range of sampled and syn- The significance of this project relates to broader questions that remain thesised sounds also available on these instruments. The performance important ones for the traditions of Western Art Music, namely: will work exclusively with sounds generated live (i.e. all the sounds will be triggered in real time, thereby staying true to the tradition of the fully • To what extent should music from that tradition be adapted to ‘live’ performance) while also maintaining a sense of evolution from respond to new instruments/ contexts /aesthetic preferences of our traditional piano sonority. The performance program will include reper- own time? toire for solo piano (selected Preludes and Etudes) distributed between • How might a reimagining of a musical work in terms contemporary the two keyboards as well as music either written by Debussy for two instruments, sounds and concepts enhance our perception of it? pianos (such as from his En Blanc et Noir) or arranged by himself or • To what extent can, or should, a contemporary form of presentation others for four hands/two pianos. In the spirit of such arrangements, be congruent nonetheless with our understanding of the composer’s the performance will also include reworked versions of movements from intention? some of his orchestral scores rearranged by the duo for this new • How might exploring works on new instruments alter our approach medium. and understanding when one returns to hear/play them on acoustic instruments? The presentation will explore how these contemporary instruments can enable this pivotal music from the Western and Modernist traditions to be presented and heard in new ways (with equivalently fresh ears to when first heard?). The performances will be the result of collaborative processes between the two performers that have been developed through creative experimentation with the possibilities opened up by these instruments. The project has implications not only for listeners to hear new perspectives but for the performers whose relationship to instrument is challenged and, ultimately expanded, through the process. Moreover, the transplantation of this repertoire from acoustic (usually grand) pianos to portable keyboards has the potential, with appropriate sound reinforcement, to enable performances in a wide range of performance contexts beyond traditional concert venues.

101 Resonances: Cross-Disciplinary Approaches to Crumb’s Nocturnes

Bio: Abstract: Daphne Leong is Assoc. Prof. of session abstract Music Theory at the University of This session considers resonances among the domains of composition, Colorado Boulder. Her research scholarship, and performance as manifested in collaboration around interests include analysis and George Crumb’s Four Nocturnes for violin and piano. It raises two performance, rhythm, and 20th- questions, one broad and one narrow: 1) how can we model cross-dis- and 21st-c. music. Her perform- ciplinary collaboration in music, and 2) how can we illuminate Crumb’s ance-related work centers on the- extensive use of silence in the Nocturnes? It addresses these questions orist-performer collaborations; through two presentations and a performance, given by a theorist- these form the core of her forth- pianist and a violinist-scholar. In the first presentation, Leong theorizes coming book Performing Know collaboration across disciplines, and the things and people that make it ledge: 20th-c. Works in Analysis possible: shared items, shared objectives, and shared agents. As and Performance (Oxford). Leong performer-scholars, Leong and Theurer serve as shared agents between is also an active chamber musician, performance and research in their interpretation of Crumb’s nocturnes. Daphne Leong and founding member of the new- In the second presentation, Theurer, extending the idea of cross- University of Colorado Boulder music quartet Throw Down or disciplinary interplay to analogies between poetic and musical tech- United States Shut Up! niques, presents an analysis of Crumb’s Four Nocturnes that draws on the poetry of Federico García Lorca. A concept borrowed from Lorca, Violinist and scholar Michiko huecos, helps listeners and performers to understand and shape Theurer views conversations Crumb’s enigmatic silences. The session concludes with a joint perform- between different disciplines as ance of Crumb’s Four Nocturnes, embodying the intertextual and inter- pathways to a deeper engagement disciplinary overlaps discussed in both presentations. Our conceptual with ideas and experiences. Her and performative explorations of the Nocturnes demonstrate how musical performances draw from different kinds of knowledge might interact in a cross-disciplinary her experience as a visual artist collaboration. and scholar, and include concerts with Eighth Blackbird, the Aspen individual abstracts Contemporary Ensemble, and as Cross-disciplinary collaboration: shared items, objectives, and agents Artist in Residence with the Boulder Daphne Leong Bach Festival. She holds a doctorate in violin performance from the Collaboration across musical disciplines—composition, performance, University of Colorado Boulder, scholarship—is ubiquitous. But its bases have been little examined. Michiko Theurer and is currently pursuing a PhD in Drawing upon literature on collaboration in the sciences and in inter Stanford University musicology from Stanford. cultural communication, I explore the things, people, and processes United States that enable and motivate collaboration among scholars, performers,

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and composers. These include shared items such as scores, shared Resonant Openings: objectives such as concerts or presentations, and shared agents such George Crumb’s Four Nocturnes and the poetry of Federico García Lorca as scholar-performers or composer-performers. These three shared Michiko Theurer bases enable collaboration in specific ways. Shared items are recognizable across domains, and can mediate and translate between them: a George Crumb’s 1964 composition, Four Nocturnes for violin and piano, theorist need not understand the details of how a performer interprets a presents daunting challenges for listeners and performers. The piece is score, just as the performer need not grasp the details of the theorist’s prevailingly soft throughout, and performers must convincingly shape analysis, but the score is a common source of meaning that mediates and energize the many silences. My analysis of the Four Nocturnes between their two knowledge bases. Shared objectives may include seeks to understand and conceptualize qualities of negative space cut activity objectives (outcomes of collaborations, such as publications open by Crumb’s precisely articulated sounds. and concerts) or epistemic objectives (potential areas of desired know ledge, such as the interpretation of a particular piece). Activity object- As a violinist, visual artist, and scholar, I find that each domain in which ives motivate collaborative activities, direct roles, and divide labor. I work has specific vocabularies capable of articulating concepts that Epistemic objectives fuel attachment because of their incompleteness; may be less immediately accessible in other domains. Thus, analyzing they also generate questions not yet known to the collaborators. Finally, music through the conceptual vocabulary of visual art, for instance, shared agents have competencies or identities in more than one can enrich one’s ability to engage with the music on its own terms. This domain; these agents function both within cultures (performance, process relies on an analytical conversation between two open systems scholarship, composition) and across them. My presentation elaborates (music and another work of art), in which the vocabulary of each serves on these bases for collaboration, illustrating them with examples from as a metaphorical tool for engagement with the other. my cross-disciplinary collaborations in authorship and performance. These include thirteen publications coauthored with performers (includ- My analysis of Crumb’s Nocturnes draws on the poetry of Federico ing nine in my book Performing Knowledge, forthcoming from Oxford García Lorca as a framework for interpreting the organizing qualities of University Press), numerous chamber collaborations (for instance, with emptiness. Though not explicitly acknowledged in the published score, my new music quartet Throw Down or Shut Up!), and premieres of new Lorca’s poetry is connected to the genesis of Crumb’s Four Nocturnes. compositions (working with the composer). The examples display ways Lorca’s poem, Nocturno del hueco (Nocturne of Emptied Space), in which domain-specific knowledge is mediated, translated, and trans- expresses a concept that serves as a shared item between the domains formed through collaboration to produce new cross-domain knowledge. of Lorca’s poetry and Crumb’s music: huecos, or empty spaces charged They also demonstrate the power of the model for describing and with resonance. Lorca uses several interrelated techniques in this poem explaining collaboration across the musical domains of scholarship, to draw the reader into a visceral experience of emptiness: Phonetic performance, and composition. echoes fill and enliven deliberate gaps in semantic meaning; directed images reach beyond their outlines to suggest something indefinable; and structural repetitions build expectations that are denied, making absence palpable. Crumb uses similar techniques to draw attention to the resonant, empty spaces in his Four Nocturnes.

103 Individual Papers 15: Modes, topics and genres in interpretation and analysis (Chair: Anthony Gritten) Modes of communication in classical music

Bio: Abstract: Professor dr. philos. Per Dahl Communication is bound to human activity. The division between com- (b. 1952) studied at the University poser and performer that grew out of the notation practices made the of Trondheim, Norway (musicology, literate dimension the most important (and for a long time also the only philosophy and psychology), and existing) object for the study of styles and genres in music history. has been working in Stavanger Performers were reduced to mediators of the composer’s written since 1979 (Music Conservatoire, material. To understand and illustrate the differences between perform- now Faculty of Performing Arts). ance studies, practitioner knowledge and a discourse on music, I have He is consultant to The Norwegian developed a model depicting modes of communication in classical Institute of Recorded Sound, music with three levels involved in representing the musical work; Music Stavanger opened in 1985. cognition (ideas, interpretations, experiences), People (composer, per- He was rector at Stavanger former, listener) and Objects (notation, sound, discourse). A broad defin- University College (2000–2003). ition of ‘notation’ makes this model applicable to several other music After ﬁnishing his dissertation at styles and artistic performances. the University of Stavanger in Per Dahl 2006 (Title: Jeg elsker Dig! I link the distinction between thick and thin works (Davies 2001) to ideas University of Stavanger Lytterens argument. Grammofon and objects, making any transformation from idea to object a reduction Norway innspillinger av Edvard Griegs from a thick to a thin entity. The notated musical work is the thin opus 5 nr.3) he has written three element that needs to be interpreted, i.e. given (musical) meaning by books: Anvendt musikkestetikk. adding properties that consequently open up potential meanings En innføring (2008) and Verk different from those intended by the composer. The performer’s reading analysen som fortolkningsarena of the notation generates an interpretation based on the performer’s (2011), Music and Knowledge. horizon of knowledge (not restricted to music/sound/notation) and his/ A performer’s Perspective (2017), her performance skills integrated into his/her practitioner knowledge. and given several public lectures The sounded musical work is, therefore, thinner (has fewer properties) and courses on music listening/ than the performer’s concept of the interpreted musical work. The appreciation. He is leader of a listener will interpret the performance by his/her expectations and researcher group focusing on horizon of knowledge (not restricted to music), and the utterances in a Practitioner Knowledge in Music discourse of music will be thinner than the musical experience. and Dance at the University of Stavanger, Norway and member Of particular interest in artistic research is the gap between the per- of IMS Directorium. former’s meaningful intentions (performed as sign and symbols) and the receiver’s meaningful experience of an expressive musical performance. Founded in his/her horizon of understanding and idea of musical meaning, the performer will develop actions in a performance following

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the sign and symbols relevant for making an ideological/stylistically reliable performance. For the audience, it is possible to accept the performance as reliable, and/or valid, depending on their experience of the performance and its social and architectural surroundings. The gap in the transfer of meaning from the performer, via the sounded music to the receiver, challenge the significance of the traditional communication model Sender-message-receiver. Luhmann (2008) makes communication ultimately perfected in the addressee, tolerating ‘understanding’ to construe a communicative event where there was none intended, or intended as an entirely different thing. Then the listener might and could decide to experience any sound aesthetically in the way he/she experiences it as music. The individual and/or social context might sometimes overrule the reliability of the performance by focusing on the validity of the musical experience. For the performer, it is important to act in a way making the work of art employ perceptions exclusively for the purpose of letting the observer participate in the communication of invented artistic expressions.

105 Topics and Genres in Analysis and Performance: From Theory to Practice

Bio: Abstract: Yan Zou, PhD, professor at the Leonard G. Ratner’s influential monograph Classic Music: Expression, Musicology Department of Form, and Style (Schirmer, 1985) put forward a theory of musical topics, Shanghai Conservatory of Music. showing their relationship to and definition in terms of genres and He studied with Prof. Yiping Qian styles. A more recent publication – The Oxford Handbook of Topic at SCOM and got his master Theory (OUP, 2014) – has significantly extended Ratner’s work, and the degree in 2003 and PhD in 2006. section on ‘Performing Topics’ is of particular relevance here. Referring His major research ﬁelds are to these publications, this paper explores the relationship between music analysis and performance analyzing and performing topics and genres in given works. theory. He published three books with Shanghai Conservatory of The relationship between score and performance has been lengthily Music Press, including A Guide discussed in the literature, and one conclusion is that analysis of some Reading of the Classic Articles of sort is essential to the process of developing a performance. Topics are Chinese Musicology: Music of special relevance in this regard, especially in the works of the case- Analysis (2011), On the Beginnings study composers that I discuss. My argument – following Guymer (2014) Yan Zou of the Classical Sonata Forms – is that the most important priority in performing such repertoire is Shanghai Conservatory of Music (2012), and The Palindrome discovering the topics expressed therein. Historical study, analysis and China Structure in Alban Berg (2012), close listening together enable performers to identify, understand and and more than one hundred project these topics. I propose that studying music’s topical properties articles which over twenty of should be an important priority for performers and theorists alike. them published in the core journals of China, such as the To demonstrate this, I present a performance-focused analysis of Music Arts, China Music, Chinese passages from works by four composers – Mozart, Bach, Beethoven, Musicology, and Journal of and Chopin. Central Conservatory of Music. He also translated some books The movements of a sonata by Mozart often combine three or more and articles into Chinese with topics, such as the pastorale, minuet, and Turkish march in his Sonata Shanghai Music Publishing in A major, K.331. Even though Mozart did not label passages with these House, including the names, there can be little doubt that identifying such topics is a matter “Performance Commentary” and of cardinal significance for the performer. This has the potential to give “Source Commentary” of seven absolute music “programmatic” powers, potentially yielding a more vols. of Works of Fryderyk Chopin vivid, convincing performance. by Jan Ekier, and The Art of Practicing, by Madeline Bruser. This approach is especially suitable for music with no or few expressive indications, such as Bach’s works. If a pianist discerns that the topic of

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Bach’s Three-Part Invention No. 2 in C minor is a siciliana, then he/she may be inclined to play the piece more slowly and with greater expression, along the lines of the first movement of Tartini’s “Devil’s trill” Sonata for violin. Two recordings, one by András Schiff and a version for string trio, are used to illustrate.

The second part of the paper looks specifically at issues of genre, building on the conclusions from the first half. Beethoven was notorious for varying or disguising genres for the purpose of generating expression and building narrative. His Piano Sonata, Op. 31 No. 3, will be used as a case study in explaining this point. Of the four movements, only the last is in an original genre, i.e. tarantella: the other three (sarabande, scherzo, and minuet) are in a variant form with idiosyncratic narrative properties.

Finally, in only a few of Chopin’s Mazurkas is there a single type of dance within the piece: in most, two or three dance genres appear in succession or in combination. Studying recordings of these mazurkas can help us understand these underlying dance genres, better interpret the music, and fathom changing tastes within the history of Chopin performance.

107 Individual Papers 16: Voice, body, humans and humanity (Chair: Astrid Kvalbein) The female voice of the Garcia School: Research on opera vocal techniques from a gender perspective

Bio: Abstract: Ingela Tägil is a Swedish col- This project is founded by the Swedish Science Council as a three year oratura soprano and doctor in international postdoc fellow ship at the Bern University of Arts, Musicology. She graduated from Switzerland (2015–2018). the Academy of Music at the University of Gothenburg as solo The purpose is to analyse gender aspects in opera vocal technique. singer 1998. Tägil has been My aim is to determine how the dominance of the male vocal aesthetic involved in opera performances, in opera technique affects female voices by examining the Garcia music theatre for children, though School. Despite his aim to improve the male opera voice, Manuel Garcia her mainly occupation has been the younger (1805–1906) and his successors had their greatest success church music. with female singers. I believe that some parts of Garcia’s vanished techniques may benefit female voices to the extent that they may be con- In October 2013 Tägil received sidered as significant factors for why the Garcia School was extraordin- her doctoral degree in Musicology ary successful with female singers, especially high sopranos and at the Academy of Music at the coloratura sopranos. It concerns primarily Garcia’s controversial term Ingela Tägil University of Örebro. Her thesis Coup de la glotte, his definition of breathing support, and his term for a Inst för musik och Bild Linnéus investigates what factors that high larynx position voix blanche. Main research questions are: University Växjö/ the Bern made the Swedish opera singer University of Arts Jenny Lind’s (1820–87) image as 1. How do Garcia’s techniques coup de la glotte (hard tone onset), lateral Sweden an icon and stereotype symbol of breathing support (higher breathing support than used today) and voix femininity possible, and highlights blanche (high larynx position) affect female opera voice progression? the imprtance of her voice. 2. Do these techniques have any relevance today? Between October 2015– October 2018 Tägil has a Post doc fellow The material consist two parts 1) early recordings of singers from the ship at the Bern University of Arts Garcia/Marchesi school from the early twentieth century, 2) I have con- at the Music Department, a colab- ducted experiments together with seven sopranos, three professionals oration between Linnéus and four opera students at the Bern University of Arts. All participants University in Växjö Sweden and have been singing the same Garcia exercises and the same aria, a part Bern University of Arts from Lucia’s mad-scene from Donizetti’s Lucia di Lammermoor. All these Switzerland. She belong to the experiments have been filmed. The experiments were completed with research group Interpretation filming the singer’s glottis while they sang with Garcia’s techniques. studies there she works on her I am now evaluating the experiments and comparing them with the project The Female Voice of the early recordings. I would like to show some of these filmed and recor- Garcia School. ded compartments on the presentation

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I have found that some of Garcia’s techniques, especially the higher breathing support together with the higher larynx positions are really useful to some high sopranos, in some bel canto repertoire. I have also found that Garcia was old fashioned already during his own contemporary and that the singers from the Garcia/Marchesi school lingers in older techniques longer than other singers from the same period of time. I suggest that the Garcia school may be used as a historical window to singers who want to sing in historical ways, even before the nineteenth century.

109 Confrontations at the ‘heart of Schubert’: amateurism vs professionalism in the performance of Schubert song

Bio: Abstract: Kathryn Whitney is Co-Director Background (with Amanda Glauert & Paul In 1857, Leopold von Sonnleithner complained that the professional Barker) of the SongArt baritone Vogl was dishonouring Schubert with his ‘theatrical’ perform- Performance Research Group, ances his late friend’s songs. Performers with ‘only reasonably good London, and a member of the voices but a natural style’, von Sonnleithner argued, could take the voice faculty at the Victoria listener to the ‘heart’ of Schubert song (Deutsche, 1958, 337). While von Conservatory of Music, Canada, Sonnleithner’s criticism may reveal as much about his nostalgia for the where she is Artistic Director of faded traditions of his youth as it does about Vogl’s abilities, the idea the Summer Academy Choral that Schubert encouraged ‘non-professional’ interpretations of his Program, and the SongArt Projects music is historically accurate. As David Montgomery’s confirms, (Winterreise, 2015; Dichterliebe, professionals were ‘by no means “representative”’ of the performers in 2016; Schoene Muellerin, 2017; Schubert’s circle (2003, 18). On the contrary, the range of ability among Vaughan Williams, 2018). Kathryn Schubert’s performers was so wide that ‘any reasonable voice can be was a Visiting Fellow at the [considered to be] a Schubert voice, from amateur to professional, from Kathryn Whitney Centre for Music Performance & light to operatic, from basso to high soprano’ (2003, 17). SongArt Performance Research Creative Practice (King’s College, Group, London; The Victoria London, 2015), an Associate Historical evidence of Schubert’s collaboration with non-professional Conservatory of Music Fellow of the School of Advanced musicians is at odds with our own tradition of Schubert song perform- Canada Study, University of London ance, which both glorifies ‘specialist’ Schubert performers (typically as (2010–2015), Walton Fellow at the part of marketing campaigns), and explicitly and implicitly discourages Royal Welsh College of Music & amateurs. When Ian Bostridge confesses his fear of the ‘famous vocal Drama (2009–2011), and Wolfson challenges’ of Schubert’s song (Winter Journey, 2014), or Graham Creative Arts Fellow at the Johnson writes that ‘the score [of a Schubert song] is always there to University of Oxford (2002–2005). reproach you’ (‘Schubert: lieder of the pack,’ The Guardian, 10 May An active freelance performer, 2011), the message is clear: Schubert song is the domain of not just and solo and choral clinician, she professional performers, but only the elite among them. Amateur has premiered over 50 songs in musicians, do not attempt to scale these musical heights; instead, buy the UK and Canada, the majority our recordings. written for her voice. My annoyance with the ‘fake-news’ propagated by the Schubert song Kathryn holds degrees from industry has prompted me to develop two reflective performance Toronto (BA), Oxford (MPhil, DPhil) projects with amateur singers and pianists: the Winterreise Project and the Guildhall School of Music (2015) and the Schöne Müllerin Project (2017). Designed to ‘reunite’ (PGDipPerformance) Schubert songs with ‘authentic’ non-professional performers, this work

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acknowledges the importance of amateur performers and highlights the historical and contemporary insights that amateur musicians can offer both audiences and scholars.

Research Questions 1. What might amateur song performance have sounded like during Schubert’s lifetime?

2. Do the methodologies of standard professional song performance pedagogy suit amateur singers and pianists?

3. Can amateur performance shed new light on Schubert’s writing for voice and piano?

111 Remediation and Voice-Body Practices in the Music Theatre of Du Yun

Bio: Abstract: Dr Francesca Placanica is project- composers-performers, who in their writing propose a democratization leader of the artistic research of the creative process in favour of a bottom-up approach to practices project ‘En-Gendering Mono deriving from different creative languages (i.e.: Jennifer Walshe, Du Yun, drama: Artistic Research and Ashley Fure.) In their output for the stage, their exploration of the Experimental Production’, embedded interface of the voice-body (in some cases their own) with awarded a two-year Irish different media nurtures their militant conceptions of artistic produc- Research Council postdoctoral tion, music theatre and spectatorship, and translates their ideological fellowship (2015-7) at Maynooth élan into modes of performance that envisage embodiment and audi- University, where she is currently ence’s participation as yet another layer of composition. lecturing in Performance and Musicology. She is co-editor of By focussing on stage works for voice and embedded use of technolo- ‘Cathy Berberian: Pioneer of gies, techniques, and media borrowed from other performing arts, my Contemporary Vocality’ (Ashgate, paper proposes to explore in particular the political implications of the 2014) and holds a PhD from the interface between voice-body and the role of remediation in the music Francesca Placanica University of Southampton (2013). theatre of composer Du Yun (1977). Hailing from Shanghai and currently Maynooth University Forthcoming contributions will be based in New York, Du Yun pursues an integration of genres and styles Ireland appearing in Twentieth-Century encompassing orchestral, opera, chamber music, theatre, cabaret, oral Music, The Journal of Musico tradition, public performances, sound installation, electronics and logical Research, and in The noise. While the repertoires she accesses to fashion her stage works Cambridge Companion to Women span from Gregorian Chant to contemporary dance, her work also aims in Music since 1900. A professional to provoke and stir audiences, while transversally embracing new types opera singer, she has been recently of spectatorship. In her view, space has a primary role in the making of awarded a ﬁve-year Visiting live music, and the dialogue among different languages and types of Research Fellowship at University performance is bound to create new performative devices while raising of Huddersﬁeld to pursue political awareness: “We’ll be able to do so many things in so many embodied research practices at styles, and if the content calls for that, then let’s just try it.” (Du Yun the Centre for Psychophysical interviewed by Steve Smith, National Sawdust Log, 2017). Performance Research and is currently co-editing a special I will be in particular looking at the operas Angel’s Bone (2011, 2015) and issue on “Vocal Embodiment and Zolle (2004-5), both addressing issues of societal value, respectively Remediation” for Opera Quarterly. representing human trafficking and narrating the condition of migrants. Both staging are conceived as surreal and allegorical, and feature video projections and elaborate sound design. Ultimately, both works call for performance practices not conventionally associated with

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opera and music theatre, while maintaining recognizable elements of classical writing and scene setting, which allowed Du Yun to be nominated and eventually win the Pulitzer Prize for Music in 2017.

In a wider discussion of polystylism in contemporary music theatre production, I will base my observations in particular on insights acquired through my direct encounter with Du Yun, and will concurrently probe into an analysis of the staging and performance of her works, and their reflection on contemporary reception. While framing my discussion within theories of remediation and embodiment, I will explore evolving notions of liveness in performance, in particular examining the political implications deriving from the interweaving of languages and styles in contemporary composition and staging. Ultimately, I will examine the role of reception and media in the shaping of the language of this new generation of composers, examining the two-way thread characterizing their response to the production and performance of their work.

113 Individual Papers 17: Three places, three times: anthropological readings of performance events and traditions (Chair: Peter Tornquist) Cultural Performance and Musical Affect: A Study of Performance Contexts for Norwegian-American Fiddle Music Bio: Abstract: Canadian Hardanger ﬁddler Research Question: Laura Ellestad obtained her bach- How can central concepts from the work of Victor Turner and Tia elor’s degree in Traditional Music DeNora be used to explore performance contexts for Norwegian- Performance from the Ole Bull American fiddle music in the American Upper Midwest? Academy in 2012, followed by a master’s degree in Performance Abstract: from the Norwegian Academy of In this paper, I examine performance contexts for Norwegian-American Music in 2014. She was the fiddle music in the American Upper Midwest, viewed through the lens of recipient of the Hardanger Fiddle selected concepts from the work of anthropologist Victor Turner and Association of America’s Ole Bull sociomusicologist Tia DeNora. Key concepts in Turner’s “anthropology Scholarship in 2005, and in 2009 of performance” include cultural performances, liminal/liminoid spaces, she was awarded the Torleiv

Photo: Janne Hoem and communitas. Cultural performances – which reflexively break down Bolstad Memorial Stipend for her logical, rational structures, playing with their constituent parts in new, work to promote traditional music unimagined ways – take place within a “sacred domain of human Laura Ellestad from the Valdres region. In 2014 action” (Turner 1986, 24), which Turner calls a liminal or liminoid space. Norwegian Academy of Music she became the ﬁrst North Communitas designates a form of social interconnection associated Norway American Hardanger ﬁddler to with liminal, or liminoid, circumstances. According to Turner, partici advance to the elite A class at pating in a shared, ritual, liminal experience causes social relationships Landskappleiken (the Norwegian to become unstructured, and for the duration of the experience, all of national folk music champion- the individuals within a community are situated on an equal plane. ships). She is currently a PhD I argue that performance contexts such as Hardanger fiddle compe research fellow at the Norwegian titions (“kappleiks”) held in the Upper Midwest during the early 20th Academy of Music, where she is century may be viewed as liminoid rituals, and as settings for the exper- researching the Norwegian- ience of communitas: most notably, these events served to transport American folk music milieu in the Norwegian-American spectators and performers briefly into powerful Upper Midwest under the super recollections of their homeland. vision of Hans Weisethaunet, Darla Crispin, and Håkon DeNora’s approach to music sociology could be termed a “sociology of Høgemo. musical affect”, and examines music’s reflexive, active, and organizational role in the constitution of social life. DeNora’s own ethnographic studies highlight how music is used to structure concepts of self- identity; the body; group identity and social situations; and public and organizational settings. In her exploration of the role of music in the constitution of self-identity, DeNora asserts that music functions as a

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framework against which “subjective, cognitive, bodily and self- conceptual states” may be generated, maintained, and modified (DeNora 2000, 49). Her studies reveal powerful associations between aspects of specific musical material and forms of agency. Examples of this include using music as a way of provoking or articulating emotion, or as a way to relive and reflect upon past experiences. What’s more, reconnecting with past experiences “serves also as a means of putting actors in touch with capacities, reminding them of their accomplished identities, which in turn fuels the ongoing projection of identity from past into future” (66). The applications described above represent a small number of the many ways music may be used as a “technology of self.” In this paper, I apply this concept in a discussion of ways in which Norwegian-American fiddle music was employed in the articulation of self-identity among Norwegian-Americans in the Upper Midwest.

115 Architecture for musical performance: backstage at the West German spherical pavilion at Expo 70, Osaka

Bio: Abstract: Sean Williams is a practice-led Background researcher in the ﬁeld of electronic The West German pavilion for the 1970 World’s Fair in Osaka is music and performance and remembered mainly for the great success of its spherical pavilion inside lecturer in Music at the Open which the music of Karlheinz Stockhausen was performed daily for six University and lecturer in Sound months in front of over a million people. The auditorium was designed Theory at the University of Kent. in collaboration between Stockhausen and the architect Bornemann, He has published research on a and represented the pinnacle of performance spaces for spatial audio, range of electronic music prac- with fully controllable 360 degree sound and light. tices across genres, specializing in the Cologne studio and the Research questions music of Karlheinz Stockhausen, – What was the relationship between the architectural and electronic as well as Jamaican dub producer spatial technologies and the performance practice of the musicians King Tubby. He designs and builds inside the spherical auditorium? How did the spherical space live up electronic instruments, incorpor- to expectations? It always sounds like such an amazing project, but Sean Williams ating them alongside early what was it really like? Was there any other music played at the West University of Kent and Open electronic devices in historically German pavilion? University informed performance practice. United Kingdom – What made the Stockhausen Ensemble split up halfway through the With a focus on live electronics Expo? within free or structured improvisation, Sean performs both solo Aims and with various groups including Through ethnographic, archival, and some practical reconstruction Grey Area, and the Monosynth work, I aim to provide a number of different perspectives on the nature Orchestra, performing pieces of the project, getting past the marketing splendour and glossy public by Hugh Davies, Karlheinz relations image of this iconic project. Stockhausen, David Johnson and others. He has performed his own Summary of content music internationally both as a DJ Interviews with performers who spent six months performing and live performer since 1997. Stockhausen’s music in Osaka, including Rolf Gehlhaar, Peter Ëotvös, Michael Vetter, David Johnson, and Mesias Maiguashca, are used to give a sense of the day to day experience of the conditions of performing in the spherical auditorium. Communications between the technical team from the TU Berlin also help build a picture of the conditions in the auditorium. Archival research in the Siemens archive, TU Berlin, and the

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Stockhausen archives has allowed me to form a detailed picture of the technology designed for the auditorium, and correspondence between engineers and technicians has exposed all kinds of problems with the technology and the architecture, and some responses and solutions to mitigate their effects on the performance practice.

I have found significant details about the other five exhibition spaces, and the range of music by other composers played across all of these halls in the West German pavilion, including some interesting feedback from visitors.

The interview and archival materials paint a rather different picture of the conditions, technology, and practices and underlying all of this is the major differences of opinion between three core members of Stockhausen’s ensemble which led them to split from him in the middle of the Expo.

Significance The Expo 70 spherical pavilion stands as what we might nowadays call an historically significant “impact case study”, and has certainly been presented as such over the years. I have been able to separate some of the public narrative (and myth) from what actually took place, and this paper presents a much more nuanced picture of the event from the perspective of the performers, and their interactions together, with the electronic performance technology, and with the space.

117 Performing the ‘National’ Song in the South Slav Territories a Century Later: A Performer’s Perspective

Bio: Abstract: Verica Grmuša studied singing at This paper deals with the art song repertory which originated in the the University of Belgrade’s South Slav territories at the beginning of the twentieth century, Academy of Music., continuing combining the historical analysis and my auto-ethnographic account her postgraduate studies at Royal as a performer. Academy of Music in London. Verica now combines her per- As a performer, I realised that two different voices were needed for forming interests and academic Petar Konjović’s (1883- 1970) and Miloje Milojević’s (1884–1946) songs. studies with her doctoral research This led into historical research into the context of the repertory’s in performance at Goldsmiths, creation, showing that composers contrasting repertories are a con- where she is PhD candidate. sequence of their collaboration with two sopranos, rather than the Verica has presented papers composers’ shared Yugoslav idea. The two sopranos, one forged in dealing with issues of identity, operatic practice – Maja Strozzi-Pečić (1882–1962), the other in chamber performance, gender and star music – Ivanka Milojević (1881–1975), shaped the composers’ vocal lines dom at conferences organised by and influenced their choice of topics and traditional musical elements. Verica Grmusa Goldsmiths, University College This resulted in Konjović’s penchant for sevdalinka tradition – ‘Oriental’ Goldsmiths, University of London London and the London School of melismatic love songs, and Milojević’s focus on mother-figure characters. United Kingdom Economics, the UK Performance The two distinctive public personae engendered two different bodies of Studies Network, the Institute of repertory, embodying two different models of femininity. Furthermore, Musicology of the Serbian they were hailed by contemporaries as “third poets” of this repertory, Academy of Sciences and Arts for creating meaning in performance. and the Study Group for Russian and East European Music of the Having recognized the power of the original sopranos solved my pro- British Association for Slavonic gramming dilemmas: How to present the ‘national’ repertory in the and East European Studies context of possible negative connotations with recent wars in the (REEM-BASEES), recently Balkans and in the wider current context of re-emerging nationalist published in journal Musicology. narratives? How to make relevant a ‘niche’ repertory in the first place? Going back to the original performances, which aspects of the original practice can be kept while creating a new reading of the “script”? Most importantly, how can a performer today be a “third poet”?

I approach the performance of this repertory as a performance of femininity. Rather than recreating the original vocal practice, I rely on the form of lecture recital as part of original practice tradition to denationalise this repertory, and allow audiences to focus on what

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these songs thematise: maternity and female authority. The first group of Milojević’s songs, written during the wars in the Balkans a century ago, chart the mother’s life and loss – experiences close to the Milojević’s couple own. The maternal thread that Milojević relied on to cross the national, ethnic and religious barriers in a newly formed Yugoslavia also crosses the temporal barrier – being searingly relevant to the crises faced by refugee mothers today. The second song group treats the story of Konjovic’s Sabah, song with ‘operatic’ lines and a stylised muezzin chant. Co-created by Strozzi-Pecic, it does not just highlight its unifying role in the Yugoslav context but celebrate empowerment through vocality.

This repertory was written to empower these songstresses. I restore the unifying vision that infused this music and highlight its message for today’s audiences: the empowerment of a performer through national song for post-national aspirations. I recover for audiences a lost repertory within a genre thought to be marginal. But more importantly, I recast the performer as a third poet, one responsible for creating the meaning in the art song.

119 Individual Papers 18: Identity and the creation of meaning in performance (Chair: Emil Bernhardt) Conducting Performances as Events

Bio: Abstract: New Zealand-born trumpeter and Derrida (2007, 441) described that ‘an event implies surprise, exposure, conductor Bede Williams trained the unanticipatable.’ In performance a conductor operates within a as an ABRSM International complex adaptive system: musicians are constantly adapting to each Scholar at the Royal Conservatoire other resulting in complex feedback loops. Because of these feedback of Scotland. He is currently Head loops the aggregate behaviour of the ensemble can be dramatically of Instrumental Studies at the influenced by single agents. All complex adaptive systems demonstrate University of St Andrews where he emergence; in a musical sense Cook (2012, 457) describes that ‘the act teaches musicology and perform- of real-time performance generates meanings, whether interpretive, ance, coaches chamber music acoustic, or interpersonal, that are emergent in the sense that they and conducts the St Andrews could not have been predicted by any of the performers, or on the basis Chamber Orchestra and New of the various inputs to the performance event.’ It is the unpredictability Music Ensemble. He has had solo of the ‘combinatorial emergence’ inherent in performance which performances broadcast on BBC satisfies Derrida’s description of an event. How does the combinatorial Radio 3, STV, RNZ Concert, emergence of the performance event influence the interpretive Bede Williams Schweizer Radio, and performed practices of a conductor? University of St Andrews concerti with the Auckland United Kingdom Philharmonia, Scottish In this paper the author answers this question from an autoethno Philharmonic Orchestra and graphical perspective, revealing how embracing the performance event members of the Scottish as an element of the interpretive process can lead to a multiplist rather Chamber Orchestra. He recently than singularist view of interpretation. The original study was based on completed a doctorate on inter- an experiment of the author conducting five scores on two different pretation and conducting and occasions separated in time by between one day and several months. has presented this research at the The study design included extensive content analysis of over 30 hours Universities of Cambridge and of video in which more than 12,000 codes were applied and collated. Oxford, and the Royal College of The study design also included traditional texted research, auto-ethno- Music. He is currently engaged in graphic writing (a 25,000-word practice journal), semi-structured inter- a project funded by the Royal views, the use of Sonic Visualiser, and the documentation of a range of Society of Edinburgh investigating score study methods which the author describes as ‘listening in silence’. interdisciplinary approaches to Although there are numerous studies that compare different perform- the creation, performance and ances of the same piece (Clarke, 2012), and consider the extent to reception of new music. which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher.

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The study developed what the author calls the ‘ethos of multiple inter- pretability’, suggesting that when a conductor embraces the score and performance event as being of equal importance they can be ‘animated by’ the belief that there is no single correct way to perform a work specified by a score. The significance of the study resonates with the now widespread reappraisal of the conductor as a co-creator with the orchestra, and with a number of existing studies that have investigated distributed creativity in group music making.

121 Performance Studies and the New Music Conductor

Bio: Abstract: Carmen-Helena Téllez is Professor Many understand that an artist, consciously or unconsciously, will of Music, Head of the Conducting absorb, reinterpret, and direct back to his or her audience the aspirations, Studio, and Director of Notre concerns, and values of contemporary times and culture. This process Dame Vocale at the University of depends not only on the artist’s individual creativity but also on channels Notre Dame in the USA. There she of communication with the audience and the reception that ensues. led projects in interdisciplinary Traditionally, conductors of both canonic and newly composed “art” sacred music drama with a grant music have functioned as intermediaries for the transfer of a composer’s from the Mellon Foundation. authorial voice. However, many conductors now face both declining Previously she was the Tracy audiences and diminished funding. The causes are variable, but in Sonneborn Professor of Choral some quarters, this is viewed as a historical crisis sometimes inter- Conducting, Director of the preted as a broken connection with the audience. The crisis has led Contemporary Vocal Ensemble, some of us to reassess the role of performance in the creative cycle. and Director of the Latin American Music Center at Indiana For the last fifteen years I have focused my research aims and artistic Carmen-Helena Tellez University-Bloomington. She was activity on new modes of presentation of so-called classical music. University Of Notre Dame also resident conductor of I have taken this approach especially when conducting the work of United States CONTEMPO/The Contemporary living composers, all the while keeping a journal of interpretive Chamber Players at the University processes and decisions. I have explored interdisciplinary production of Chicago. Beyond academia, concepts, involving other artistic languages, scholarship, and modern Carmen works with the profes- technologies, and testing the tools of site-specificity, immersion, and sional groups she co-founded, interactivity. Lately these approaches have become increasingly Aquava New Music Studio and frequent among fellow conductors, producers, and institutional Kosmologia, pursuing her creative presenters everywhere. We may, in fact, be witnessing a tipping point work as producer, conductor and as these solutions gradually become part of the spectrum of perform- interdisciplinary artist. Carmen- ance practices that a classical music conductor needs to master. Along Helena Téllez has been called a the way, it has become clear to me that the field of Performance “quiet force behind contemporary Studies continues to make invaluable contributions that enlighten a music in the United States” by new path for conductors. I am now convinced that Performance Studies New York’s new music journal should be integrated into the training of conductors. Sequenza/21 and the Washington Post has reviewed her concerts as In my lecture, I propose to share with the scholars and fellow performers “immersive and thrilling”. at the Oslo conference a selection of materials derived from three interdisciplinary performances I designed and directed. These materials will serve as case studies for the discussion of emerging non-conventional

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modes of presentation of art music. I intend to pose questions and present ideas about the shifting role of the music conductor in the ecology of music production. My path has been essentially creative, but a number of observations have emerged which could be productive for systematic analysis. These include intertextuality and intermediality in interpreting scores, the impact of immersive and interactive performance contexts, and the development of site-specific projects.

My presentation will be about productive questions as well as helpful answers. For example, should there be a matrix of guiding principles when choosing a new mode of presentation? As interdisciplinary projects may depend of key decisions by the conductor and spontaneous audience participation, do they bring a shared authorial voice and co-creativity between composer, conductor, and audience? Does this imply an evolution in the role of the conductor and a new area of conducting specialization? Such questions will be an integral part of a lecture that is designed to be a dialogue, not a one-way street.

123 P Is for Person, Performance, Pogorelich: Performer’s Identity as Creative Tool

Bio: Abstract: Lina Navickaitė-Martinelli, PhD, is In any process of performing music, no matter how much the performer Associate Professor and Senior would try to be faithful to the musical text, to merely ‘re-create’ the Researcher at the Lithuanian musical work, there is necessarily an element of interpretation, a Academy of Music and Theatre. subjective modification of the performance’s source. A performance Navickaitė-Martinelli has presen- might thus be considered a transition from the mental artistic contents ted numerous conference papers, (composer’s idea) and a non-artistic material scheme (score) to another edited academic collections and material but already artistic system (sounds). That is why a performance, published scientiﬁc articles in an individual version of the text’s meaning(s), is not just a mechanical international journals and article act of reproduction, but rather a distinctive type of creation, a complex collections. Her books A Suite of and productive act, through which the creative ideas, insights and Conversations: 32 Interviews and convictions of a performer are conveyed. Seeing it from the semiotic Essays on the Art of Music perspective, it is the performer’s creative self that is embodied in the Performance (2010) and Piano process of musical performance and that constantly generates newly Performance in a Semiotic Key: emerging meanings. Lina Navickaite-Martinelli Society, Musical Canon and Novel Lithuanian Academy of Music and Discourses (2014) have been The semiosis of musical performance is influenced by a rich variety Theatre awarded as the best Lithuanian of cultural, social and individual factors. The performing musician’s Lithuania musicological works of the personality, artistic and social choices are conditioned by various cir- respective years for innovative cumstances that encompass elements from one’s cultural environment research of music performance. to corporeal identity. In this light, it is interesting to investigate how She focuses her research on performers from different times, artistic and personal backgrounds and various aspects of the music profiles express their individual identity and subjectivity as vehicles in performance phenomenon, interpreting the musical works they choose to perform. mainly approaching music performance from the semiotic The case study of the present paper, a Croatian Ivo Pogorelich, is perspective. Navickaitė-Martinelli infamously original, if not to say idiosyncratic, artist who for decades is the founder and co-ordinator of proved to be very loyal to his own, highly subjective, feeling and under- the LMTA Headquarters of Artistic standing of the performed music. Belonging to a very ‘authentic’ line of Research and Performance music teaching that stems straight from Franz Liszt and at the same Studies (HARPS). More information time being a representative of the Russian piano playing tradition, this at linamartinelli.wordpress.com. is an artist whose performances are regularly identified as ‘deconstruct- ive’ or even ‘damaging’ rather than ‘authentic’. While creating his interpretations, Pogorelich draws particularly distinctive and individual musical imagery.

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Drawing on the concrete examples of the pianist’s most remarkable interpretations, questioning the possible impact of a ‘school’ on an individual artist and analyzing both the performer’s distinctive creativity and developing of his public persona, the present paper is meant to investigate how the artistic, personal and social identity of a musician is communicated through the performance, and what new musical and cultural meanings are created in this process. The 3P scheme “Performer-Persona-Product” shall be employed for this analysis.

125 Individual Papers 19: Musical constructions and deconstructions (Chair: Jennifer Torrence) Percussion as Queer Practice

Bio: Abstract: New York percussionist Dr. Bill This paper will explore various facets of queerness as it is related to Solomon performs with Ensemble percussion. After accepting that percussion, by its very nature, is a Signal, having appeared at queer enterprise, several propositions can be developed that provide Lincoln Center, Tanglewood, a deeper engagement with queer topics within a larger percussion Carnegie Hall, LA Philharmonic, practice. Further, an in-depth discussion of Sarah Hennies’ Psalm 2 Library of Congress, Guggenheim, (2009) for snare drum, followed by a performance of the work, will tie Miller Theatre, Big Ears, and June together several threads from the discussion. in Buffalo. He performed the solo vibraphone part for Boulez’s Both “percussion” and “queer” are unstable terms. Percussion is not Répons in collaboration with the defined by any one specific instrument, or even a discrete collection of Lucerne Festival and IRCAM with instruments; rather, it is a continuously expanding category. Much like Mr. Boulez as conductor. He has queer’s divergence from the heteronormative, percussion’s evolution performed at BAM Next Wave extends beyond what is already within the boundaries of its past and Festival with Dawn Upshaw, Ryan current conceptions. Percussion’s ontology is different from other Bill Solomon Trecartin’s Jazz Fest at Park instruments: it is less about specific instruments/objects, but rather, is independent Avenue Armory, as soloist in post-instrumental (Stene). Further, percussion is not an instrument, but United States Unsuk Chin’s Double Concerto, is an action (Schick). One could also view percussion practice as a NY Fashion Week, and recitals process of sonic and gestural exploration that can exist separate from throughout the US. Mr. Solomon sound-producing objects. Removing the performer-instrument relation- also frequently performs with ship that defines many instrumentalists identities places percussionists Talujon Percussion, Hartford in a precarious position, but one that can lead us to a self-consciously Symphony, and performs with queer practice. several new music ensembles. He is a member of Bent Duo with This decoupling of percussionist and instrument situates the percussion- pianist David Friend. He is a ing queer subject centrally, one that disidentifies with the performer as founder of the Queer Percussion a passive figure at the composer’s disposal (a relationship understood Research Group, and has given as patriarchal and heteronormative). This new-found agency (either in papers and performances at the the form of a performer-composer, or composer as collaborator) allows Dance Studies Association, the percussionist to define their own contexts and criteria aligning with Performing Indeterminacy many themes found within queer theory, including consideration of the Symposium at University of body, acknowledgement of pleasure and desire (Hocquenghem, Leeds, and Transplanted Roots Koestenbaum), acceptance of failure (Halberstam), projections of Symposium in Brisbane, Australia. utopia (Muñoz), and porous boundaries of identity (Butler). Because queerness is not monolithic, but fractured and multivalent, no percus-

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sionist is doing “queer” better than another; any number of metho dologies can arise under the aegis of queer.

Queerness is located at multiple sites: within the performer; at the instruments; in the act of composition; and at the moment of performance. Any and all of these sites can be queered, allowing a multitude of strategies for queer-leaning work, including: collaborative practices that blur ideas surrounding authorship; radical interpretations of existing repertoire; reconceptions of existing instruments’ sonic potential; construction of new instruments and physical approaches to performing them; theatrical and other extra-musical concerns, particularly surrounding the performing body and its sensuous aspects; and improvisational strategies and experiments with musical form.

American percussionist-composer Sarah Hennies performs and composes works that explore “psychoacoustics, queer identity, and expressionistic absurdity,” (Hennies). Psalm 2 for solo snare drum, bears her queer/trans identity through the manner in which the body explores and modifies the drum throughout the work. The piece itself is a gradual shifting of the striking zone combined with manipulation of the surface, or skin, of the drum, resulting in unexpected timbres and resonances. When performing Psalm 2, my body maps alongside hers through a reenactment of the geographical and tactile exploration of the drum’s skin as dictated by the work’s graphic score. Understanding this work’s queer themes provides one way for the percussionist to turn towards a queer practice.

127 Deconstruction and performativity in the guitar works of Aldo Clementi

Bio: Abstract: Anders Førisdal studied classical This paper seeks to address the relationship between compositional guitar at the Norwegian Academy structure and instrumental practice in the guitar works of the late of Music where he ﬁnished with a Italian composer Aldo Clementi. Usually based on strict polyphony, Masters Degree on Aldo Clementi´s Clementi’s music is typically discussed in terms of its purity of construc- music. In 2017 he ﬁnished his Ph.D. tion. However, from the point of view of the performer of his solo works, at the Norwegian State Academy this structural purity poses a radical challenge since it is impossible to of Music with a thesis on radically sustain in performance to the effect that the polyphonic structure idiomatic instrumental practice in expressed in the score collapses completely. It is the claim of this paper the music of Brian Ferneyhough, that this structural collapse must be seen as an integral part of the Richard Barrett and Klaus K. structure of the works. This raises a number of different but interrelated Hübler. issues regarding the status and ontology of the work concept, musical writing (écriture) and performer ethics (Werktreue) and subjectivity. Førisdal is founder and artistic This paper seeks to discuss these issues by way of musical analysis and director of contemporary music practical examples of two works for solo guitar, Dodici Variazioni (1981) Anders Førisdal ensemble asamisimasa, and has and Ricercare (2002). Norwegian Academy of Music premiered numerous works for Norway guitar or ensemble. He has The central question of the paper is: performed in a wide variety of ‘What is the relationship between musical structure and instrumental ensembles such as Elision, Plus practice in the guitar works of Aldo Clementi?’ Minus, Apartement House and Modelo 62, and has collaborated This relationship is discussed in Derridean terms by comparing musical closely with composers such as analysis and practical realisation in such a way that their mutual inter- Brian Ferneyhough, Helmut dependency is exposed. It is the claim of this paper that Clementi’s take Lachenmann, Klaus Lang, Carola on instrumental practice raises the question of interpretation itself as Bauckholt, Matthew Shlomowitz, an individual strand of the composition and that the performative Trond Reinholdtsen, Simon Steen- negotiation of musical structure is the locus of the work. This is what Andersen, Øyvind Torvund, Roger exposes the more general issues mentioned above. In this way, Redgate, Michael Finnissy, Chris Clementi represents a new paradigm of composition where musical Dench, Bryn Harrison and others. structure can not be seen outside of the performative context. Thus, in necessarily having to negotiate notation and performance, the per- His solo recording with music by former is invited to question his own musical practice, sensibility and avant-garde pioneer Bjørn perception. Through this the performer is challenged to question his Fongaard was released in 2015. own subjectivity and relation to self.

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The significance of the paper lies in raising the question of musical structure, instrumental practice and performer subjectivity both in relation to Clementi as well as on a more general level. The paper will present an example of how a performance-based analyis is possible which does not simply address typical issues such as technical challenges, extended techniques or complex rhythms, but which seeks to challenge traditional dichotmoies of work and performance as well as exposing how this can be done in the work of certain contemporary composers. It thus seeks to challenge the reception of Clementi’s work in particular by providing original analytic and performative insight regarding his work, as well as the field of performance studies in general through the discussion of the interdependency of musical structure and performativity.

129 Polywork Cycles: Interrelationships and Interdependencies between Form and Performance

Bio: Abstract: Karin Wetzel studied composition Since the 1970s, various composers have composed groups of works, with Claus Steffen Mahnkopf in so-called Polyworks, that consist of at least two works that can be per- Leipzig, comprising exchange formed either simultaneously or independently. The principle of poly- studies at the Sibelius Academy phony, i.e. the unification and weaving together of independent lines in in Helsinki and the CNSMDP in a phrase consisting of multiple lines, is applied in this context to the Paris, followed by studies in entire works themselves, as well as to their constituent parts. So far, electroacoustic music at the these concepts and their potential have rarely been studied. My scienti- ICST in Zurich. As of 2014 she is fic-artistic research on polyworks focuses on the form-polyphonic con- Doctoral candidate at the cepts and approaches developed in the 20th and 21st centuries. It University of Music and explores how various forms of polyphony and layering interlock within Performing Arts Graz and the the formal structure of a polywork and applies comparative methods to Zurich University of the Arts. In analyse and contextualize polyphonic approaches and techniques. My 2015/16 her doctorate studies project also aims to artistically develop new concepts of the polywork have been supported by a grant and thus to contribute new creative forms to the field of form-poly- Karin Wetzel of the Swiss Government. phony. Zürcher Hochschule der Künste, Moreover, her artistic-scientiﬁc Kunstuniversität Graz research project “Concepts of One of them is a performance study “X-pieces” which is a series of three Switzerland form-polyphony in the music of works. Two of these works are independent solo pieces for one recorder the 20th/21st century” is funded and can be played alone. The third piece is the simultaneous combina- by the Swiss National Science tion of the two pieces. The duo’s particular feature is that it is not only a Foundation. Her compositions superimposition of the two pieces, but also an intertwined constellation have been featured at such of the two recorder players. Both players sit face to face in close prox- festivals as the Archipel Festival imity. The middle-sections of their recorders are rotated by 180 degrees, Geneva, Primavera en la Habana, so that the fingerholes point in the opposite direction. Even though the ICMC Athens, cresc… Biennale für players blow their own flute, their fingers cover the holes of the opposite moderne Musik Frankfurt Rhein- flute. Each player’s blowing and fingering are therefore separated and Main, MATA Festival and Tage für distributed onto both flutes. Consequently, the musicians are forced to neue Musik (New Music Days) relinquish a high degree of control over sound and intonation to their Weimar. In 2011 she was Artist in partner. This, in turn, requires a much higher degree of interaction, Residence at the Villa Aurora in making this duo also a social experiment. Los Angeles. www.karin-wetzel.de

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My polywork X-pieces is a form-polyphonic and a performance study that applies polyphonic thinking to material, form and to performance. The association of the two solo pieces into one piece goes along with a splitting process. Playing the simultaneous version requires the performer to divide not only his blowing and fingering but also his attention, because he or she needs to play two flutes at the same time. Vice versa, when the unified duo version is dissociated, blowing and fingering are again performed on one flute by one player. In this case, performer and instrument once more form an entity.

The questions whether polyphony, which is well-known as a historical compositional technique, can serve as a model for new polyphonic forms is central to the theory of composing a form-polyphonic piece. Developing such a theory will involve asking various key questions: Which forms of polyphony were developed in the 20th century? Which role does polyphonic thinking play in contemporary composition? How did form-polyphony develop in the context of form history in the 20th century?

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Abstracts, Saturday, 7 July

Abstracts, Saturday, 7 July Individual Papers 20: ‘Work’ as malleable practice (Chair: Floris Schuiling) Musicianship as gardening

Bio: Abstract: DUO PARULA Cecilie Ore’s Calliope (1984) departs from Gertrude Stein’s statement ”I Astrid Kvalbein and Gjertrud am writing for myself and strangers” (The Making of Americans). The Pedersen have collaborated in work is an ”attempt to approach music via literature” writes Ore in the duo Parula since the early 2000s, introduction to the score. Here, she plays with Stein’s words as if exploring and developing a range making them her own, in relation to the task of writing music. of musical possibilities for the combination of female voice and In our paper, we speak from our positions as musicians. We discuss how clarinet(s). Their repertoire artistic ideas come across in different “languages” in scores, sketches includes works by sir Harrison or by other means of communication, and we relate these issues to the- Birtwistle, Pascal Dusapin, Anton oretical perspectives on performativity. Webern and Karin Rehnquist, and commissioned works by Bjørn

Photo: Lene Grenager Photo: Lene As a duo commissioning new pieces for voice and clarinet – as well as Kruse, Magnar Åm, Ragnhild exploring already existing repertoire – we have approached a wide Berstad, Sven-Ingo Koch, Risto variety of notational systems and imagined sound worlds. Over the Gjertrud Pedersen and Holopainen, Jan Martin Smørdal, years, this has changed our attitudes: from conceptualizing the score Astrid Kvalbein Ewa Jacobsson, Christian Jaksjø as an instruction manual that we strive to fulfil in line with composers’ Norwegian Academy of Music and Synne Skouen. The duo is intentions, to thinking of the whole work as a more malleable concept, Norway currently developing its own ”bird made up of living material and realised in the encounter between us, catalogue” by commissioning the score, the composer, the audience and the context of the perform- short works for clarinet and ance. female voice inspired by speciﬁc birds. The question that emerges, then is: might we think of the music we make in other terms and metaphors than the abstract “work” or the Astrid Kvalbein and Gjertrud material piece of paper, the score? For performers, interpreting a work Pedersen both combine musical of art takes physical efforts that imply more than seeing, feeling and performance with academic reading. Could it be productive to liken this work with other practical work. Kvalbein is currently a work – for instance, gardening? post-doctoral research fellow in musicology at the University of We will draw on four selected works and working processes to discuss Oslo, specializing in Norwegian these questions. Lene Grenager’s Garden Works (2002), is in fact mod- music history since 1900. elled after a baroque garden’s symmetrical design, clearly divided sec- Pedersen is associate professor in tions and contrasting elements. Since this was handed over to us, we music history at the Norwegian have nurtured and weeded the garden, and subsequently even Academy of Music. replanted and redesigned, in agreement with the composer. We have

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trimmed the piece down, expanded some parts and added improvisation, to name a few examples. This has been our way to maintain Grenager’s “garden”.

Articulations of Waste (2017) by the visual artist and composer Ewa Jacobsson does, at first glance, seem to be more loosely structured. The work recycles and transforms “audible waste”: sounds we usually conceive of as background noise, such as an accelerating train, bab- bling children or someone’s cough. The palette of instrumental/vocal sounds is developed in collaboration with us, and most of the notation is graphic. However, this work takes place within a fixed time frame to given the pre-recorded third part of the ensemble: a video from a train ride. In other words, the environment restricts our freedom to “garden” this piece. Finally, we will draw upon our current collaboration with Synne Skouen on the piece Fru Gud og Herr Skjære (2018, forthcoming), inspired by a favourite bird from her bird table: the magpie. This will be part of a series of short works from different composers, all inspired by birds.

In Calliope the singer asks: ”this door here does that lead into the hall or directly out into the garden”? Our paper leads to the musical work con- ceptualized as a garden: a designed and cultivated, and an always changing, living piece of landscape.

135 The death of the composer? The making of ‘meaning’ through the performance of Western Art Music

Bio: Abstract: I began writing music part way Background through life. Earlier decades were Debates on the authorship of art have centred on text-based arts, and spent working in senior jobs in the focus on the author of, or authority over, the meaning of the art. The public sector, and running several ‘author’ was declared dead by Roland Barthes in his 1977 essay. By successful political campaigns. contrast the ‘composer’ appears to be alive, well, and still the central My music has been played mainly figure in Western Art Music (WAM). by groups I have worked with directly. I conduct the London Research Question Contemporary Chamber Orchestra What are the implications of the debates on the authorship of text- and one of the ensembles of the based arts for WAM, and what conclusions do they point to regarding London Consorts of Winds, and the making of meaning in its performance? perform in other groups. In 2011 I founded the Herne Hill Music Aims Festival. To summarise the debates on artistic authorship, and to present the Alan Taylor results of investigations into the making of meanings in relation to two Royal Central School of Speech I have studied with Michael of my pieces. and Drama Finnissy and John Woolrich, and United Kingdom gained an MMus at Trinity-Laban, Summary of content where I studied with Andrew Debates on artistic authorship focus on the question of the semantic Poppy, Errollyn Wallen, Gwyn meaning of art, and the extent to which the originating artist(s) are the Pritchard, and Paul Newland. creators of such meanings. During that time I studied on an Erasmus Fellowship at ESMUC in One area of debate concerns ‘intentionalism’, the view that art means Barcelona. I am now studying for what the artist intended it to mean. The contrary view is that the a PhD in composition. semantic intentions of artists are not known to us and so cannot be referred to as a source of meaning. The second, parallel, area of debate My PhD is on the subject of was provoked by Barthes’ essay, in which he argues that it is the reader shared artistic creation as a (audience) who makes meanings, and that the author is therefore musical composer. I have long irrelevant/dead. chosen to engage with other artists during the compositional In presenting a view on the application of these arguments to WAM, process, and I am investigating I will distinguish the question of the making of semantic meanings from the conceptual background to that of the creation of the affect or experience of music. I will argue this involvement. that, composers are the authors of the form of the music, and together

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with performers they are the authors of the intended affect or experience of their music. However, they are not the authors of the affect experienced by audiences or of the semantic meanings which audiences may make from the affect.

I will then present two studies into the meanings which audiences made from pieces which I have written. I each case I am aware of my own intentions concerning the form of the piece and the extent of any intended affect. I will report on surveys of the audiences at performances of each piece, in which they were asked about the affect experienced, and to make meanings from this experience.

Significance While the composer is not dead or irrelevant, they play a role distinct from the making of semantic meanings from music. Therefore, com posers should not be the sole focus of attention in seeking to understand or analyse music. They share with performers the task involved in creating a musical experience. It is audiences who experience the affect of the music, and audiences rather than composers who are the authors of any semantic meanings made.

137 Individual papers 21: Rhythm and metre as keys to performance (Chair: Juan Parra Cancino) A diffusion of rhythm: metric perspectives on interpreying André Caplet’s Le vieux coﬀret

Bio: Abstract: Clare is a final-year doctoral Background candidate doing her thesis on Exploring the diffusion of regularity in rhythmic motion, and the Ambiguity, Autonomy and perception of where the barline actually lies in the French mélodie is a Blurred Language: André Caplet stimulating task not just for the analyst, but also for the performer. The (1878–1925). She is supervised at way in which we analyse a musical work and our perception of trans Ulster University by Dr. Adam lating the score to the listener bears great impact on how the work is Melvin, and co-supervised by perceived. The mélodie is particularly interesting in this respect, Dr. Alison Hood of Maynooth because the presence of a poetic text saturated by a highly complex University. She graduated from and oAen ambiguous harmonic language already sets the scene for an Maynooth University with an MA unfolding narrative, oAen presenting multiple interpretative avenues to in 2005, having written her thesis the performer. on ‘Debussy the Symbolist: A Semiotic Perspective’. She Aims & Research questions holds several diplomas in piano The mélodies of André Caplet (1878–1925) embody adventurous spirit Clare Wilson performance and teaching, and and profuse richness in metric shape and harmonic structure. Exploring Ulster University has recently been awarded an representative aspects of the set Le vieux coffret, composed during the United Kingdom Associate Fellowship of the First World War, this paper offers a perspective on the interplay between Higher Education Academy. rhythmic dissonance and consonance in the framework of the mélodie Fuelled by both plenty of coffee and the resulting impact on performance practice. Building primarily and a passion for early twentieth on the work of Harald Krebs, the intersection between fluid metrical century French music, Clare’s states and unfolding narrative is considered against the backdrop of doctoral research focusses on analytically-informed performance interpretation. This affords an igorous analysis of the mélodies exploration of the role this manner of rhythmic analysis has on, either of Caplet. Through her current fundamentally shaping or impacting, the performer’s interpretation of and future work, she hopes that the mélodie. she can help bring about more recognition for André Caplet. Summary of content & significance Clare divides her time between This paper will demonstrate grouping methods which show the Belfast and Dublin and, as an processes in which the trajectory of poetic narrative and piano enthusiastic piano teacher, is accompaniment can be interpreted, inclusive of illustrative recordings committed to supportive teaching and analytical examples. Offering a significant perspective on and learning in higher education. approaches to the analytic treatment of the French mélodie and resulting nuances for listener perception, as well as a new evaluation of Caplet’s compositional processes, the paper highlights the ways in

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which understanding of metric dissonance and consonance informs the perception of both the poetic text, the fundamental pulse within the music and most interestingly, the textural layers in between.

139 Exploration of drum set sounds through East African rhythmic structures

Bio: Abstract: As a drum set percussionist, Beau As a drum set performer from Canada, influenced by numerous musical Stocker has performed, taught genres, my main inspiration for moving to Europe was to learn more and conducted research in about the Nordic musicians who’ve recorded on the ECM label, specific- Canada, the United Kingdom, ally the “particular character of musical creativity” in Norwegian Ethiopia and Sudan. An interest drummer Jon Christensen. The exploration of drum set sounds through in a wide range of genres has melodic concepts, similar to Christensen’s, is incorporated in my current inspired his sound choices in practice based research at the University of York, UK. performance as well as instrument set-up. His career as a This paper presentation aims to explain my creative processes in music educator encompasses performance of solo drum set in an improvised music setting. My university lecturer, private drum perspective on performance as a spontaneous composer, in my case – set/percussion tutor, and work- improvising musician, takes on the analytical viewpoint of how a shop leader. Beau’s research and rhythmic transcriptive approach can help structure a piece of music performance careers have existed created live in real time. The elements used in this structuring system Beau Stocker simultaneously; each fuelling the originate from East Africa and are employed to organize the varying University of York progress of the other. His current sound nuances of the drum set and percussive implements used in my United Kingdom practice based research in impro- performance practice. These concepts will be discussed and exempli- vised music, at the University of fied in recordings as part of the presentation through these four York, comprises percussion research questions: performance practices fused with the musical inspiration from East • What are drum set and percussive implement sound nuances? African rhythms. • How do I translate traditional East African rhythms to the drum set for use as compositional structuring tools? • How are these rhythms used to structure drum set and percussive implement sound nuances in the creation of compositional concepts in performance? • How do I create spontaneity in improvised performances that utilize rhythmic structuring devices?

My practice based research is a series of translations which include timbre and East African rhythm exploration on the drum set, live electronics and percussive implements, in an improvised music setting. Current modes of performance in my work that engages with “the role of technology in experimentation” has included the interpretation of

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drum sound nuances through electronic manipulation with the use of a KAOSS pad. This electronic filter has enabled the expansion of timbral exploration possibilities in live performance, and will be presented as recordings in this presentation.

The significance of this work is relevent as not only does it present improvised solo performance possibilities with rhythmic structured timbral exploration, but it also celebrates East African musical traditions from Sudan, South Sudan and Ethiopia, not overly used in experimental music. As a by-product of this work, the facilitation of awareness of turmoil in parts of East Africa, South Sudan in particular, is hoped to be achieved through the celebration of this music tradition in popular music events in public spaces. Furthermore, musical ideas encompassed in this research include the presentation of improvised music concepts in both an academic structured portfolio as well as in a popular music approach as live performances and recordings.

141 Linguistic Stress and Its Relationship to Phrasing: Rhythm and Meter in Lee Hyla’s Dream of Innocent III

Bio: Abstract: Bryan Hayslett is a Ph.D. candid- Rhythm and meter are essential to the compositional aesthetic of Lee ate at New York University’s Hyla (1952–2014), which reveals his diverse influences of era-defining Steinhardt School, where he is a composer Ludwig van Beethoven, member of the Adjunct Artist Faculty. His research centers on avant-garde rock icon Captain Beefheart, and free jazz pianist Cecil musical analysis and its relation Taylor. Hyla was one of a small group of composers in the northeastern to perception and performance. region of the United States in the 1980’s who developed their composi- Founder and cellist of the con- tional aesthetics with the influence of other genres, particularly rock temporary performance group and jazz. Music that draws influence from other genres typically shares Juxtatonal, his solo programs harmonic systems, such as the blues scale or ninth chords, and melod- often feature premieres of new ies presented in direct quotation. However, this group of composers works written for him; recent embraced aesthetics of time from rock and jazz, reflecting the temporal commissions include Drew Baker’s characteristics within their own compositional rigor. The saliency of Ages of the Deceased and Kevin meter and rhythm in their music necessitates a different approach to Bryan Hayslett Joest’s Laughter Ballet, and his analysis than systems that prioritizes harmony, particularly when New York University, Steinhardt releases include “A Special Light” parsing phrasing. School (Innova), featuring music of David United States Macbride. Hayslett, who holds More than pitched elements or harmony, rhythm and meter are the degrees from The Hartt School primary structural and stylistic determinants of Hyla’s music, but these of Music and The Boston aspects are seldom the focus of analytical interpretations. While his Conservatory, also improvises music features groove, Hyla also works within the contrasting metric music for yoga classes. framework of non-isochronous meter. Many passages feature no discernible pulse or periodic meter; rhythms in these metric contexts often comprise varying combinations of duple and triple subdivisions of the notated beat. Although events are notated within a metric framework, that framework is not part of the music as heard.

Hyla’s music reflects the tension between rhythm and meter found in rock and jazz. Rhythmic tension is perceived through the relative emphasis of notes, and concepts from language, particularly English linguistic stress theory, help in understanding Hyla’s music. My study of Hyla’s Dream of Innocent III presents an analytical model inspired by Lerdahl and Jackendoff’s generative theory of tonal music and the linguistic stress theory of Bruce Hayes. Examining Hyla’s music from the

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perspectives of rhythm, meter, and temporality contributes to the performer’s understanding of phrasing, in terms of both interpretation and perception. My analytical methodology applies to many kinds of post-modern music, offering a framework within which to understand the articulation and apprehension of phrase and structure in music that incorporates aesthetics of time from rock and jazz.

143 Individual Papers 22: Woman and Origins: three perspectives (Chair: Francesca Placanica) The otherness of the self – L’Orfeo

Bio: Abstract: Elisabeth Holmertz is a classically This is part of an ongoing research project where I am looking into trained soprano who began double roles, the transitions between them and the challenges a singer singing so-called ”early music” who performs both early and contemporary music face. in the beginning of the 90’s and contemporary music in the end of In this part of the project I’m attempting to find new ways of interpreting the same decade and has, since early Italian opera by comparing myself with the 17th century diva Anna then, distinguished herself as one Renzi. Renzi was praised not only for her voice, but also her acting skills of Scandinavia’s boldest inter- and ability to go from one character to another in the course of preters in both ﬁelds. seconds. In L’Incoronazione di Poppea (Monteverdi, 1641) we know that she sang the serious part of Octavia, however it’s possible that she also Among the numerous ensembles played the comical Drusilla. Magnus Tessing Schneider (Stockholm uni) and orchestras she’s been a introduced this idea to me while letting me perform the same two roles soloist with we can mention in Copenhagen 2011. He claims that double roles were not only used for Concerto Copenhagen (DK), practical reasons, but also for artistic. It was an opportunity for singers, Elisabeth Holmertz Cikada (NO), Kringkastnings like Renzi, to amaze the audience with their virtuosity. Playing these two Norwegian Academy of Music orkestret (NO), Underholdnings extremely different roles gave me a deeper understanding for what Norway orkestret (DK) and Norsk kammer- acting meant for singers in the beginning of the opera era. orkester (NO). I am a singer who feel equally at home in the contemporary music field She is one of the co-founders of and the baroque. I need both. I need the extremes. Maybe that’s what ensemble Odd Size who among made me fall for the idea of the Double role in the first place? other things has a version of The Messiah (Handel) for four The goal of my research project is to create a performance of the opera musicians. L’Orfeo (Monteverdi) with myself in all parts. This is to stretch both Schneider’s theories and myself to the limit. It can be seen as a conver- Her home address is in Oslo, but sation between me and Anna Renzi. Me, a singer who performs new Elisabeth feels equally at home in music today meets her, a singer who did so many first performances in Gothenburg, Copenhagen and the 17th century. How can the idea of her, a woman in a time when the rest of the world. Commedia dell’arte was at its most refined, help me find new depths in the musical drama we think we know so well? How can my own voice and musical experience mix with hers and Monteverdi’s? What happens to the drama when one women switch between both male and female roles in a familiar drama? What will happen in the seconds I do that?

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What we know about 17th opera is filtered through the following 400 years. The apparent simplicity, yet bold harmonies of the late Renaissance and Baroque periods have been merged with almost every musical genre today. But the experimental music of this period has also become a genre with its own departments at conservatories. Commercialism has created a scene where we seek the safest route and we thereby miss out on crazy, but maybe important ideas. I hope to shed new light on a field which has been somewhat locked in by the monopoly of large institutions. In addition I hope to make myself an even stronger performer, both the baroque soprano and contemporary music singer and the transition between them.

145 From innocent pastime to aesthetic pleasure: the piano as a female instrument in 19th century Norwegian literature

Bio: Abstract: Lise Karin Meling holds an MA in My current research entails examining all references to the piano in musicology from NTNU and a DM Norwegian 19th century literature, and I am particularly looking at in Early Music from Indiana references to the piano as a gendered instrument. The literary sources University, USA. She is currently can be a valuable source to the past; however, these sources have up employed at the University of till now not been further examined. My main research questions are: Stavanger, where she has been how is the piano referred to as a gendered instrument in Norwegian working since 1994. She teaches 19th century literature? What was the function of the instrument? Why music history and chamber music was the piano considered the most appropriate instrument for women for Bachelor students, and early in the 19th century? In order to put it into perspective, sources such as music and performance practice as Baldesar Castiglione’s etiquette book Il libro del cortegiano (The for Master students. Her research Courtier’s Book) from 1528, and Carl Ludwig Junker’s Vom Kostüm des projects deal with both classical Frauenzimmer Spielens from 1783 will be touched upon. From the and popular music: she has taken Norwegian literary references, I will particularly focus on Gustava the issue of female composers’ Kielland: Lise Karin Meling roles and social status in classical The University of Stavanger music as a long-term project, in ”Erindringer fra mitt liv”, 1882, Alvilde Prydz: “Lykke”, 1890 and John Norway addition to research on the Paulsen: “Kunstnernaturer”, 1895. In these works, we find clear and expression of femininity in the fascinating gendered references to the piano. In this context, the term country music genre. Meling is salon music will also be discussed. also an active harpsichordist, with a focus on illuminating In addition to the historical conditions, this paper will also briefly include unknown works by female other more practical or pragmatic reasons for the choice of keyboard composers. Her latest reserach instruments being the most appropriate for women, such as the cultural project involves the piano as a perspective, where the image of the piano playing young woman gendered instrument in the 19th became a symbol of the whole 19th century’s ideas, such as the bour- century. geoisie, virtuous conduct, and cultural formation. Nevertheless, the most important aspect was the cultural perspective. In order to play the piano, the female performer did not need to twist her face inappropri- ately, she did not need to turn her body into an unnatural position, and she did not need to move her body in a way that would signal that she was not a chaste and virtuous lady. However, the image of the piano playing lady could also include hidden, implied and under-communicated feelings, including erotic and forbidden. There could be a contradiction between the exposed and the obscured or hidden. In this

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discourse, the borders between music, piano playing and body become blurred.

Summary: in the course of the 19th century, the piano had many functions: a pastime, a means to get married to being the goal of aesthetic pleasure and a means of an intimate communication between two people. The lady at the piano might in many ways be seen as a symbol of the whole 19th century’s ideas, such as the bourgeoisie, virtuous conduct, and cultural formation. The piano was significant for the female performer but had larger ramifications that the single performer: it was a cultural phenomenon in the domestic art and the domestic culture.

147 Woman at Point Zero

Bio: Abstract: Inspired by her German/Egyptian ‘Woman at Point Zero’ is an operatic project and artistic collaboration heritage, singer and composer inspired by Egyptian author, doctor and feminist Nawal el Saadawi’s Merit Ariane draws on Arab and intimate portrayal of Firdaus, a prostitute condemned to death in a western contemporary classical Cairo prison for murdering her pimp. Addressing women’s rights, inﬂuences in her music. Her work patriarchal societies and female genital mutilation, this is the story of is informed by research of Arab a woman repeatedly brutalised by society and her journey to ultimate Christian chants in Lebanon and freedom and dignity through death. Created by British-Lebanese her passion is to explore the ﬂuid composer Bushra el Turk, British-Egyptian performance poet/librettist boundaries between music and Sabrina Mahfouz, Greek Cypriot movement director Maria Koripas and theatre, cultures and languages. myself, this project has been developed through a series of residencies Merit’s current projects include and workshops at Snape Maltings and with the Atlas ensemble, her own theatrical one-woman- Amsterdam, with support from the Royal Opera House and Abu Dhabi show ‘Thumbelina’, ‘Zanubia’, Festival. We presented a work-in-progress performance in July 2017 at a performance of ancient Arab London’s Shubbak Festival and aim to premiere the full opera in spring Merit Ariane Stephanos Christian chants and ‘Woman at 2019. University of York Point Zero’, a newly developed United Kingdom opera based on the seminal novel This presentation will examine the collaborative processes involved in by Egyptian feminist writer Nawal creating an opera, which would challenge some the of the ways in el Saadawi. Merit has performed which this genre is perceived and conceived. Our aims in devising the at Shakespeare’s Globe and opera include: collaborated with major UK opera houses incl. the Royal Opera • To develop a language straddling cultural and artistic boundaries House and Opera North. She has • To develop a musical language in which movement and sound are recorded for the BBC and inextricably intertwined, direct and knife edge, to express the rawness Channel 4 and lectured at the of the book and Firdaus’ almost unspeakable constant traumas British Museum. Merit is a pro- • To give Firdaus a voice that rises above national identity and cultural fessor at the Royal College of belonging Music, a tutor at Dartington Summer School and is currently I originally commissioned Bushra to write the opera to allow us to studying for a performance PhD respond to our experience of hybrid cultural identities. Working with an at York University, generously ensemble of ancient wind instruments, including Japanese sho, Arabic supported by a Jack Lyons nay, Armenian duduk, Slovenian fujara, Korean taegŭm and recorders scholarship. we expanded the idea of cultural fluidity from our own Middle Eastern- European experience to incorporate a wide spectrum of ‘Eastern’

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idioms. To extend working with idiomatic languages to the idea and essence of gesture, we collaborated closely with Maria to develop an intensely physical musical language, often creating movement and music simultaneously. In line with the book, written with a violent physicality almost like one long scream, the musicians are placed on stage as Firdaus’ memory spirits; she conjures them up to help her to tell her story, however at times they turn on and overwhelm her. Using Laban’s movement dynamics as a vocabulary of movement allowed us to connect to Firdaus’s story on a very instinctive level. Starting from the body meant that, although coming from different cultures, the sound married across the ensemble.

Having finished phase 1, our challenge is now to question how far we managed to truly integrate the movement and music and how to develop this to sustain the drama in a full length opera where much of the storytelling is born out of physicality. This question extends to the almost minimal and poetic language Sabrina developed in response to our collaboration. Further questions arose:

• What is involved in creating a sophisticated musical idiom in which written music and musical (and physical) improvisation flow into and out of each other? What is the role of notation in such a process? • For myself, how can working with these musicians further influence my own style and vocality?

With our working method, the roles of the creative team being much more fluid than in a conventional process, and a continuous blurring of boundaries, we also aim to question the hierarchical structures often imposed by the institution of opera. Our vision of the piece embraces Firdaus’ rebellion against the system.

149 Individual Papers 23: Old recordings and new insights (Chair: Anna Scott) (Re)constructing Early Recordings: the Julius Block project

Bio: Abstract: Inja Stanović was born in Zagreb, Background Croatia and is currently living in Julius Block was a music enthusiast and recording pioneer. Between Sheffield, UK. Inja recently 1889 and 1927, he recorded some of the most eminent musicians and completed PhD at the University artists, including Anton Arensky, Paul Pabst, Sergei Taneyev, Leo Conus, of Sheffield focusing on nine- Jules Conus, and Anna Essipova, among others. This paper, part of teenth-century performance Leverhulme-funded research project “(Re)constructing Early practice relating to the works of Recordings”, explores Block’s cylinders through: 1) reconstruction and Chopin. As a pianist, Inja has simulation of the mechanical recording process to capture perform- performed throughout the world, ances using wax cylinder and digital technologies, and 2) analyse cap- including concerts in Australia, tured performances. The paper makes an argument for the value of Croatia, France, Germany, Italy, early recordings, in terms of preserving forms of performance practice, Slovenia, the United Kingdom, and proposes a method for their future analysis and use. and the United States. Inja completed her first degree at the Research questions Inja Stanovic Ino Mirkovic School of Music, 1) What is the value of early recordings in performance practice University of Huddersfield licensed under the P.I.Tchaikovsky research? How can such recordings be used in research and to what United Kingdom Moscow State Conservatory. extent might they be relied upon as research sources? She went on to complete two postgraduate programmes at 2) How might one reconstruct an early recording process, using a wax the Schola Cantorum, Paris, cylinder, to understand how the original recording was made? Does before finishing her masters at such a reconstruction allow for a greater understanding of the ori- The Boston Conservatory. ginal recording process? Following lecturing posts at the Birmingham Conservatoire and 3) Are there certain methods for the analysis of early recordings, The University of Sheffield, Inja is derived from the process of reconstruction, that allow performer-re- now a Leverhulme Early Career searchers to develop a greater understanding of other recordings, Research fellow at the University and the types of performances they preserve? of Huddersfield. Aims 1) To understand and illuminate the practicalities of the mechanical recording process used by Julius Block, from the perspective of both recording engineer and performing musician.

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2) To elaborate a robust method for the analysis and understanding of wax cylinders, involving a reconstruction of the original recording process.

3) To produce a range of distinct analytical studies that contextualise Block’s recordings, provide comparative analysis of the original recordings with their reconstructions, and offer approaches that might be used elsewhere.

Summary of content In 2017, the author made a series of reconstructions of a mechanical recording process, modelled on that used by Block, to make a range of wax cylinders. These recordings were captured by both a phonograph and digital technologies. This paper introduces the recordings, briefly, and then considers what one might discover through this process. It reveals various challenges facing the performers when making phonograph cylinders. It also provides an in-depth account of the many ways in which performers needed to adjust their performance styles to account for the medium, and the context in which recordings were made.

The paper introduces: 1) a range of sonic visualisation tools are used to analyse the mechanical recordings, allowing for a detailed and exhaustive representation of key musical features; 2) a comparative analysis between mechanical and contemporary recordings will allow for significant differences to be identified and discussed.

Significance Early recordings are a valuable primary source within various musical research disciplines. This paper, on Block’s wax cylinders and mechanical recording process, is focussed on the production of such recordings; through a simulation of mechanical recording methods, this paper shows how reconstructions of early recording processes have been captured, analysed and made available to the international community of musical researchers. Results, which integrate creative practice and theoretical research, illuminate both performance and recording practices of the past, and elaborate a method for future research in this area.

151 A Mahlerian Practice of Performance? A case study of Mengelberg’s recording of Mahler’s fourth symphony

Bio: Abstract: Erlend Hovland (1963) is associate Despite many rich and direct sources to Mahler’s own practice as professor and former head of the conductor and his preferences regarding the performances of his Ph.D. programme at the Norwegian works, there are surprisingly few studies that have examined these Academy of Music (NMH). After invaluable sources. In this paper I will present some of the principles music studies (conducting, that may explain Mahler’s concept of performance, mainly based on musicology and composition) in Mengelberg’s recording of Mahler’s fourth symphony and a study of the Trondheim, Oslo, Paris, Basel, and Dutch conductor’s rehearsal score, supplied with Mahler’s hand-written Salzburg, he began his doctoral annotations. studies in 1990 at IRCAM, Paris. Hovland continued his research In his time, Mahler was first and foremost a conductor, which explains from multiple locations in Europe the unique degree to which the orchestral, instrumental and performat- prior to defending his thesis on ive practices were actively used in the compositional writing, and thus the orchestration of Gustav blurring any clear distinction between musical material and realization. Mahler at the University of Oslo, Yet, Mahler did not only know intimately established practices, he also Erlend Hovland where he later worked as a post rearticulated them, which is why a study of the Mahlerian practice of Norwegian Academy of Music doc. fellow on contemporary performance is of particular interest. Norway opera. He has since 2002 worked at the NMH as teacher and There is a dissonance between the rich performance instructions in a researcher with music history, Mahler score and its performance tradition the last five decades. What performance practice and is regarded as not tasteful – either it is awkward instrumental instruc- practice studies as main interests. tions (e.g. inconvenient bowings, fingerings or double stops) or In 2005-06 he was visiting unconventional performing instructions (e.g. strange and ‘inorganic’ researcher at the University of tempo modifications) – is frequently modified and ‘romanticized’. The Oxford where he continued his fractured beginning of the ninth symphony performed by Walter in 1938 work on performance studies, in (and clearly indicated in the score) is today commonly rendered in an particular related to the Romantic elegant and smooth manner. Mahler is performed as a Great romantic, performance practice. He is also neither reflecting the music that influenced the Schoenberg School, nor editor of the journal Music & the composer who consciously sought a new musical aesthetics. Practice and has worked as critic in Aftenposten. Despite the abundance of sources to Mahler’s concept of performance, the lack of studies may reveal a methodological problem: How to ‘harmonize’ the ‘messiness’ of information coming from incongruent sources? Besides the piano rolls recorded by the composer and various written sources (e.g. the Recollections of Bauer-Lechner or Mahler’s own

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rehearsal scores), there are several recordings by conductors who collaborated closely with Mahler, not least Bruno Walter and Willem Mengelberg. This abundance implies that any simplistic interpretation of one source can easily be contradicted.

The research question implied in this paper is how to recreate a Mahlerian practice of performance, a practice based on ordering principles that cannot simply be codified as late romantic or Viennese. By describing a distinctive practice of performance it may ‘harmonize’ the incongruent sources, as well as illustrate the degree to which the performance was integrated in Mahler’s compositional ideas.

The aim of my paper is to show how an analysis of the Mahlerian practice of performance can illustrate an aesthetic of music and performance that did not survive but became a historical dead end (cf. Walter Benjamin’s concept of ‘Sackgasse’). The significance of my research is thus double: to offer an informed alternative to contemporary ways of performing Mahler and to retrace a forgotten aesthetics of music.

By examining the Mengelberg’s recording and his rehearsal score (which also reveals the continuous recalculating of the tempo relations, partly from Mahler’s hand partly from Mengelberg’s), we can see the contours of this differing concept of performance, not reflecting the late romantic performance practice, and a conscious building of musical forms by integrating all performative means. Although Kropfinger (1985) has written an article on Mengelberg’s recording, a more closely examination of this rare case is still wanting.

This paper is based on and informed by previous projects, including research on Mahler’s orchestration, Mahler’s piano rolls and Mengelberg’s recordings.

153 Narrativity in Grieg’s Ballade Revisited: The Nineteenth-Century Pianist as Storyteller

Bio: Abstract: Dr. Georgia Volioti is a lecturer in Grieg’s one and only contribution to the nineteenth-century piano Music at the University of Surrey, ballade genre presents an unusual case. Unlike Chopin’s piano UK. She completed her PhD as an ballades, which convey in a through-composed form the narrative AHRC doctoral scholar at the techniques found in the poetic ballad genre, Grieg’s Op 24 is a set of Centre for the History and variations on a Norwegian folk melody. Dramatic unity is not custo Analysis of Recorded Music marily inherent in variation form, since individually numbered variations (CHARM). Her research crystal- denote self-contained pieces that are repeated within a larger work – lizes at the intersection of histor- a technique that does not lend itself to creating a single line of action ical and cultural musicology, across the composition, which is a prerequisite for a narrative genre like music performance studies and the piano ballade. In Grieg’s Op. 24, whereas variations 1 to 9 inclusive empirical musicology, with are marked with repeat signs, variations 10 to 14 are not. The latter half, interests in: the cultural reception, thus, displays a strong directional force culminating through progressive historiography, criticism and ana- increments in tempo to the prestissimo climax before the final theme lysis of musical performance; cul- recall. Previous musicological criticism, by focusing predominantly on Georgia Volioti tural responses to the legacy of the text, posits Grieg’s ballade as a split and deficient narrative structure University of Surrey recordings; the media and mater- with a relatively inert episodic first half and a more dynamic conclusion. United Kingdom iality of recording technology; Such accounts, however, exclude the all-important temporal dimension nationalism and cultural memory of narrative construction in performance, and the agency of the per- in performance; identity in performer as storyteller in crafting a well-integrated sounding narrative. formance; landscape theory and music; nineteenth-century visual Grieg’s Op. 24 prompts the questions: To what extent can this variation- culture and music; expressive form ballade support narrative construction as a unified thread and a gesture in performance; listening progressive design? How do performances respond to the composition’s practices and musicians’ self-reg- original contexts and expressive raison d’être? What hermeneutic ulated learning. Her work has so readings might be re-cast upon the work when performance, rather far been published in Musicae than the text, is the main point of reference for interpreting the ballade’s Scientiae, The Journal of intended story in relation to its historical context and influences of Musicological Research, The composition? Musical Quarterly, Nineteenth- Century Music Review, Music & The need to do more justice than previous commentators to the Letters and edited volumes. temporal-expressive logic scripted in Grieg’s ballade begs the examination of narrative construction at the esthetic level of music performance. Focusing on the historical recordings of Eugene D’Albert (1913) and Percy Grainger (1931), two nineteenth-century pianists situated

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close to the composer and the original context of composition, I discuss what performance gestures contribute to a unified rather than segmen- ted variation structure, through a freer handling of tempo and a varie- gated expressive palette in performance, that is crucial to articulating the transformation of the earlier episodic part into the dramatic climax at the end. By further comparing these historical recordings with other twentieth-century performances, I consider how earlier pianists’ rhetorical performance styles espouse an aesthetic ‘of time’, rather than ‘in time’, befitting the rhapsodic improvisatory character of ballads as tropes of storytelling, and the spirit of Norse epic poetry from which Grieg’s ballade was most likely influenced.

If, as Jeffrey Kallberg avers, genre conditions the communication of meaning from work to listener, if it is a rhetorical technique, then we should be more concerned with the manifold means by which this process occurs – the focus should be on interpretation. As this paper will demonstrate, historical performances can disambiguate issues of narrative in Grieg’s monumental ballade allowing critically to re- evaluate the work’s marginalised generic status.

155 Individual Papers 24: Something from nothing: silence and improvisation (Chair: Bernard Lanskey) Does the performer have to listen?

Bio: Abstract: Anthony is Head of Under Background: graduate Programmes at the “Does the performer have to listen?” Somewhat surprisingly, there are Royal Academy of Music in relatively few detailed answers to this question. Most answers turn the London. He has edited two books question back on itself: “Yes, obviously! Do you really need to ask?” on gesture (2006, 2011), and Many are answers by proxy, requiring extrapolation out of other claims contributed essays to numerous about performing. It is not that the issue of listening is absent from dis- journals and volumes on subjects cussions of performing: it is the pivot around which artistic success and including distraction, ergonomics, expertise are articulated. The relative lack of answers may be simply trust, entropy, problem solving, because the issue is essential, axiomatic even, and it is presumed that ensemble collaboration, artistic every performer knows the answer, or at least has a pragmatic answer research, empathy, technology, that works when she is on stage. timbre, voice, and the phenomenology of listening. Many of his Research questions: publications can be downloaded In itself, the question “Does the performer have to listen?” is complex. Anthony Gritten from https://ram.academia.edu/ Does “performer” mean solo or ensemble? Is “have to” an ontological or Royal Academy of Music London AnthonyGritten. aesthetic imperative? What mode of auditory attention is “listening”: United Kingdom active or passive, listening or hearing? What type of object does the performer listen to: music or sound? What musical work is being performed? These complexities in the question mean that it can sustain a range of answers. These answers can be categorised into two broad types. Type 1: the performer makes creative space for distracted listening to impact on her performing, and she is able to listen by, paradoxic- ally, failing to listen to certain things at all or in a circumscribed way: non-attention and inattention are not the opposites of attention. Type 2: the performer listens to everything intently, attentively, and efficiently, and she concentrates and focusses her listening in a particular way, most commonly on a mental representation of the musical work.

Aims: Notwithstanding the fact that individual musical styles and works often claim to require one type of listening only, this paper argues that if the performer’s listening is to be adequate to performing, then she needs to juggle multiple modes of listening on stage, not just within the same work but simultaneously. This paper unpacks these modes of listening

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in terms of three auditory registers: (1) how the performer listens out and listens in at the same time, critically and immersively Janus-faced; (2) how the performer listens simultaneously to the real environmental sounds (including those of the unfolding musical work that she is performing) and to the virtual soundworld within which she functions artistically; (3) how the performer’s body interacts with her listening, sometimes cooperating, sometimes resisting it. These three auditory registers of performing can be described in both phenomenological and empirical terms.

Summary of Content: This paper answers the question “Does the performer have to listen?” with reference to three case studies of performing where listening encounters resistance or becomes difficult to articulate: John Cage’s indeterminate Child of Tree (1975), and Led Zeppelin’s live performances of tracks from Physical Graffiti (1975), and Luigi Nono’s …sofferte onde serene… (1976).

Significance: Some wider speculative remarks at the end, relating the then developing field of Performance Studies to broader geo-political shifts, suggest why the issues in this paper were particularly germane during the mid- 1970s.

157 Unfolding Beethoven extempore

Bio: Abstract: Tor Espen Aspaas (1971–). Pianist, The session will incorporate live performances (examples, excerpts and music communicator, professor in extenso) of the following works: at the Norwegian Academy of Music. Has appeared as a soloist • C.P.E. Bach: Fantasy in C minor (1753); with numerous international • L. van Beethoven: Fantasy, Opus 77 (1809); orchestras, plus all of Norway’s • L. van Beethoven: Examples from the entire cycle of 32 piano sonatas, professional orchestras. with special emphasis on Opp. 109, 110, 111 (the latter’s first-movement Premiered O.A. Thommessen’s introduction in particular); (2011) and Terje Bjørklund’s (2016) • C. Czerny: Capriccio in Beethovenian style from Chapter 9 of Opus piano concerti, both works 200 (1829) ; commissioned by and performed • T. E. Aspaas: Improvisation in the style of … (to the extent that time with the Trondheim Symphony allows). Orchestra. Toured extensively Carl Czerny on Ludwig van Beethoven’s Opus 109: “Mehr Fantasie als Sonate”… with Debussy’s 24 Préludes in Tor Espen Aspaas 2010-12 and made his US solo When recording Ludwig van Beethoven’s last piano sonata for commer- Norwegian Academy of Music debut recital at Carnegie Hall in cial release in 2008, I went to sessions with the explicit intention of Norway 2013. His discography is compre- realizing the work’s extempore potential, especially in the introduction hensive, including internationally to the first movement. My post-recording malaise at how miserably my acclaimed solo CDs of works by interpretation failed to evoke any notion of extemporization gave Beethoven, Schönberg/Berg/ impetus to a research project. I wanted to probe the extent to which Webern, and Paul Dukas’ piano extemporization was integral to Beethoven’s creative processes. Beyond music complete. Aspaas has being a mere vehicle for display of virtuosic practice, what are the received numerous distinctions; implications of improvisation in his oeuvre? Research pursuing this line among the more recent are the of questioning through to interpretation and performance has been and Lindeman-prize for Younger is uncommon. Artists, the Levin-prize, and Knight 1st class of the Royal Norwegian I propose that vestiges of extemporization are not only omnipresent in Order of St. Olav. He was one of Beethoven’s corpus, they also play a constitutive role in his musical the initiators behind the Winter texts. My primary objective is to identify and establish a reflexive Chamber Music Festival (Røros, continuum between extempore mode, text and interpretation in Norway) and its ﬁrst artistic Beethoven. I refer to this nexus as textemporaneity. director from 1999 to 2014. (www.pianisten.no)

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The Fantasy Opus 77, generally regarded as the extant musical text providing posterity with a clear example of Beethoven’s art of extemporization at the keyboard, constitutes the paradigmatic axis of this study. It serves as an analytical, historical and philosophical key that unlocks a whole range of extempore aspects and perspectives on the rest of his oeuvre.

In this presentation, I will combine philosophical hermeneutics (Gadamer) and auto-ethnographical approaches through analyzing and performing Beethoven’s Opus 77, plus examples from the 32 piano sonatas, in conjunction with related fantasies by C.P.E. Bach and C. Czerny prior to mapping my research trajectory through improvising in Beethovenian style over the presentation’s material.

Via this process of unfolding, I aim to realize my vision of Beethoven’s music as written-down improvisation rather than as canonized text. This work-in-progress runs in parallel with my preparing the complete cycle of 32 sonatas for full performances over the next years towards 2020’s grand celebrations of BTHVN250 – and my project’s research questions carries even more weight and acute relevance because of this synchronicity.

The question is hopefully not just personally relevant: Could the idea of textemporaneity contribute to enhancing the range and scope of interpretive choices in Beethoven performance of today?

159 Individual Papers 25: Past vocal practices and innovative views on vocal aesthetics (Chair: Kathryn Whitney) lnterruptions in the Journey: Schubert’s Winterreise in the 19th-century Concert Hall Background

Bio: Abstract: Natasha Loges is Head of Background Postgraduate Programmes at the Schubert’ s late, vast song-cycle Winterreise remains a cornerstone of Royal College of Music, London. the song repertoire. It is presented in various different languages and Her research interests include formots worldwide, including for theatre, puppets, with background concert history, 19th-century performance practices, word- artworks, and dance. However, it is inevitably presented as a whole, music relationships, and the life uninterrupted ca. 75-minute work. Similarly, the scholarly literature is and music of Johannes Brahms. largely dedicated to considering aspects of the work’s ‘wholeness’, finding ever new ways to identify coherent elements between the songs. Natasha’s work has been funded by the Arts and Humanities This poper presents the results of an exploration of the early Research Council and the British performance history of Schubert’s late song cycle Winterreise. Early Academy. Her books are Brahms performances almost inevitably involved presenting the cycle in and his Poets (2017) and Brahms fragments, interspersed with other works, raising various questions Natasha Loges in the Home and the Concert Hall about what those concert experiences were like. Royal College of Music (2014). The books Johannes Brahms United Kingdom in Context (2018) and a study of Research questions the European salon are preparation. • How did performers negotiate the tension between older modes of She has contributed to Music and concert programming (the 19 th century patterned miscellany) and Literature in German Romanticism, emerging concert formots (the concept of the song recital)? The Cambridge Companion to the • How did emerging score-based nations of ‘wholeness’ and Singer-Songwriter, and the ‘coherence’ in cyclical works exist alongside the practical exigencies Cambridge History of Musical of concert life in l 9 th-century performers’ thinking? Performance; and to Music & • What kinds of ‘wholes’ did such performances of Winterreise Letters, Nineteenth-Century Music constitute? Review and 19th-Century Music • How was the aesthetic status of the Lied transformed from a private (forthcoming). genre for amateur enjoyment toa public ‘artwork’ with concomitant rules of ‘good’ performance? Natasha has supervised doctor- ates in Brahms’s vocal chamber music, Coaching Schoenberg’s songs, the Chamber Music of Ferdinand Rebay, Pianism of Robert Schumann, Piano Works of Karl Goldmark and others. 160 Abstracts, Saturday, 7 July 12:00, Levinsalen

Aims • To shed light on the overlooked concert history of a significant recital work by presenting an account of early performances • To explore the attitudes of the performers involved in these performances, and the critical reception to them, as far as can be established from surviving documentation • To consider the implications of these performances alongside emerging philosophical nations of coherence and wholeness around the musical work.

Summary of content The study draws on the published and unpublished concert programme archives of Clara Schumann, Julius Stockhausen, Johannes Brahms and several of their contemporaries and students. It establishes the details of performances of songs from Winterreise, as well as performances advertised as including the ‘complete’ cycle. Such performances are then cross-related with two kinds of sources – the artists’ own recollections and letters, where these are available, and critical reports of the performances. These findings are then considered in the light of changing attitudes to musical works.

Significance Many of the ways in artworks are presented today are regarded as inevitable, or unarguably correct, particularly the presentation of complete cycles (song, piano, and so forth). Recognising how differently encourages a reappraisal of the work-concept, particularly with regard to multi-piece cycles, as well as a fresh look at performance norms.

161 Webern and the Voice – Vocal Performance Aesthetics in Musical Modernism

Bio: Abstract: Hilde Halvorsrød is a PhD Research As a first-generation modernist and later an ideal for the Postwar Fellow at The Norwegian Academy modernists, Anton Webern is a key figure in the modernist tradition. of Music, and a classical music Twelve-tone music and serialism is infamous for its alleged totalitarian critic for the Norwegian online aesthetic ideals and rigorous compositional ideologies, and despite magazine scenekunst.no. She has new research providing nuanced insights over the past few decades, a Master’s degree in Musicology die-hard myths and streamlined narratives seem to live on quite from the University of Oslo, comfortably. Webern’s music is no exception. obtained with a thesis on different vocal performances of Pierre However, the stereotyped perception of Webern as a first and foremost Boulez’s Pli selon pli. Between mathematic and intellectual composer differs significantly from his completing her Bachelor’s degree seemingly intuitive and nature-oriented approach to writing music. in Musicology, also from the Webern’s vocal music is of particular interest in this question, as he University of Oslo, and the chose to set music to lyrical poems from the classical and folkloristic Master’s program, Ms. Halvorsrød literary canon, and eventually relied solely upon the mysterious and Hilde Halvorsrød worked as a freelance singer, and enigmatic poems of Hildegard Jone. Norwegian Academy of Music founded and ran a private music Norway school for children, where she In the center of all this we find the indispensable – yet scarcely examined also taught voice, piano and – role of the singer. Modernist compositional techniques have been worked as a musical theatre subjected to substantial academic scrutiny, and to a limited extent the instructor. performance and conducting of instrumental music, but modernist vocal performance has so far been left virtually untouched. Some vital questions come into play in the vocal performance of Webern’s songs: How do the singers deal with the aesthetic discourses surrounding his music? How do they balance the intricate compositional structures and atonal melodies with the conveyance of the semantic and referential meaning of the poems?

This paper seeks to illuminate these questions by presenting analyses of recorded performances of Webern’s vocal music. The analyses are conducted hermeneutically, from a listener’s perspective, based on a wide variety of recordings from the first half of the 20th century up until the present day. The presentation offers an overview of general tendencies and findings during the time period in question, and it will also

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provide more detailed analysis and comparisons between selected recordings of particular interest.

In addition to examining performance practices of Webern’s vocal music, this paper aims to contribute to the ongoing discussion on what a musical work of art actually is. As this conference is a profound sign of, music scholars have gradually been paying more and more attention to performance for the past twenty or thirty years, challenging the tradition in music history and music theory for considering the musical score to be the actual art object.

However, the ontological status of the work of art as performance is far from established, particularly when it comes to works of Western art music that has a written score. When dealing with recordings a new layer is added, as a recording can be said to both be and not be the same thing as the actual performance. This paper has no ambition to define the ontological status of the musical work once and for all, but when connections between the performances, the recordings, the texts and the scores in question are carefully scrutinized, it might bring some new reflections to the table.

163 Individual Papers 26: Piano Unstrung: Genre, Gender and Generation (Chair: Ellen Ugelvik) Making Darknesse Visible: Emerging traditions in the performance of Thomas Adès’s Darknesse Visible

Bio: Edward Venn is Associate Henry Weekes spent a year as a Professor of Music at the Choral Scholar at Sherborne University of Leeds. His research School and Abbey before deciding focuses on the analysis and inter- to study music at the University of pretation of twentieth-century Leeds. He is now enjoying his and contemporary music, with a second year at the university, particular interest in the work of getting opportunities to explore a British composers. Recent wide range of musical interests, publications include articles and from opera to jazz and beyond. In book chapters on the music of 2017, Henry was accepted onto the Thomas Adès, Harrison Birtwistle, Undergraduate Research and Simon Holt, David Matthews and Leadership Scholarship and is Michael Tippett; an article on currently working with Dr Edward Edward Venn Arctic Monkeys is nearing Venn, analysing and interpreting University of Leeds completion. He is an advisor and the recorded performances of United Kingdom regular contributor to the Oxford Thomas Adés’s Music. Dictionary of National Biography, Associate Editor of the journal Alongside his academic work, Music Analysis, and is on the Henry also frequently performs on editorial board of the Journal of the saxophone, practising both Music and Meaning. His second classical and jazz styles. Perfor monograph, ‘Thomas Adès: Asyla’ mance highlights include playing at (Landmarks in Music Since 1950), the Montreux Jazz Festival, playing supported by a Leverhulme alongside the National Youth Wind Research Fellowship, was Orchestra and achieving a distinc- published in 2017 by Routledge, tion in his ATCL diploma. Henry who have also recently issued his currently leads his own jazz trio, ‘The Music of Hugh Wood’ frequently playing around Leeds. (Ashgate, 2008) in paperback. Last year Henry was the president Edward holds an LRSM in of the Leeds University Union Music conducting, and has remained an Society and conducted the socie- active performer alongside his Henry Weeks ties Sinfonia orchestra, as well as academic career. University of Leeds broadcasting a weekly specialist United Kingdom radio show, Brazilian Wax, on Leeds Student Radio. 164 Abstracts, Saturday, 7 July 12:00, Fellesrommet

Abstract: appears to follow closely the phrasing implications of Dowland’s original. Background Winston Choi’s performance (released 2015) reveals a remarkable The composer, conductor and pianist Thomas Adès (b. 1971) is one of fidelity to Adès’s, suggesting the potential at least for an emerging the most successful contemporary British musicians working today tradition. Inon Barnatan’s 2012 recording also speaks to this tradition, (see http://thomasades.com). His music has been performed around though deviations from Adès/Choi in terms of tempo and rubato open the world, receiving high-profile commissions, and leading to major up new expressive vistas. If all three of these performances can be international festivals in his honour and prizes. Adès is unusual amongst characterised with reference to the underlying phrasing derived from contemporary composers in that recordings of nearly all of his output Dowland, that of Andreas Haefliger (2006) points to an alternative have been released commercially; even more unusually, many of his possibility, in which the music’s rhetorical, expressive surface is works have been recorded more than once. This paper examines four emphasised at the expense of structure. recordings of Adès’s 1992 piano work Darknesse Visible, each by a different performer. Significance This is the first study of recordings of Adès’s music. It contributes to Research questions an understanding of contemporary performance practice, but, by Given the impossibility of a long-standing performance tradition of examining choices made by performers, offers significant insight into Adès’s music, and given that Adès’s own performance was the first to matters of expression and meaning in Ades’s music. be released commercially, this paper asks two questions:

(1) To what extent can Adès’s performance be regarded as a prototype for those that have followed and the start of a performance tradition? (2) What might the expressive effect be of performance decisions that deviate from this prototype?

Aims The aim of the paper is thus to consider the ways in which performance practices develop around individual works, and how creative decisions in performance of new music can be interpreted expressively.

Summary of content Darknesse Visible is described by the composer as an ‘explosion of John Dowland’s lute song ‘In Darknesse Let Mee Dwell’ (1610)’. Accordingly, one can trace the song’s melodic line as it weaves through Adès’s reworking, as well as its formal divisions. Using Sonic Visualiser to record the start of each musical event, as well as mark the durations of each bar, Adès’s performance of Darknesse Visible (recorded 1996)

165 Queer Embodiments at the Piano: An Erotohistoriography

Bio: Abstract: Laura Wahlfors works as a Since the pioneering works of the ’new musicology’ in the 1990s, there postdoctoral researcher at the has been a plethora of musicological work discussing the gendered Sibelius Academy, University of and sexual meanings of classical music. However, research into under- the Arts Helsinki, Finland, and standing how these meanings relate to the work of performing musicians as a performing pianist. She with their real gendered and sexual bodies is still scant. Whilst there has completed her doctor’s degree in been a significant increase in various kinds of musician-centred and music (equivalent of PhD) at the practice-based approaches, which address the embodied experience Sibelius Academy in 2013; and of performance, these approaches rarely address music (or the work of she also holds an MA in compar- musicians) as a cultural practice of signification. Elisabeth Le Guin’s ative literature from the university Boccherini’s Body (2006) is a seminal work in bridging performance and of Helsinki. Her areas of research cultural musicology, but Le Guin leaves unaddressed the questions of include continental philosophy gender and sexuality that her ‘carnal musicology’ arouses. (particularly Barthes, Kristeva and Nancy), cultural musicology, With the objective of strengthening the dialogue of performance, Laura Wahlfors intermediality, gender and queer cultural musicology and musical hermeneutics, this paper explores Sibelius Academy (University of studies, and musical performance piano performance as a queer practice. Music has been queered quite the Arts Helsinki) studies. Her current project effectively in poststructurally influenced musical hermeneutics by Finland Queering Musicianship. Sexual exploring mobile and non-normative musical subjectivities and sexualit- Otherness in the Changing Field ies. But how do musicians work on or with the discursive fluidity of of Classical Music is funded by music – what does a pianist embody when performing some particular the Kone Foundation. music, and how is this embodiment achieved?

The experience of piano performance is sometimes described as creating an illusion of inhabiting another mind (e.g. Kramer 2007) – or even another body (Barthes 1980; Kopelson 1995; Le Guin 2006). These accounts of a desirous identification with figures of the past (especially Kopelson’s open eroticisation of his relationship with Romantic pianist- composers) resonate with what literary scholar Elizabeth Freeman (2010) theorises as erotohistoriography. Erotohistoriography is a queer practice of encountering and performing the past in a transformative relation with the present. A kind of corporealised historiography, it desublimates the eroticism of affective historiography, literalising it as sex.

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Whilst I find the notion of erotohistoriography potentially fruitful for the study of piano performance as a queer practice, I am interested in searching for alternative fantasies instead of the composer-identification – or incorporation – embraced by Kopelson, Le Guin, and Barthes. My project is to take Freeman’s ideas further through questioning the fantasy of immediacy that is inbuilt in composer-identification; this allows a rethinking and eroticisation of mediation. Also, I wish to find points of resonance with lesbian experience and desire. When thought in terms of composers, the tradition of classical music is predominantly male. Shifting from composer-identified thinking to performer-identified thinking, I aim to sketch a lesbian erotohistoriography of pianism which – seeking for alternative, playful and subversive identifications through erotic and loving grasps of detail – addresses the specificity of lesbian desire within a queer framework.

I will address these issues through discussing my project of writing an autoethnography of my piano practice. Zooming into the critical space between score – and the textual/intermedial network it opens up – and performance, the paper will demonstrate the applicability of the notion of erotohistoriography to musical practice. I will illustrate my points at the piano by way of examples drawn mainly from the Romantic piano repertoire.

167 Special session 2 Challenges of Music Notation in the Twenty-First Century

Bio: Bio: Maksim Stsura won First Prizes at The Icelandic guitarist Pétur the 7th Estonian Piano Jónasson has given numerous Competition (2008), the solo performances throughout Steinway-Klavierspiel- Europe, North America, Wettbewerb in Germany (2004), Australasia and the Far East. He is the International Frederic Chopin currently Professor of classical Piano Competition in Estonia guitar studies at the Iceland (2000) and the Intercollegiate University of the Arts and the Beethoven Piano Competition leading guitarist for the Icelandic (2013). As a chamber musician, CAPUT contemporary music Maksim is in great demand, col- ensemble and the London-based laborating with Jakobstad Riot Ensemble. Sinfonietta (Finland), Maksim Stsura Pétur Jónasson Mediterranean Chamber Brass In 2015, he was awarded an MSc Royal College of Music Royal College of Music (Spain), Florin Ensemble (UK) and degree in Performance Science United Kingdom United Kingdom Wiener Kammersymphonie with a distinction from the Royal (Austria), among many others. In College of Music in London, 2014 he started his Doctoral where he is now undertaking doc- course at the Royal College of toral studies, focusing on the Music. Maksim is an RCM memorization of complex musical Doctoral Bursary Holder sup- material. Other research projects ported by a Neville Wathen include the RCM Centre for Award. His research is focused on Performance Science´s “In Sync” the piano transcriptions of the (PI Dr. Tania Lisboa)—a study on contemporary orchestral scores. ensemble performance over high- Since 2012 Maksim is the pianist speed broadband. in the award-winning Foyle-Stsura Duo.

168 Abstracts, Saturday, 7 July 12:00, Jan P. Syses Sal

Bio: Nicholas Morrish Rarity is com- Pieces have been played at poser, born in 1989. Interests Manifeste (Fr), Rainy Days Festival include sound as an expression of (Lux), Rondo (It.), Impuls (Aust.) time, the material culture of sonic Huddersfield Festival (U.K.), media, and the interplay of dis- Cheltenham Festival (U.K.), junct sound-worlds that sync and London Ear Festival, LSO St. swarm. Work has been made for Luke’s, The Barbican, The RSNO the London Symphony Orchestra, Centre, NonClassical, Henry The Royal Scottish National Wood Hall. Orchestra, Ensemble Inter contemporain, United Instruments Nick is a doctoral candidate at of Lucilin, Nikel, Divertimento, The the Royal College of Music, where Philharmonia, Workers Union, he works with Jonathan Cole. Nicholas Morrish Rarity Kokoro, BBC Symphony Orchestra Prior to this, he studied at Oxford The Royal College of Music and the London Chamber and Trinity Laban where he won United Kingdom Orchestra amongst many others. multiple awards. He has also received composition tuition from He is the holder of the Chaya Czernowin, Stefano Mendelssohn Scholarship (2018), Gervasoni, Simon Steen typically awarded to one com- Andersen, Rebecca Saunders, poser every 2 years. Prizes have Mauro Lanza, Alessandro Solbiati, also been awarded by LSO Michael Finnissy and Toshio Soundhub, The RSNO Composer’s Hosokawa amongst others. He Hub, The Royal Philharmonic was a member of the Professorial Society Composition Prize, Sound Staff at Trinity Laban in 2017-18, and Music’s New Voices, New and will be a visiting research Dots, Inspired by Digital amongst fellow at Harvard University in others. 2018– 19.

169 Abstract:

1. Transient attention and visual memory processes for complex, contemporary music stimuli Pétur Jónasson

What catches the attention of the sight-reader at the very first glance? The memory processes (for example, the use of Long-Term Working And what memory processes are activated during these micro-instants? Memory, see Ericsson and Kintsch, 1995) are studied by presenting two identical slides, flickered in an alternating, looping order (~1000ms Musicians´ visual behaviour when sight-reading musical notation off each), separated by a mask (appearing for ~50ms). The second slide, scores is increasingly being studied through eye-tracking technology however, has been changed in one place. The participants´ task is to (see for example, Kinsler & Carpenter, 1995; Madell & Hebert, 2008; detect, and point to, the change. Various examples of each “genre” are Bishop & Goebl, 2017; Ylitalo et al., 2017). Most studies to date, however, presented to each participant, allowing for different musical features to have focused on traditional, tonal music examples. Little is therefore be targeted each time. known on how the musicians’ eye behaves when presented with the more complex aspects of contemporary classical music. Research into memorization in this context is also scarce. This study attempts to cast a light on the above.

The experimental procedure employed is a basic change blindness/ detection test. Change blindness is the perceptual phenomenon that occurs when a change in visual stimulus is introduced and the observer fails to notice it. Change detection is the opposite – the visual processes involved when first noticing a change.

Participants are divided into two groups (experts and laymen) following a short interview and a questionnaire. In a laboratory, the participants are presented with three types of visual stimuli—slides containing tonal, contemporary, and random (or “nonsense”) musical examples, each appearing for a very short time (~1000ms).

Analysing the participants´ eye movements highlights the features of musical notation to which the participants´ transient visual attention is summoned.

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2. Weather Work: Notation as Ephemera 3. Lost in Transcription: Limitations of the Twenty First-Century Nicholas Morrish Rarity Music Notation Maksim Štšura

Whilst the ever-increasing digitization of musical scores has been of In his article The Essence of Music, Italian composer and pianist great use to both the practicing musician and the archivist, it has led to Ferruccio Busoni (1866-1924) declared that musical notation is a tran- an increasingly problematic situation for contemporary composition. scription of an abstract idea. In the twentieth century notation under- The reliance on notational software has led to homogenous and stand- went a significant evolution, developing its function as a vehicle for ardized notational strategies that respond less to compositional inten- communicating the composer’s ideas to the performer for their acoustic tion, and more so to the technological environment in which they are realisation. This paper focuses on the technical and aesthetic chal- being created. Digitization flattens out artistic difference through plat- lenges of notation in the creation of piano arrangements of the orches- forms that favour the ergonomic over the expressive, with the quickest, tral parts of selected twenty-first-century piano concertos. Aspects of easiest and shortest route to representation being preferable over notation such as articulation, pedalling, dynamic and polyphonic layers expressive results. play an instrumental role in ensuring that the salient features of the original work such as musical structure, orchestral timbre and sound- In resistance to this, this presentation will explore how notation can scape are adequately reflected in the piano reduction. engage with sound as an ephemeral and impermanent medium. New compositional work will be presented that cultivates difference and cel- One function of two-piano versions of piano concertos is to enable ebrates impermanence through rejecting ergonomic technological plat- soloists to learn the content of the work before they have the chance to forms. This will manifest in a discussion of a series of weather works- rehearse it with the real orchestra and thus gain a better understanding compositions that decay over a period of time through an exposure to of the piano’s position within the overall texture. However, the later atmospheric conditions and weathering. The weathering of the work twentieth century saw major changes in both musical language and results in informational erasure, with the works returning to nothing over orchestration, and it has become increasingly time-consuming to tran- a period of time. As a result, radically differentiated classes of perfor- scribe orchestral scores for the piano. Inevitably some features of the mance are created, with the content of each performance being original are lost in the process of reduction. At their best, arrangements dependent upon the point in time at which the performance is made. In can also provide a satisfying alternative to full orchestral performance doing so, the way in which a score is understood depends critically and therefore provide alternative access to otherwise rarely performed upon the condition of its surface, and takes account of the flow and works. Ever since the early nineteenth century, piano arrangements growth patterns of materials. The presentation will explore these works have been essential to studying and disseminating symphonic reper- in relation to Ingold’s Ecological Anthropology (2007, 2013, 2016), toire. This paper addresses the limitations, but also the possibilities, of Zielinski’s Archaeology of Hearing (2008), and Metzger’s Auto- devising meaningful notation in the context of piano arrangements of Destructive Art (1966). contemporary orchestral scores, and draws on specific examples from case studies of works by Mark-Anthony Turnage and James Dillon.

171 Slåttepiano

Ingfrid Breie Nyhus, Slåttepiano (trad./Ingfrid Breie Nyhus) Slåttepiano And A Play With Traditions piano «A Play with Traditions – performing and interpreting The hardanger fiddle is a central folk instrument in between folk and pianism» has been an artistic the southern valleys of Norway, with its character- research fellowship project by pianist Ingfrid Breie istic sound origining from the instrument’s several Nyhus. She is positioned between two performance sympathetic strings and a flater bridge. The music traditions; classical/contemporary interpretation and played on the instrument is dance music, listening Norwegian folk music tradition. In this project, she music, and ritual music; all called «slåtter»; with investigated artistic and musical possibilities in the oblique intonation and rhythms, and variable form. tension field between art music and folk music; by The slått form is like an outline of a very detailed looking at similarities and differences between the universe, where the path is yet to be set for each traditions, and letting them intertwine in her playing, performance. in old and new piano works. Among the musical results, her own improvisatory piano versions of I wondered whether it would be possible to play this archaic folk material arose; «Slåttepiano». music on the grand piano – as folk music – even though aesthetically, the instrument is very distant to Ingfrid Breie Nyhus the hardanger fiddle. I searched for another aesthet- Pianist Ingfrid Breie Nyhus (b 1978) grew up in a folk ics in my own piano playing, something that could music family, and made classical piano soloist unfold the folk musical qualities within the grand studies in Norway, Finland and Germany. She has piano. I wanted to keep the archaic slått material as since worked with classical and contemporary solo musical basis, playing it out with repetition, variation and chamber music, with several commissions and and improvisation, in loyal spirit with the traditional cooperations with composers. She has received performance practice; but simultanously, the piano several prizes for her performances and recordings, brings out its own associations, sounds and possibil- such as The Norwegian Soloist Prize. She has ities. I call this music «Slåttepiano». appeared as soloist with orchestras such as the Oslo Philharmonic Orchestra, The Norwegian Radio Orchestra and the Trondheim Soloists, and she tours as soloist and chamber musician at classical, contemporary, improv and folk festivals throughout Europe.

172 Ingfrid Breie Nyhus. Poto: Geir Dokken

173 Individual Papers 27: Instruments and the Modern: Insights from practices (Chair: Tanja Orning) Playing the unplayable: Horatiu Radulescu’s The Inner Time

Bio: Abstract: Clarinettist and conductor, Roger Romanian/French composer Radulescu (1942–2008) might superficially studied at the Royal Academy of be thought of as part of the French spectral group with Grisey, Murail Music and King’s College, London. and others, but spectralism is a very broad church and Radulescu’s He performs with such groups as work radically transforms compositional technique away from, as he the Kreutzer and Smith Quartets, states, treating sound from the outside, organising sounds produced in the Gavin Bryars Ensemble and traditional ways, rather he explores the possibility of sound’s autonomy, was a member of the London of ‘entering the sound’. The music, from the late 1960s onwards, is built Sinfonietta. He was Music Director from sound situations created by different treatments of fundamentals, of Rambert Dance Company during the spectra produced by these treatments, and the isolation of indi- the 1990s, Clarinet Professor at vidual spectra. The music results ‘naturally’ from the initial organisation the Darmstadt Ferienkurse für of sound sources and formal structures, its interest lying in the interac- Neue Musik (1982–94) and is tion of the resulting harmonics, difference tones, subtones, rhythmic currently Professor of Music at beats, and so on. The material of music is no longer the manipulation of Bath Spa University. His most pitch and rhythm but a ‘living matter’ he calls ‘sound plasma’. As an Roger Heaton recent recordings include the example of Radulescu’s work this paper presents an analysis of The Bath Spa University chamber music of Hugh Wood, Inner Time for solo clarinet (1983) from the performer’s point of view United Kingdom solo works by Tom Johnson, together with the challenges in attempting to realise this score in per- clarinet quintets by Feldman, Fox formance. The piece, lasting 28 minutes, is composed in 137 modules or and Trandaﬁlovski and a solo disc ‘aural filters’ notated as microtonal frequencies. The clarinettist uses of works by Boulez, Radulescu multiphonics, harmonics and what Radulescu calls ‘yellow tremoli’ (trills and Scelsi. His book The Versatile on one pitch, colour trills, bisbigliando) following notated rhythmic pat- Clarinet (Routledge) was published terns where pitches are split apart and the harmonics explored indi- in 2006 and he has contributed vidually, then building and layering on top of each other. chapters to the Cambridge Companion to the Clarinet and the Cambridge History of Musical Performance.

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175 Lecture-Recital: Contemporary Cello Technique: Performance and Practice

Bio: Abstract: A former student of Rostropovich My area of research is the development of the cello in the second half at the Moscow Conservatoire, of the twentieth century, from multiple perspectives: technical, inter Alfia is an internationally pretative, compositional and philosophical. acclaimed soloist and chamber musician. She has performed in In my lecture-recital I will perform Nomos alpha (1966) for solo cello by numerous festivals and recitals Iannis Xenakis, one of he most radical compositions of the twentieth in the UK, Russia, Europe, USA, century and an early example of the ‘new virtuosity’ in the contemporary Middle East, Canada and solo cello repertoire. Selecting this composition as a case study reflects Australia. As well as having a my interest in technically challenging pieces that demand not only busy performance and recording what I term as extended virtuosity but also extended practice, which schedule, Alfia teaches at the includes analytical and interdisciplinary approaches to practice and Guildhall School of Music and performance. Drama, University of Leeds and Leeds Conservatoire. At present In the course of the fifty years since the composition’s premiere per- Alfia Nakipbekova Alfia is completing her doctorate formance by Siegfried Palm it has been recorded by several prominent University of Leeds thesis at University of Leeds, cellists, but live performances are still relatively rare due to the work’s United Kingdom researching performance of con- extreme technical difficulties. Xenakis expands the cello’s domain of temporary cello music including expression to a new level, propounding the questions of performability, compositions by Iannis Xenakis interpretation and the status of the performer. In the process of master- and James Dillon. Alfia has given ing Nomos alpha, my attitudes and ideas in regard to technique, inter- lecture-recitals and presented her pretation, practice and performance have been tested and challenged. papers at international conferences and universities: Hong In order to communicate clearly the complex sound architecture of Kong, Radboud (Nijmegen), Nomos alpha, the so-called extended techniques employed by Xenakis Birmingham, Goldsmiths, Bangor, must be viewed as a part of the global perspective of the traditions of Leeds, London, York and Rome. cello playing established in the last two centuries. In September, 2017, Alfia organised Symposium at the University In my presentation I will address the following areas: of Leeds ‘Exploring Xenakis: 1. Technique and Interpretative Space Performance, Practice, 2. Xenakis’s Approach to the Cello Philosophy’, supported by RMA, 3. Nomos alpha and Traditional Studies and is currently editing the 4. Nomos alpha and Contemporary Studies Symposium’s proceedings, 5. Associative Method

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Interpretative Space encompasses the notions of both technique and interpretation. Thinking in terms of Interpretative Space rather than Interpretation opens up the area of possibilities of expression where the division between these two domains is no longer relevant. This concept includes the physicality of live performance and the associative aspect – how the performer relates to the work – which I define as the Associative Method. Exploring subjective associations with other art forms (including cinematography, theatre and visual arts) provide an additional tool in my ‘extended’ practice. With regards to the importance of technique and the integral approach to performance, John Rink comments:

Artistry involves the ability to make performance more than the sum of its parts, including the influences of history, analysis and much else (not least the technical dimension, so often ignored in the literature on performance). Artistry involves close and peripheral vision all at once, especially in the moment of truth.1

My research aims to develop understanding of performance practice in the domain of cello technique based on my own experience, ‘tested’ in the ‘moment of truth’ – live performances of Nomos alpha. Through the process of examining and dialectical relationship between ‘technique’ and ‘interpretation’, the ‘extended’ and ‘traditional’ techniques and the analytical and intuitive approaches to performance, I endeavor to define and expand the new norms of cello expression and the notion of live performance.

1 John Rink, ‘In respect of performance: the view from musicology’, Psychology of Music, 2003, 31(3), p.320 177 Multiphonics for Stringed Instruments: Performance Practice and Research Practice

Bio: Abstract: Ellen Fallowfield is an active Background performer and researcher in the Multiphonics for woodwind instruments have been thoroughly explored field of contemporary music. She by composers, performers and acousticians and consequently have studied at the Hochschule für been regularly used with clarity and certainty in music of the last 50 Musik, Basel; ZHdK, Zürich and years. Research into string multiphonics lags significantly behind the KUG, Graz. A grant from the woodwind model. In a year-long research fellowship at the Hochschule Leverhulme Trust enabled her für Musik Basel, I am attempting to counterbalance this discrepancy. PhD studies at the University of In this paper, I will present the results I have achieved thus far. Birmingham/Hochschule für Musik, Basel. During a two-year Research questions research fellowship at the – How accurately can cello multiphonics be described physically and in Hochschule für Musik, Basel, she musical notation? created the online resource www. cellomap.com. From October – How can we establish a future methodological path whereby Ellen Fallowfield 2017, she will undertake a performers, composers and acousticians collaborate to make Hochschule für Musik Basel research project into cello multi- meaningful advances in understanding contemporary instrumental Switzerland phonics at the same institution, technique? funded by the Swiss National Science Foundation. Aims To describe cello multiphonics in a physically accurate and musically meaningful way.

To set out a methodology for research that intersects performance, composition and physics.

Summary of content I will describe a method for predicting harmonic groupings within string multiphonics and show the physical and music-notational boundaries that limit these groupings on the cello. The playing parameters ‘point of contact’, ‘bow speed’ and ‘bow pressure’ will be discussed and their physical and musical possibilities will be explained. The practical outcome of my year-long research fellowship, a smartphone application that describes cello multiphonics for composers and performers, will provide the context for a discussion of the type and format of practical

178 Abstracts, Saturday, 7 July 16:35, Lindemansalen

resources for contemporary instrumental technique that considers existing resources such as the Bärenreiter instrumental technique series ‘The Techniques of…’, and analyses the current teaching and research climate. An investigation of the possibilities of instrumental technique requires the collaborative effort of instrumentalists and composers, and a physical understanding of the instrument is critical. Existing collaborative work at the intersection of these three disciplines will be discussed, and future perspectives will be outlined.

Significance My past research into cello multiphonics led to the online publication of the first multiphonics fingering charts for stringed instruments in the resource Cello Map. Viewed around 1,000 times per week, the resource has achieved international popularity and significantly impacted the way that composers and performers use multiphonics. The current research uncovers a deeper understanding of string multiphonics and raises key questions about the nature of resources for contemporary instrumental technique and the collaborative research possibilities between performers, composers and physicists.

179 Individual Papers 28: Figures, Words, Stories, Histories (Chair: Øivind Varkøy) The Senses of History in Historically Informed Performance

Bio: Abstract: Mary Hunter is A. Leroy Greason Background and Aims Professor of Music Emerita at This paper is part of a larger project on the ideological fields of tension Bowdoin College. She has written in the discourse of classical music performance. The ideological field extensively on 18th century music, I examine in this paper is the historical consciousness attaching to what including opera and chamber we now call “historically informed performance” (HIP). music, and she is now working on a project on the ideology of Research Question and Methods performance in the culture of I am concerned here with the historical consciousness of HIP performers. classical music. By historical consciousness I mean a) the felt sense of the relation between past and present and b) the ways in which the resources of history— written, oral and material — are approached. My discussion is based on analysis of published interviews with, writings by, and my own interviews with HIP performers of different generations.

Mary Hunter Summary of Content Bowdoin College (Emerita) I propose three categories of historical consciousness that characterize United States much discourse about HIP. The first is “sonic history”; that is, the investigation of “how it (probably) sounded at the time of composition.” Most traditional performance practice research falls into this category. The most striking aspect of this is the extent to which factuality is its primary frame of reference. Even when complete accuracy is acknow ledged to be impossible or undesirable, the idea of factuality or truth is still often present in the discourse. With respect to the felt relation between present and past, this framework tends to present the past as ineluctably different from and discontinuous with the present, but at least somewhat “recoverable.”

My second category is “contextual history,” which asks “what could this work mean,” and whose resources include cultural, intellectual and biographical material. In contrast to the pervasive factuality of “sonic history,” contextual historical resources tend to be used quite overtly as as fodder for the imagination: factuality is both less rigorously enforced and not necessarily the primary point of reference. With respect to the felt relation between past and present in “contextual history,” the past

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remains discursively distinct from the present, but ideas and narratives from that past are deployed in ways that bring them into present- moment and familiar forms.

My third and final kind of historical consciousness is transhistoricity; that is, the sense that (usually) a musical work endures with its essential meanings largely unchanged from its time of origin. Historical factuality is not a significant element of this way of thinking. With respect to the felt relation between past and present, this kind of historical consciousness takes the pastness of the past as almost an accident: the historical origin of a work is an indisputable fact, but the work “itself” is understood as a modern phenomenon.

Significance Obviously my three categories of music-historical consciousness are not completely distinct from one another, and musicians use discourse that blends them freely and frequently. But I hope that thinking in terms of categories of historical thought can have two positive results. One is to return to the question of the historicity of HIP performance without falling back into the tired authenticity debates of the 1990s; the other is to suggest ways beyond the provision of facts that musicological thinking might be useful and empowering to performers.

181 Witty, Clumsy, Ironic, or Sad? Studying Recordings of Mahler’s Ninth Symphony, Second Movement: Ländler from the last 80 Years

Bio: Abstract: Erling E. Guldbrandsen is The background of this paper is my new research project, ”MM3: Time Professor at the Department of and Form” which is part of the Centre of Excellence, ”RITMO” at the Musicology, University of Oslo. University of Oslo, 2017–2027. Background is also my ongoing research He is leader of the new project, into historical recordings of orchestral music (and music drama) by ”Musical Time and Form” which is Mahler, Bruckner, Wagner, and other composers. part of the Centre of Excellence, ”RITMO” at the University of Oslo, Research questions and aims. The RITMO sub-project MM3: Time and 2017–2027. His project studies form studies ways in which rhythm works as a means of representing ways in which rhythm works as a processes that stretch far beyond the human ‘now’ in large-scale means of representing processes orchestral works. The aim is to study the constant structuring and that stretch far beyond the human restructuring that takes place in the mind of the listener, encompassing ‘now’ in the listening experience moments of perception (in the ‘now’), projection (of future events) and of large-scale orchestral works. retention (of past events) in the mental mapping of large-scale musical Guldbrandsen has carried out patterns. The project links sophisticated musicological methods for Erling E. Guldbrandsen research at IRCAM (Paris) and at analysing musical structures (in scores and recordings) to knowledge Department of Musicology, the Paul Sacher Foundation about memory, structure and prediction from cognitive psychology, and University of Oslo (Basle), and he has received it employs data mining to identify patterns both in the music and in the Norway awards for his work on Boulez, on listeners’ responses. Additional aims of this particular Mahler paper is Mahler, and on Wagner. He has to further develop a critical language to be able to address aesthetic published widely on musical experience, focusing on Mahler’s complex playing with stylistic figures modernism, contemporary music, from different cultural contexts and musical styles in his musical form music history, analysis, criticism, and orchestration. systematic musicology, opera, music drama, music and literature, Summary of content. In this paper, I will first look at certain generic performance practice, musical musical figures that are inscribed in the composition, main examples of listening, and aesthetic experience. which are the two dance types of Ländler and of Walzer. These musical Guldbrandsen’s lates book is the types are bound to certain cultural connotations in Austrian musical edited volume (together with culture. While the ländler carries connotations of rural folk dance in the Julian Johnson), Transformations Austrian province of the 18th and 19th century, the waltz is connected to of Musical Modernism, urban life in the aristocratic salons of 19th century Vienna. Also, these Cambridge University Press 2016. two dance types may be read as representations of gender, depicting the ländler as a typically masculine dance with heavy stomping in hob- nailed boots, whereas the waltz would evoke an “effeminate” gliding dance-form with movements of vertiginous swirling in light-footed silk

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shoes. I will look at the ways such cultural figures are put into play in the course of Mahler’s piece. Next, I will look at the very different ways in which these stylistic types are actually performed in different recordings of the piece, spanning from Bruno Walter’s 1938 recording with the Vienna Philharmonic to recordings by profiled Mahler conductors in recent years. Selected musical examples will be played, compared and discussed. As a conclusion, I will address certain methodological questions that are raised by this kind of performance study.

Significance of the paper: To contribute to a deepening understanding of stylistic figures and orchestration in Mahler’s music and its performance. To further develop critical conceptualisations of music performance style. To delve deeper into questions of musical listening and contribute to developing a critical language to handle aesthetic experiences of themes such as musical meaning, form, orchestration, humour, wit, and irony.

183 Brahmsphantasie: Performing Historical Fictions

Bio: Anna Scott is a Canadian Valentin Gloor achieved his pianist-researcher interested in diplomas as a singer at the Music challenging understandings of University Winterthur-Zurich (P. canonic composers and their Steiner) and at the University of works in-and-through provocative Music and Dramatic Arts Graz (U. acts of musical performance. Bästlein) with distinction, and In 2014 she was awarded a prac- received a prize of appreciation tice-led PhD in early-recorded for outstanding performance. He Brahms performance practices has attended masterclasses by by Leiden University and the Charles Spencer, Norman Shetler, DocArtes Doctoral Programme in Brigitte Fassbaender and Dietrich the Musical Arts at the Orpheus Fischer-Dieskau, among others. Institute. A busy solo, chamber, He performs a broad repertoire in Anna Scott and lied performer, Anna also concerts throughout Europe, from Leiden University teaches and supervises Masters Renaissance music to premières Belgium and PhD students at the Royal of new works. He achieved further Conservatory of The Hague, the specialisation in lied and oratorio, University of Leiden, and the and he participates in numerous Orpheus Institute; and she is on opera projects. He has released a the coordination team of the number of CD recordings and has DocArtes Doctoral Programme in sung on tours in the United States, the Musical Arts. South Korea, Hong Kong, mainland China and Brazil. In 2013 he completed his doctoral studies at the University of Music and Dramatic Arts Graz and got his degree Doctor Artium with distinction. He was a doctoral research fellow at ORCiM (Orpheus Research Centre Valentin Gloor in Music) from 2011 to 2013 and Konservatorium Wintherthur was a research fellow there until Switzerland 2017. He was rector of the Kalaidos Musikhochschule until 2014 and is currently director of the Konservatorium Winterthur. 184 Abstracts, Saturday, 7 July 16:35, Levinsalen

Abstract: situation where anything goes. In what contexts, then, are such decep- Brahms penned a series of effusive letters praising Max Klinger’s tions deemed acceptable, and if they cannot be ousted by facts, how Brahmsphantasie Opus XII, in which the artist’s intensely subjective, might they fare against willful deceit? In other words, can a lie reveal dreamlike and fantastical images were interspersed with scores of the both the true and untrue, and if it can, will we still be able to distinguish composer’s Alte Liebe Op. 72, Sehnsucht and Am Sonntag Morgen Op. fact from fiction? 49, Feldeinsamkeit Op. 86, and Kein Haus Op. 94. While other traces of their mutual admiration include Brahms’s Vier ernste Gesänge Op. 121 Set against an ‘artful’ collation of the musical, visual and textual traces and Lieder Op. 96 and 97, and Klinger’s Amor und Psyche Opus V cycle of Brahms’s and Klinger’s association, we explore these questions by and sculpture of the composer in Hamburg’s Musikhalle, it was the blurring the line between what was and what might have been, what is Brahmsphantasie that led Brahms to marvel, not only at how well it and what might now be, and what will be and what might be yet to captured the spirit of his music, but also at how it transported him “to come— [im]possibilities no more or less valid than those currently ever further musings and imaginings,” “as if the music resounded into accepted as fact. Using a variety of methodologies ranging from the the infinite and expressed all [he] could have said.”1 Borne of a mis obsessively historically-informed to the flagrantly counterfactual, it is understanding and deemed fallacious (and eventually disassembled) argued that each approach dabbles in the art of historical fiction, and by his supporters, for Brahms the power of Klinger’s work lay in how it ultimately, that both the credible and incredible might be necessary revealed what was, while pointing to what might have been, what might when devising portals to further musings and imaginings of this, and now be, and what might be yet to come—portals to possible and even perhaps all, canonic music. impossible worlds.

The search for alternative approaches to performing and understanding Brahms and his music can similarly revive what was, unmask what is, and generate the tools with which to make something new. Generated by historical, linguistic, theatrical and allusive means, these impossible performances—neither familiar nor unfamiliar, fact nor fiction, past nor present—expose trusted certainties, and the fields that depend on them, as elaborate hoaxes keeping the future at bay in this repertoire: certitudes like the topography of Brahms’s scores for example (analysis), or our belief in the historicity and creativity of how those scores are currently played (performance history, criticism and training), and even distinctions of style, genre, national school and biography in Brahms’s day (musicology). In keeping with our post-truth times however, while many performers and scholars downplay this fake news via appeals to emotion and personal belief, they also reject a

1 Johannes Brahms, Der Briefwechsel zwischen Johannes Brahms und Max Klinger (Leipzig, 1924), in Styra Avins, Johannes Brahms: Life and Letters (Oxford University Press, 1997): 632 – 33 and 710 – 11. Emphasis added. 185 Individual Papers 29: Taking note: musical notation and creative collaboration (Chair: Erlend Hovland) Documenting change in action: developing an intercultural performance practice

Bio: Abstract: Amanda Bayley is Professor of Stevie Wishart explores medieval One strand of the European Music at Bath Spa University where and contemporary extremes, using Research Council funded project, she leads an interdisciplinary voices, ancient technologies such ‘XXXXX’ (2015–2020), explores the research group on Intercultural as the hurdy-gurdy, and emerging chasms between notation-based Communication through Practice. technologies of today. She studied and oral performance traditions She is editor of The Cambridge composition at York University with with a view to developing creative Companion to Bartók (2001) and Trevor Wishart, improvised and ideas across perceived cultural Recorded Music: Performance, aleatoric music with John Cage in boundaries. An emphasis on Culture, and Technology Edinburgh, postgraduate studies in practice focuses on developments (Cambridge University Press, early music (violin and voice) at of sound and instrumental tech- 2010) for which she received the the Guildhall, London and with a nique. Ethnographic methods allow Ruth A. Solie Award from the Vicente Cañada Blanch JRF at New differences in musical approach American Musicological Society College, University of Oxford, and to be observed through a series of Amanda Bayley in 2011. Her research focuses on through many collaboration. workshops and rehearsals with Bath Spa University composer-performer collabora- members of the Hezarfen United Kingdom tions, rehearsal analysis and The challenge of creating music Ensemble and players of the ney, creative processes across reper- for a wide range of contexts is kanun, kemençe, baglama and toires and in intercultural important, such as composing for kaval. Data collected from audio contexts. Recent publications productions by Michèle Noiret and video recordings of workshops in Istanbul between April include a co-authored chapter, (Théâtre National de Bruxelles) and 2016 and April 2018, enable creat- ‘Developing Dialogues in Inter Wayne McGregor, a large-scale ive processes to be analysed cultural Music-making’ in the choral work for a Proms commis- when musicians from different tra- Routledge International Hand sion with the BBC Singers & ditions are confronted with new book of Intercultural Arts Research Sinfonye, and for the designer sounds and new notation. (2016). She is humanities editor for Philippe Starck. With the support the Journal of Interdisciplinary of a Visiting Music Fellowship at The extent of pre-existing know Music Studies and Co-Investigator the University of Cambridge she is ledge or experience of each on two ERC-funded projects. currently composing a Double- other’s traditions, whether trained Bass Concerto for the Orchestra of in Western classical music, Turkish the Age on Enlightenment, London art music (from the Ottoman and The Handel and Haydn Empire) or Anatolian folk music, is Stevie Wishart Society, Boston. different for each instrumentalist. University of Cambridge Workshops provide an ideal United Kingdom Exploring music’s unique ability to opportunity for capturing express new ideas on a level which 186 transcends other routes of communication motivates her work as a composer (and improviser). Abstracts, Saturday, 7 July 15:15, Fellesrommet

cross-cultural interaction when musicians begin to venture outside their The research will draw upon theories and methodologies from eth- familiar repertoires. Their interactions reveal specific ways of dialoguing nomusicology, network analysis and music analysis (both score analysis and musicking that can help to develop a model of sustained, inter and aural analysis) while also developing methods for analysing cultural performance practice. Sharing and exchanging ideas include composer-performer interactions, rehearsal processes (Rossmanith developing skills in unfamiliar areas such as rhythmic patterns, orna- 2009) and cross-cultural collaborations (Brinner 2009). Interviews with mentation, reading notation, learning makams, following a conductor, the musicians contribute to an understanding of the way day-to-day and ensemble work on tuning and balance. Nuances of interplay micro-practices of rehearsal are intimately connected to broader between composer, score and transmitted oral traditions observed from historical and traditional, macro-institutional contexts to create what workshops and rehearsals reveal a wide range of notated and aural Alfred Schutz terms, a ‘stock of knowledge’ (Schutz and Luckman 1989). approaches within a ‘continuum of creative practice’ (Nettl, 1974), The starting point is respecting each other’s traditions then creating between what remains fixed in a score or performance, and what can be something new which requires an openness to new ways of learning (as spontaneously moved or varied. previously discussed by Östersjö and Than Thuy, 2013), and acquiring knowledge (or acquiring competence, Brinner 1995). Three stages to the Examples from workshops and rehearsals begin to address the following learning process will be examined: questions: • acquisition 1. How can musicians playing Turkish traditional instruments learn/ • translation understand how Western, classically-trained musicians think in order • transformation to play new music that embraces different traditions? 2. How can Western, classically-trained musicians learn/understand how The third is a more long-term goal, tracked over a longer period of time players of traditional Turkish instruments think in order to play new in relation to new possibilities that arise. music that embraces different traditions? 3. Are we trying to invent a new way where the composer tries to write Investigation will reveal the predicates that determine collective creative everything down? And how far can that thinking go? activity when aspects of historical knowledge of communities are 4. Are composers and performers responding to the chasm between shared. Observing the use of non-verbal means and cultural tools, notation-based and oral traditions by bringing them together, integ- including musicking, helps us to understand and characterise collabor- rating them through new notation or a new performance style, or ative creativity as part of a long-term working process. Analysing inter- some mixture of the two? actions between musicians and their navigation of different approaches 5. What is the nature of a performer’s transformation in intercultural to performance will contribute to a rehearsal model for intercultural music-making? ethnography, thereby leading to an increased understanding of performers’ interactions in a variety of situations. Documenting this change Analysing performers’ processes and responses that address the gap in action helps to develop ideas surrounding orality and literacy. During between oral and notated performance practice means thinking about the course of the project I plan to arrive at a representation of creative the relationship between listening, copying and reading. The aim is to flow generated from dialogue and musicking, identifying the various articulate the nature of a performer’s transformation in order to establish processes of translation that underpin rich transformations of musical some kind of intercultural performance practice that could empower technique and expression. musicians to compose or play in any unfamiliar tradition.

187 Performers will be performers: composers’ notated instructions as pre-emptive corrections to anticipated performative transgressions

Bio: Abstract: Jeremy Cox read Music at Oxford, Musical notation is commonly divided into descriptive and directive completing his DPhil there in 1986. types – those which mirror the intended action in their shapes and His thesis was on the mélodies of those which simply issue instructions as to what should be enacted. Francis Poulenc. While at Oxford, However, there is a significant element in the area of notated instruc- he sang with a number of tions that is directive only in the sense that it spells out what is to be specialist chamber choirs. avoided. A common example is the injunction not to slow down (senza ritardando; sans ralentir, etc.). After leaving Oxford, alongside work in a range of Music depart- Such an instruction merits closer inspection. If a composer warns ments and institutions across the against performing a passage in a certain way it can only mean that UK, Jeremy continued to pursue they know they have written something likely to be performed that way. an active career as a singer and In this sense, there arises a dichotomy between ‘what the composer conductor. He moved to the Royal wants’ and ‘what the music itself seems to want’. But why would a com- College of Music in London in 1995, poser wish to be contrary to what they themselves recognise as the Jeremy Cox ﬁrst in charge of postgraduate innate tendencies of the music they have written? Is it perhaps because United Kingdom studies and, from 1998 to 2009, as they are acknowledging a presumed gulf in self-discipline between the Dean, with overall responsibility musical sensibility of composer and performer? Is this another way in for learning, teaching and which the composer asserts primacy and subordinates the instincts of research. the performer, forcing them to behave otherwise than comes naturally?

In late 2010, after a year as RCM An especially interesting case arises with composers who are also Honorary Sabbatical Fellow, prominent performers of their own works. Here, the composer/per- Jeremy accepted the post of former dichotomy is played out within the one individual. The corrective Chief Executive of the AEC and indications become ‘notes to self’, reminding the composer-turned-per- led the association through the former to remain within the sensibility of the former and not get ‘carried re-location of its office to Brussels away’ in the moment of performance. as well as successfully leading several European projects. Even more fascinating are examples where the performing composer proceeds to neglect the very injunctions that they have carefully placed After retiring in 2015, Jeremy was in the text. Recordings of their performances allow us to evaluate how invited to Montreal as Schulich strictly or liberally they interpret their own notated indications – with the Distinguished Visiting Chair in results often proving surprisingly liberal. Music at McGill University 2016–17. He now writes and researches in the UK. 188 Abstracts, Saturday, 7 July 15:55, Fellesrommet

This presentation takes recordings by Francis Poulenc and Pierre Bernac of selected songs by the composer and examines how a performing partnership founded on deep musical empathy is to be reconciled with the widespread variances between text and action that these performance display, especially in the area of corrective indications. In the sense that the performances have their own powerful ‘authenticity’, they also enable an evaluation of how literally corrective indications should be taken. Equally importantly, they raise questions as to whether such indications should be read, at least partly, within the context of potentially shifting performing styles and conventions. For example, ‘sans ralentir’ may not necessarily preclude some degree of slowing up where such a gesture would simply be understood as an expressively neutral part of generic phrase-shaping. This phenomenon, which might be called affective relativism, raises a whole series of interpretative questions, not only about how to understand the notated signals of a repertoire within its performative context but also about how best to interpret these signals when presenting such a repertoire to an audience habituated to different conventions and contexts.

189 Is this your composition or is this some sort of collaboration?’ What a professional musician’s attitude towards graphic notation can tell us about composer-performer relationships, musical identities and establishing stake in the shadow of the Western classical canon

Bio: Abstract: Russell Wimbish is a bassist, com- In my analysis, I phenomenologically examine how a professional musi- poser and educator based in cian working primarily in free improvisation establishes a personal Edinburgh. Born in Jackson, sense of artistic value in the shadow of the Western classical music Mississippi, U.S.A., he studied at canon. The findings from this study are derived from a semi-structured the University of North Texas, interview with double bassist Tom Blancarte on the topic of graphic where he had the privilege of score interpretation. Though Blancarte has little to say on the topic of learning from Lynn Seaton and interpretive strategies, his justifications for a reluctance to embrace Dr. Jeff Bradetich. Focusing on graphic score concepts reveal much about the perspectives, practices creative improvisation, he and struggles of a musician working in an experimental setting. By received a B.M. and M.M. from the examining the participant’s stated views on traditional and non- UNT Jazz Studies program. traditional compositional models, musical collaborators and improvi satory performance practice, one can better understand how he Relocating to New York City in endeavours to exhibit the validity of his performance oeuvre in a 2005, Russell worked extensively medium without a codified set of aesthetics values. Russell Wimbish in a diverse range of projects. His University of Edinburgh activities in NYC included long Using interpretive phenomenological analysis as a methodology, United Kingdom form experimental composition, I determined four superordinate themes: questions of validity, impro- chamber orchestras, elec- visation, tradition and establishing worth. The first theme, questions of tro-acoustic solo pieces, free form validity, pertains to the subject’s doubts about the validity of graphic jazz fusion, straight-ahead bebop, scores as a compositional process. It entails a discussion of his musicals, and indie rock. personal history performing graphic compositions and working with graphic composers, focusing on his belief that graphic score com- In 2016, he began PhD studies at posers may not fit within his definition of ‘musician.’ The second theme, the University of Edinburgh. His improvisation, pertains to the participant’s musical identity as an areas of research include graphic improviser, his views on the hallmarks of a successful improvised score interpretation, improvisation performance and the importance of compatibility among improvising and communication in perform- musicians. The third theme, tradition, examines his thoughts on the ance. Western classical music tradition and how his views of this tradition have influenced his perception of graphic scores. The final theme, establishing worth, examines ways in which a musician working in new music attempts to establish worth for his creative output. Taken together, these four superordinate themes reveal ways in which the subject’s environment, needs and personal history have influenced his perceptions on graphic notation.

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The original objective of this pilot study has been to learn about performer strategies for graphic score interpretation. Instead, I collected data on why a professional musician is sceptical towards graphic score notation as a legitimate compositional process, a view rarely voiced formally in musicological research. Being a phenomenological study, I felt it necessary to respect the tenor of the conversation as directed by the participant. Fortunately, this unexpected turn has yielded rich information that adds to current research on graphic scores, improvi sation and ways in which performers working outside of the dominant cultural canon establish worth for their art.

191 Individual Papers 30: Reverence, reflection and re-creation in classical music performance (Chair: Gjertrud Pedersen) Aspects of belief and attachment in the performance of classical music

Bio: Abstract: Daniel Leech-Wilkinson is Background Emeritus Professor of Music at The belief that performers have far-reaching obligations to composers, King’s College London. He studied however long dead, runs deep throughout western classical music at the Royal College of Music, (WCM) teaching, practice and commentary. The relationship this King’s College London and Clare implies between performer and composer involves a degree of sub College, Cambridge, ﬁrst as as servience not found in other western cultural practices except religion. keyboard player, then a medie valist, and since ca 2000 special- Research questions ising in the implications of early Given that WCM practices and encapsulates privilege in so many recordings for modern performers. different ways, how is it that its performers (in every sense of the term) He led a project on ‘Expressivity believe themselves to be no more than humble servants? In what ways in Schubert Song Performance’ is this (as Small suggested) a religious practice, drawing on western within the AHRC Research Centre Christianity for its models of behaviour? Does this modelling help to for the History and Analysis of explain the willingness with which performers submit to criticism and Daniel Leech-Wilkinson Recorded Music (CHARM, 2004-9), the viciousness of critical denunciation so characteristic of WCM? King’s College London followed by ‘Shaping Music in United Kingdom Performance’ within the AHRC Aims Research Centre for Musical The overall aim is to explore the heteropatriarchal values that underlie Performance as Creative Practice WCM belief; and within that to explore critical hostility to performer (2009-14). His current research agency. takes a critical look at the politics of classical music performance, Summary of content in particular the policing of The talk will take as its starting-point a survey of the metaphorical performance norms, and explores language of performance criticism, focusing particularly on performance creative alternatives. Books expressivity perceived by critics as being self-serving, narcissistic, include The Modern Invention of mannered, exaggerated and/or effeminate and with the implication Medieval Music (Cambridge, that performers draw attention to moments in scores only in order to 2002), The Changing Sound of draw attention to themselves. These rather unsympathetic published Music (CHARM, 2009) and, with views of performers’ contributions to reading scores will be considered Helen Prior, Music and Shape alongside views emerging from interviews with critics themselves, as (OUP, forthcoming 2017). well as with other influential figures in the UK music business.

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The findings of language analysis and interviews will be considered in the light of four bodies of theory: first psychology of religion; secondly infant/carer vocality; thirdly attachment theory; and finally gender and (looking forward to the concluding section) particularly queer theory, with related discussion of normativity. The psychology of religion offers ways of understanding attitudes to the composer as the source of all musical fulfilment, given properly obedient and ritually observant behaviour by the performer.

Recent research on infant/carer vocalisation, as a foundation for adult music, suggests how imitative musical behaviour fosters a sense of loving safety provided by an omnipotent other. Attachment theory links these two bodies of work by relating childhood experience of nurturing to belief in a higher being. All shed light on musicians’ deep-rooted belief that following the composer’s instructions and wishes is a precondition for profound spiritual and emotional experiences achieved through musical communion. Similarly, the gendering of musical thought (wishing to be a loving handmaid, striving to sound the masculine mind of the composer-god) can be seen as another aspect of the normative thinking that pervades all aspects of performance-morality.

Significance Together these approaches help to explain why the urge to attribute musical fulfilment solely to the composer is so strong, regardless of the strength of evidence that performers contribute as much or more to the experience of music as meaningful. In conclusion, the talk looks at the implications of these perspectives for a secular, generous and adult musical practice in which performers are properly valued for, and themselves strive as a matter of course to generate, creative readings of scores.

193 Creative Agency in Classical Music Performance: Theorizing, Observing, Experiencing

Bio: Abstract: Victoria Tzotzkova is a pianist and Background: researcher, working at the inter- “[Listening to Cortot …], one was suddenly in the pure presence of the sections of performance and aca- music itself. With Horowitz […] one was in the presence of, well, demia. Currently based at the Horowitz…” This critical response, quoted from a 1983 Boston Globe Massachusetts Institute of review (Cook 2001), may sound both completely natural and decidedly Technology, she holds a PhD in odd: natural, because it is perfectly in line with common ways of music theory from Columbia thinking about classical music performance, but also odd, because the University, where her principal requirement that the presence of the performer remain unnoticed advisor was Professor George E. during a performance is hardly self-evident, apart from these ways for Lewis. As a performer-researcher, thinking. she has received support from the Council for the Arts at MIT, the While classical performers are expected to have distinct musical Mind/Brain/Behavior Initiative at personalities, creative agency is a complicated issue for a classical Harvard University, and Columbia musician, the composer looming large as the rightful creator of the Victoria Tzotzkova University’s Reid Hall Institute for music, with direct consequences for a performer’s sense of creative Massachusetts Institute of Scholars in Paris, and presented license and personal agency. Concepts and beliefs directly linked to Technology her work at numerous forums in Romantic thought but also modernized in some aspects contribute to United States Europe and the US. Praised by the tensions and confusion around creativity, spontaneity, and individuality New York Concert Review for her of performers of the classical repertoire (McCormick 2009, Hunter “golden tone,” she also focuses 2005, James et al. 2012). her research on sound production at the piano from perspectives in Aims: critical ethnography, psycho- Taking its cue from work in critical ethnography (Thomas 1993) and acoustics, and cognitive studies. auto-ethnography (Pratt 1991), this presentation aims to highlight the Performance credits include interdependence between ways of thinking and ways of doing, and Carnegie Hall’s Weill Recital Hall, invite a critical look at particular discourses and practices, as they Steinway Hall, the Miller Theater pertain to experiencing creative agency in classical music performance in New York, Jordan Hall in (Kingsbury 2001, Hill 2012). Boston, Salle Cortot in Paris, Bulgaria Concert Hall in Soﬁa, Research questions: Bulgaria. What are key discursive terms and common practices in classical music performance that directly relate to a musician’s experience of agency during performance? Which of these terms and practices facilitate – and conversely, inhibit – the cultivation of a strong sense of agency for

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a classical music performer? If we believe that a strong sense of agency enhances performance experience, how should we be developing both discourses and practices to reflect that belief?

Summary of content: Borrowing a definition of agency directly from sociology, and drawing on work in music ethnography, sociology, and philosophy (Sztompka 1994, Kingsbury, McCormick, Hunter 2005, Goehr 2007, Benson 2003), this presentation focuses on classical music performing experience in a social as well as artistic context. Defined as one’s own sense of authorship of one’s own actions and influence over one’s own circumstances, agency is a fundamental enabler of creativity and achievement (Sztompka). This presentation argues that within classical music we routinely – even if inadvertently – undermine performing musicians’ sense of personal agency through beliefs, discourses, and practices, having to do with the metaphorical relationship between the performer and the composer, score, and musical work, the evaluation and definition of musicality, the attribution of talent, and even the formation of performers’ own artistic self-determination. It then advances some preliminary proposals for practices that cultivate a performer’s sense of agency.

Significance: By considering common discourses and practices in classical music performance in light of a performer’s sense of creative agency, this presentation offers a particular vantage point in analyzing and theorizing performance experience. Conceived as a project in critical ethnography (Thomas), it focuses on highlighting less than productive personal and interpersonal dynamics, with a view to opening alternative possibilities.

195 Ensemble performance over high-speed networks

Bio: Tania Lisboa joined the Royal The Icelandic guitarist Pétur College of Music in September Jónasson has given numerous 2001 as a Research Associate solo performances throughout and was appointed Research Europe, North America, Fellow in Performance Science in Australasia and the Far East. He is 2008. She is also an honorary currently Professor of classical Research Fellow at Imperial College guitar studies at the Iceland London. Her current research University of the Arts and the focuses on expert memory, per- leading guitarist for the Icelandic formance education, and com- CAPUT contemporary music munication in rehearsal. Tania is ensemble and the London-based currently a commissioner to the Riot Ensemble. International Society for Music Tania Lisboa Education’s Commission for the In 2015, he was awarded an MSc Royal College of Music Education of the Professional degree in Performance Science United Kingdom Musician. with a distinction from the Royal College of Music in London, Her doctoral research at Sheffield where he is now undertaking doc- University employed longitudinal toral studies, focusing on the studies with young cellists to memorization of complex musical investigate the relationship material. Other research projects between musical understanding include the RCM Centre for and a multi-modal approach to Performance Science´s “In Sync” teaching and learning. Since 2003, (PI Dr. Tania Lisboa)—a study on Tania has also managed the RCM’s ensemble performance over high- videoconferencing programme. speed broadband. Recent activities in this area include links with international conservatoires and universities in the USA, Europe and Asia. Pétur Jónasson Iceland Academy of the Arts In parallel with her academic Iceland research, Tania pursues an active career as a solo cellist.

196 Abstracts, Saturday, 7 July 16:35, Jan P. Syses Sal

Abstract: Results showed that none of the participants had former experiences of With advancements in videoconferencing technology, new possibilities playing ensemble music at a distance and that playing via LoLa led to are constantly arising for performers to interact over the internet. important self-reflection on their approaches to rehearsal and perform- Conservatoires increasingly provide these services for teaching and ance. New strategies emerged. For example, as eye contact was performance. For musical performance, however, latency has been a impossible due to the camera’s positioning, participants relied on ‘peri- problem. This obstacle has now been overcome: LoLa – a Low Latency pheral vision’. Attack, tempo and synchronicity became their main Audio and Video Streaming System for high-speed networks now allows focus of attention. Initially, there was social awkwardness but this was musicians to work remotely with minimum delay and excellent sound soon overcome. Closeness – an important element for the forming of a and video quality. Research in this field is still scarce and mostly cohesive ensemble – was achieved through sharing ‘this unique experi- focused on teaching, with few references to performance. ence’. Being unable to ‘feel’ each other’s physical presence, verbal communication was used when making musical and technical In light of the above we posited the following research question: How decisions while non-verbal communication – such as gestures – helped do performers, who never met before, communicate and interact during to establish leadership in the ensemble. Participants agreed that the performances and rehearsals via LoLa? technological setting and the presence of engineers and researchers demanded more concentration. In spite of this, they acknowledged Our aim was to explore having become fully immersed in the music and in the experience 1. the participants’ previous experiences with technology during performance. The good quality of their performances also sur- 2. their communication, rehearsal strategies and social interactions prised them. when working over the internet 3. the impact of the technology on rehearsal and performance Our results suggest that rehearsing and performing via LoLa is a successful and innovative way of connecting musicians in the 21st Participants were four tertiary level guitar students (UK (n=2) and century. Participants adapted well to the technology and quickly began Denmark (n=2), and two professors (UK/Denmark). Two studies were developing new strategies for performing remotely. This has important performed: Study 1 (two guitar duos), Study 2 (a quartet). This paper implications for musical education. We hope that our study has helped report on both. Pieces selected for the study offered a wide range of cast a light on the importance of preparing students for the use of the challenges re. synchronicity, interpretation and ensemble playing. Each latest videoconferencing technology in their professional careers. study consisted of three 30-minute rehearsals, a coaching session and a public performance, all via LoLa. Data was collected in the form of video recordings, observations of the sessions and semi-structured interviews before, during and after rehearsals and performances. Several months later, video-stimulated interviews were carried out, where participants reflected on the whole process. Data were analysed using the Interpretative Phenomenological Analysis method.

197 Individual Papers 31: Time travels in harmony and expression (Chair: Emil Bernhardt) Expressive tempo modifications in early twentieth-century recorded performances of operatic arias

Bio: Abstract: Dr. Massimo Zicari, ﬂutist and When it comes to investigating music performance practice, early musicologist, is Deputy Head of recordings have come to represent an important documentary source. Research at the University School However, there seems to be sufficient evidence suggesting that unin- of Music (Conservatorio della formed listeners and music students still tend to disregard early record- Svizzera italiana) in Lugano ings and respond with incredulity to early recorded interpretations. (Switzerland), where he also This is especially true when an interpretive device like portamento is in teaches music history since 2005. question, which is very often viewed with suspicion, or ornamentation In 2009 he was visiting Fellow at and cadenzas, which are still understood as an abuse at the expense of the Institute of Musical Research, the composer. School of Advanced Studies, University of London, for a project This paper reports on an ongoing investigation that explores the concerning the reception of question of expressive tempo modifications as a function of textual and Verdi’s Operas in London. His musical content in early twentieth-century recordings of operatic arias. studies focus mainly on opera By analysing the early phonographic evidence it is possible to determ- Massimo Zicari production and reception, but ine a) to what extent significant tempo modifications are present, Scuola Universitaria di Musica – include also research areas such b) where they occur, considering that nineteenth-century sources Conservatorio della Svizzera as acoustics and performance suggest that the quickening or retarding of time should be used in order Italiana science. He is the author of “Verdi to emphasize the meaning of particular words, c) whether meaningful Switzerland in Victorian London” (Cambridge, changes are observable in the melodic-harmonic profile, and d) to what 2016). extent interpreters tended to use them in tandem with other expressive devices (i.e. portamentos, dynamics, ornamentation).

The investigation focuses on three soprano singers nurtured in the Italian operatic bel canto culture, where the notion of dramatic poignancy was repeatedly insisted upon: Marcella Sembrich (1858–1935), Nellie Melba (1861–1931), and Luisa Tetrazzini (1871–1940). A threefold approach was adopted that involves a) profiling the interpreters and their vocal style; b) determining the degree of tempo variability; c) analysing the concomitant use of other expressive devices. The exploration of contemporary text-based sources helped define the context, reconstruct the vocal practice, establish the authoritativeness of the chosen interpreters, profile them with regard to their singing style. The degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, median,

198 Abstracts, Saturday, 7 July 17:45, Lindemansalen

mode, standard deviation, coefficient of variation and skewness. A box-plot was considered in order to examine the tempo variability distribution. Correlation and linear regression analysis helped determine whether long-term trends could be drawn. Other expressive devices such as dynamics, portamento and ornamentation were taken into consideration in order to guarantee the ecological validity of the investigation. In fact, when defining the musical content of an operatic aria in the Italian tradition, we should consider all those modifications in the music that were typically associated with the notion of bel canto.

Preliminary results show that Adelina Patti’s and Luisa Tetrazzini’s renditions of a number of arias recorded between 1905 and 1911 present tempo modifications which are quite consistent with and instrumental in the expression of their dramatic content, as recommended by the singing methods and treatises which had appeared in the course of the nineteenth century. In some cases, different degrees of tempo modification are associated with a different use of ornamentation. Instead, expressive devices such as portamento and vibrato seem to be characteristic of each individual’s vocal technique and singing style.

199 Baroque harmonic language and chord playing on the marimba: one piece, many options

Bio: Abstract: Percussionist Tomoyo Ueda’s Background special interest lies in the per- Solo instrumental works from the Baroque period such as those by formance of early music on the Johann Sebastian Bach form an important and novel part of the marimba. She studied perform- marimba repertoire. Although there are numerous transcriptions of ance practice with the harpsi- these works for the marimba, many prefer to use material conceived for chordist and musicologist Dr. instruments for which these works were originally written, receive Rosalind Halton and participated advice from Baroque specialists on these works and listen to recordings. in masterclasses given by such While I agree with this approach, I also feel that marimbists often fail to Baroque specialists as Hille Perl, grasp the Baroque style in general. It is crucial for me to first understand Charles Medlam and Gottfried Baroque ideals, characteristics and aspects of performance such as the von der Goltz. Her solo and use of harmonic language, rhythm and ornaments while studying a chamber music concerts often specific work. I aim to combine my knowledge of historical perform- feature all early music programs, ance practice, gained through study and research with my marimba collaborating with Baroque technique to produce a unique yet stylistic interpretation. Tomoyo Ueda specialists such as harpsichordist Philharmonisches Orchester Masumi Yamamoto. She has Research Questions Bremerhaven given lectures on this subject at How can historical performance practice be effectively implemented Germany international conferences in into the study of Baroque music on the marimba so one may explore Australia, Singapore and the characteristics of this modern instrument, yet remain faithful to the Germany and her paper Marimba Baroque style? Plays Early Music was published by the Imperial College Press, Aims London. She is a percussionist To illustrate different ways of incorporating elements of Baroque with the Philharmonisches harmonic language to the marimba. Orchester Bremerhaven (Germany), giving regular opera and ballet Summary of Content performances and symphony If marimbists, like other musicians performing baroque works, are to concerts as well as appearing express the different affects in a piece to ‘move and please’ the audience, regularly in the chamber music then all performance decisions must be made with this goal in mind. series. Using the Sarabande from the Cello Suite No. 2 in d minor by Johann Sebastian Bach as an example, this presentation focuses on one important aspect of performance practice: the use of harmony.

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Harmony is one of the driving forces of music from the Baroque era, expressing different affects and giving direction to the music. In my opinion the player of solo repertoire must observe the bass part, harmonic progressions, dissonances and resolutions, using different techniques to embody affects that are being expressed. Basic know ledge of Baroque harmony is vital, such as the practice of playing dissonance louder and stronger than its resolution, and playing the bass note on the beat. In addition, the marimbist may investigate how this practice could be effectively realised on the marimba. For example, anticipation and tension created by a diminished chord may be expressed by playing all the notes in the chord together – which cannot be done on on a bowed string instrument but is possible on the marimba using four mallets – with arm weight or as a fast arpeggio played with force. In contrast, a major chord in the first inversion could be played as a slow arpeggio with a gentler attack to resolve tension. The marimbist could bring out certain notes in a chord such as the bass or a dissonant interval to give it more definition.

Significance The presentation aims to illustrate how one can apply stylistic elements of Baroque performance, such as chord voicing, to a study of a particular piece on the marimba (e.g. the Sarabande). Instead of dictating how to interpret it, the presentation shows different ways for implementing aspects of performance practice into a specific work, in order to make informed decisions and create a performance style that is unique to the marimba as well as to the performer.

201 Research Reports (Mentor Group: David Gorton, Catherine Laws) ”That it´s not too late for us to have bodies”. Notes on extended Performance Practices in Contemporary Music

Bio: Abstract: Monika Voithofer studied Since the beginning of the 21st century, compositional strategies which Musicology and Philosophy in are characterized by the influence of extramusical contents and hence, Graz and Vienna. Since 2015 she the extension of the musical material, increased in the field of contem is an University Assistant at the porary music. Composers introduce theoretical concepts such as Department of Musicology at the Conceptmusic (Peter Ablinger), Discourse-Composition (Patrick Frank), University of Graz. She pursues Expanded Music (Simon Steen-Andersen), New Conceptualism research primarily concerning (Johannes Kreidler) or The New Discipline (Jennifer Walshe) to describe music from the 20th and 21st their artistic works. What all of these compositional streategies have in century, touching on questions in common is an audiovisual setting, that asks for a multisensory, instead music aesthetics, performance- of just an auditory perception of the works. Therefore, in a systematic- and gender studies. Currently, in ally, highly interdisciplinary approach with methods from the perform- her PhD Project, she is scrutinizing ance studies and assumptions from analytic philosophy, I am scrutiniz- in a highly interdisciplinary ing the role of mediality, materiality and performativity in the context of approach aspects of so called Conceptual Music (as I am using this term to subsume the composi- Monika Voithofer “conceptual music”. tional strategies in a general way). Due to modified and extended Department of Musicology, musical notations (e.g. extramusical symbols such as icons) and a University of Graz revaluation of the body and physicalness in the context of contempor- Austria ary music, a musical analysis of scores will fail the complexity of these multimedia-based performance practices.

Walshe, for example, writes in the programme notes of the Borealis Festival 2016: “The New Discipline is a term I´ve adopted over the last year. The term functions as a way for me to connect compositions which have a wide range of disparate interests but all share the common concern of being rotted in the physical, theatrical and visual, as well as musical; pieces which often invoke the extra-musical, which activate the non-cochlear. In performance, these are works in which the ear, the eye and the brain are expected to be active and engaged. Works in which we understand that there are people on the stage, and that these people are/have bodies.”

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In my presentation, some selected works of the composer Jennifer Walshe will be introduced to shed a light on important aspects of Conceputal Music as an extended performance practice in contemporary music, where sound is still one, but not the only feature of multi media-based artistic strategies.

203 Textures of performances in spatial composition

Bio: Abstract: Ulf A. S. Holbrook is an artist, Spatial audio is a tautology, because sound (and music) is a spatial composer, sound artist and experience in itself. Sound is a wave which is propagated from a researcher who works at the sounding body in all directions and the medium in which it is propag- intersection between composi- ated will impose some changes to the wave. In the acousmatic situation tion, sound art and sound design. we are faced with a sound of which we have no visual cues and we Of central concern of his project have no way of determining its source visually. Some sounds, which we is an investigation of the relation- easily can recognize, such as those of musical instruments or from real- ships between time and space, world environments carry the information about their space and their and the relationships of the sounding object with them, helping us to understand what we perceive. perspectives of the sonic landscape. Sound spatialization and This paper investigates some of the recent discourses surrounding custom software are central developments in spatial audio, perceptual research and composition. aspects of the artistic expression. And based on these presents modes and thinking around composing and performing in space with an emphasis on perceptions of moving Ulf A. S. Holbrook textures. From this stance I present the research question: How does University of Oslo the perception of spatial textures affect our perception of space in Norway multichannel arrays? As such this paper addresses the topics on “perspectives on performance” and “modes of performance” and also presents findings from recent perceptual experiments and listening tests.

Drawing on existing literature in acoustics and psychoacoustics and applying this to spectromorphology and composition, this paper explores the intersections between composition, sound art and performance through multichannel speaker setups, with a focus on electroacoustic and acousmatic music. It focusses on approaches to and modes of spatial composition which encourages direct engagement with space, rather than the more common approach of composition in 2-channel stereo for diffusion over a larger speaker array at a later time.

Acousmatic spatial textures can often display a spatiotemporal behaviour which sounds in the real world cannot possess. The sonic and spatial textures together display and delineate a sense and indication of material in our listening, the spatial experience in being

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surrounded by loudspeakers produces an abstract acoustic behaviour which implies an interaction between objects and surfaces. This engagement with spatial textures can bring listeners from the experience of “it is…” via “it sounds like…” to “it sounds like its behaving like…”. This spatiality accumulates over time, which shows that space and time are impossible to separate. And it is argued that through spatial composition, with the conscious placement and movement of sounds in an array of loudspeakers, we will find that our spatial processing always is active and space in our experience, interpretation and articulation is always present.

205 Entertainment, public discourse or protection of the unsayable? The performative as public sphere in Norway – an essay in progress

Bio: Abstract: Hild Borchgrevink works as a Background music critic and editor in addition In Norwegian debates on artistic freedom of speech, the performing to own artistic practice. Both arts or live artistic expressions are seldom a topic. In a report from 2014 parts of her work often situates in entitled “Status for ytringsfriheten i Norge”1, the chapter on artistic intersections between language freedom of speech was limited to interview authors and visual artists. the performative, recently in the project “Expired” (Oslo, June When dramatist and author Peter Handke in 2014 was awarded the 2017), where books discarded by international Ibsen award of 2,5 million NOK funded by the Norwegian the city’s local libraries were lifted government, the jury explicitly awarded it for his dramatic texts written into public space and became for the stage. Still, both the jury and theatre artists were silent in the subject to new selections by the fierce debate that followed, so silent that the renowned theatre passers-by. She has an MFA in magazine Norsk Shakespeare- og teatertidsskrift made a survey asking Arts and Public Space from the why (in which I participated). The debate was dominated by voices National Academy of the Arts in from the literature field and the performative dimension, what the Hild Borchgrevink Oslo and has previously studied context of a live performance and a staging, no matter what sort, does Norway musicology at the University of to the content of a text, was to a very limited extent discussed. Oslo, creative writing at Skrive kunstakademiet i Hordaland and The Norwegian Ministry of Culture’s first independent artistic evaluation performative criticism at SKH/ of symphony orchestras dating from 2014 is entitled “Der ordene Uniarts in Stockholm. She slutter”, “where words end”. There is a strong tradition in art music moderated the dance discourse theory to highlight how musical expression reaches beyond words. project Seminarium.no 2012–2016 Programming of orchestra concerts is done by musicians who has a and recently was invited as bodily and silent knowledge of the core repertoire, and might therefore discussant in an artistic research appear inaccessible for potential new audience who don’t. The texts project on opera librettos in written to promote such concerts often promote the performer’s Stockholm Uniarts’ programme virtuosity, prizes and achievements, more often than the content and for artistic research. She has character of the music. previous experience as a concert organizer and producer in the One consequence of this, is that current musical voices are rarely put ﬁeld of contemporary music. into a relevant context. A review in Stavanger Aftenblad in 2015 Since 2012 she has been editor of mentioned the presentation of a newly written Norwegian violin concert Scenekunst.no. with one, non-discursive sentence.

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Research questions How does a stage, musical or theatrical, work as a public space? How does being perceived as “staged” influence a speech act, a performed text or a piece of music, and what influences whether the audience perceives to be attending a staged event?

Aim Through combining an academic and an artistic research method, I will perform an analysis, a performative reading and a musical recomposition of an extract of Peter Handke’s dramatic text “Publikumsbeschimpfung”, translated into Norwegian by Øyvind Berg (Publikumsutskjelling), to see how this could shed light on the questions identified above.

Summary of content The report presents an ongoing process in which I try to identify ways of understanding the performing arts as a public sphere.

Significance The status of time based artistic expressions in the public debate has consequences at all levels of the artistic discourse: for the development of the performative artistic expressions themselves, for how they are curated and programmed by theaters, festivals and in concert halls, and for whether performing arts are perceived to be relevant to an audience. In the current political climate in Norway the fact also influences the debates about whether performing arts should receive public funding.

207 Research Reports (Mentor Group: Jeremy Cox, Anthony Gritten) The use of low-latency (LOLA) videoconferencing for performance, rehearsal, recording and education

Bio: Abstract: Benjamin Redman is a professional My background is as a professional percussionist in a range of genres, percussionist and has performed from orchestral and opera to folk, jazz, and pop; I have also worked as around the world in a wide variety an instrumental music teacher in over 30 primary and secondary of styles and genres, from schools and as an ensemble coach in three different Local Authority orchestral work through to jazz, music services in Scotland. pop, folk and traditional music. As an instrumental music teacher, My current research is focussed on the use of low-latency videox he has taught in primary and conferencing in rehearsal, performance and instrumental music secondary schools across lessons. Scotland and is currently based in the Scottish Borders. My research questions include: • How can low-latency (LOLA) technologies be used to support Benjamin is researching how new musicians in remote locations for rehearsal, recording and technologies and teaching performance? Benjamin Redman methods can be used to deliver Royal Conservatoire of Scotland high quality instrumental music • What changes in the experience of the participants between standard United Kingdom lessons in schools and higher videoconferencing systems and LOLA videoconferencing? education. His current research is focussed on the use of low- • How significant is the video component of videoconferencing, and latency videoconferencing in does low-latency audio only provide a satisfactory solution to rehearsal, performance and distance learning for music educators? instrumental music lessons. My aims are to explore the potentials of LOLA for rehearsal, performance, recording and education, particularly in countries such as Scotland where musicians and students live in remote locations. Research to date has shown that LOLA videoconferencing can be successfully used in performance for musicians based in Scotland and Holland, recording situations between Scotland and USA, and educational settings in a variety of international locations. My research is focussing on the quality of the experience for the participants using LOLA.

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This research has particular significance for how musicians will interact in the future, from instrumental music lessons, through to rehearsal, recording and performance.

209 Singing as Ethical Demand and Public Discourse Exploring ethical implications of classical singing through hermeneutical, ethical and public sphere theory

Bio: Abstract: 2011: Master´s degree in Opera Background from The Norwegian Academy of Street (2007, 2012), Frith (1996) and Garofalo (1992a,b) maintain that Opera music is always ethically and ideologically charged. Aesthetic and ethical-political conceptions connect when performances raise a form 2008: Bachelor´s degree in of public awareness that integrates music in political discourse and Classical Singing, The Norwegian action. Nussbaum (2001) considers music as a symbolic representation Academy of Music. of connections between emotion, ethics and politics. Cobussen and Nielsen (2012) explore how music contributes to discussions about 2014: Master´s degree in systematic ethics as well as concrete moral behaviour. theology from Norwegian School of Theology. Master´s thesis on how However, links between music and any kind of verbal discourse entail musical performance may affect methodological challenges, especially concerning notions of verbal theological and philosophical and non-verbal meaning, the non-referential characteristics of music modes of thinking and writing. and its temporality. Attempts to articulate takes on music as meaning Mathias Gillebo are often halted by assumed verbal limits, or even by the feeling of Norwegian Academy of Music 2017 – present: Ph.D. research ´shame´ that might occur when trying (Crispin 2014). As a result, efforts Norway fellow at The Norwegian Academy to explore how music addresses human conditions and influence of Music (NordART) with the ethical and political discourse often end up as mere descriptions of project: Singing as Ethical Claim musical ´qualities´ amplifying textual meaning in songs (Street 2012, and Public Discourse. Uberg Nærland 2015).

Gillebo has been working as a I find such dualistic takes on language and music to dismiss the singer freelance tenor since his gradu- as a genuine participant in interpersonal and public spheres, let alone ation in 2011. With a repertoire discourse in a deliberative democracy. In my project, I consider singing spanning from the baroque era to as interaction through a hermeneutical process that interprets and contemporary works, he is a fre- influences reality. quently engaged soloist for oratorios, passions, masses and Research Questions lied-recitals. Since his debut at Building on Julia Kristeva’s differentiation between semiotic and symbolic The Norwegian National Opera & realms of meaning, I maintain that the singing voice continually des- Ballet in 2013, Gillebo has gone troys and remodels symbolic meaning through semiotic influx (Kristeva on to sing several roles both at 1984). The voice occupies the borders of polarizing analytic models that DNO&B and other opera venues, separates body/mind, matter/form, subject/object. In enunciating, the often in contemporary operas. voice is both semiotic and symbolic, direction and sound, influx and

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sign: it constitutes a spatiotemporal event on the threshold of language The text of the resulting monograph, will hopefully still be, even though where both subject and meaning are put in process. The voice sounds a written, symbolic language, a performance and spatiotemporal event. in responds to and phrases towards an intersubjective, ethically charged reality. Summary of content The project consists of building a phenomenological and hermeneutical I explore this ´sung reality´ in light of the following overarching research framework illuminating singing as ethical and public event, of conducting question: and interpreting interviews with musicians, and finally articulating experiences from my own concerts. • How does the singing voice constitute an ethical demand between performer and audience? Significance The significance of the project is presumed to lie in its attempt to The term ´ethical demand´, developed by K. E. Løgstrup, circumscribes articulate singing as ethical interaction, and to shed light on that which the dynamics of power, care and interdependence that establish verbal discourse fail to articulate when not paying attention to how its subjects towards each other when experiencing that «I hold the other language is always musicalized. person´s life in my hands» (Løgstrup 1956).

Through a phenomenological-hermeneutic approach, as well as interviews with other musicians and in my own concerts, the act of singing will be explored as a spatiotemporal event in which the being of both performer and audience proceeds as an ethical demand.

Subsequent research questions will be: • How are meaning and subject constituted in the singing voice? • How is singing ethically motivated? • How may an ethical demand in performance affect verbal, public discourse?

Aims The project aims to advocate the singer as a legitimate participant in social and political life through his/her musical practice. As researcher and singer, I wish to address a form of social conscience in classical singing and how singing is an ethically charged event in a real world, not in a detached realm of ´pure´ aesthetics. I aim to articulate how the singer is ethically posited through the sound of the voice, and put in process towards other people.

211 Hidden meanings in plain sight: the use of Field Hollers in the Jim Crow South

Bio: Abstract: I am a PhD researcher from the Field hollers are a genre of African American songs used in the South of University of Bologna, Italy. My the United States until the middle of the last century. We still lack a academic formation comprises proper description of what field hollers where, how they were composed, a degree in Anthropology (three how they were transmitted and how they were used, as they have been years), studies in Jazz Piano (three mostly taken into account in terms of their probable relation to the years) and a degree in Musicology history of Blues and in regard to their connection to African music (two years), with a specialization legacies in North America. in Ethnomusicology. At the moment I am working as a Not much has be said yet about the place of field hollers as a perform- researcher on a project about ative act in the Jim Crow Southern context. Some scholars claimed that African American ﬁeld hollers, the performance of hollers was just something akin to a personal and through the documentation that introspective pastime, with no real relations to the contexts of use nor I collected from archives in the communicative objectives. My research on the subject is going in a United States. In the past year different direction. Other than trying to give a better interpretation of Lorenzo Vanelli I also participated as a the techniques and formulas that informed hollers composition and University of Bologna, Department researcher in the European use, I am also trying to reconstruct how hollers were used by individuals, of Arts Project D.R.U.M., coordinated by to communicate something and to interact with others. To do that, we Italy prof. Staiti, producing a study are required to get a better understanding of the social context inside about the music of the Grawa which they were used, of the relations of power between the individuals brotherhood in Morocco. producing and hearing the hollers, but also of the topics that they sung about, the way they are exposed or encrypted, the meaningful use of tropes, music structure expectation, double-entendre, linguistic nuances.

From my research on the subject, I already gathered enough evidences to suggest a first interpretation. Field hollers were used inside highly racist and problematic contexts: their use has been documented mainly in State Prisons (where inmates were obliged to work in the fields) and Levee Camps (where a system of debt kept the workers tied to the employer and law was enforced by armed private contractors). The life conditions that African Americans had to endure in those context were brutal, and the field hollers lyrics reflect that. Field hollers thus seemed to be a way for African Americans to communicate among themselves in those context, share burdens and face them together, in a subtly

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encoded way. Although evidently public in form (as the word holler suggests, those songs were sung out loud, at the top of the singer’s lungs), their content was private, their real meaning was hidden.

By presenting the first results of my research, along with direct documentation, I’m going to pose some questions about the scope of the performance of hollers in these context. In what ways were they part of complex interaction between individuals within the context? How were they perceived by listeners that were in different places of power? How did these relations influence the way they were composed and encoded? How were the boundaries of the music genre bent to the need of the distinct individuals?

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Abstracts, Sunday, 8 July Individual Papers 32: A duet with the ‘four-handed monster’ (Chair: Ellen Ugelvik) Reimagining the Four-Handed Monster

Bio: Abstract: The Viney-Grinberg Duo enjoys an The activity of playing piano four-hands in 19th century European international proﬁle in duo piano households was so ubiquitous and so profoundly rooted in everyday life performance, involving recordings, that it took on a furniture-like status (Adorno). Four-hand piano playing festivals, major series, live radio was taken for granted, under-examined, and its significance now broadcasts, and orchestras. largely forgotten (Daub). While a handful of major works for piano four- They frequently collaborate with hands were composed before 1850, the latter half of the 19th century composers, artists, dancers, was dominated by transcriptions of orchestral repertoire, with the four- choreographers and other hand medium functioning much as a means of disseminating concert established performing ensembles music in the absence of access to the live event. As recordings gradu- – as well as produce book chapters, ally supplanted the most important functions of late 19th century piano articles and scholarly seminars four-hand culture, the genre receded from view. Most major works for and presentations. The Duo spent two pianists were for two keyboard. A narrower view of four-hand piano a decade in the United States, music emerged as light entertainment or pedagogical in value. Very few including ﬁve years at California substantial or significant concert pieces (such as sonatas) were written Liam Viney Institute of the Arts, before taking for the medium from 1850 until the present. As a response to this University of Queensland up their current positions as historical frame, this artistic research project aims to challenge Australia Ensemble-in-Residence at the characterisations of four-hand playing as a relic of late 19th century University of Queensland, parlour activity, a defunct mediator of social relations in the domestic Australia. sphere of old Europe, or as a mere diversion for leisure-seeking pianists. It explores the genre’s potential for artistic exploration and development, and its unique forms of creative collaboration, especially between the two pianists, but also between pianists and composers. Broadly speaking, the project’s research question is: how can music for four-hands can build on its existing legacy, and lead to meaningful cultural contributions in a modern context? This presentation shares the outcome of this research – a commercially released CD that progresses the genre away from received notions of the 19th century “sonic hearth’s” domestic dynamic, (Daub), and argues for an expanded view of four-hand music’s potential in a public and contemporary context. It includes a major commissioned work, and the premiere recordings of four other new works. Through commissioning new work of ambitious scale and scope, by taking up other new and unrecorded works, by revealing the complexities that underpin ostensibly pedagogical repertoire, and by exploring collaboration both within and beyond the duo, the research

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seeks to rejuvenate an almost “underground” but still vital form of making music by “four-handed monsters” (Cone).

217 From four-handed monster to an all-embracing Vishnu: on sensitivity, intimacy, and corporeal interaction in György Kurtág’s four-handed works

Bio: Abstract: Finnish-Hungarian Cecilia Oinas At the concert held in 2012 at Cité de la musique in Paris, the composer is a music theory scholar and a György Kurtág and his wife Márta play works from Játékok (https:// classical pianist. In her academic youtu.be/g319gW5_O0o). The performance offers a beautiful example dissertation, completed in 2017 of two musicians sharing the same keyboard in a sensitive and appreci- with distinction at the Sibelius ative way. For instance, when the Kurtágs are playing one of the briefest Academy’s DocMus Doctoral pieces, “Flowers we are … [embracing sounds]” (4:45 in the video), the School, she examined fragility of the moment is created by intimate, physically adjacent Mendelssohn and Schumann coordination. Indeed, it seems that inside the great hall, the couple is piano trios with a special aim to creating their own safe space where the hands will meet and touch – combine aspects of analysis and sometimes on, other times off the keyboard. performance in a two-dimen- sional way: a performance inﬂu- This paper is a part of a larger research project that focuses on the enced by analysis and analysis by special nature of piano duet music extending from late 18th century to performance. She has actively the present day. During the project, various piano duet ensembles and Cecilia Oinas participated in various interna- their rehearsal process will be examined through semi-structured inter- The University of the Arts Helsinki/ tional music conferences and view and following their rehearsals. The aim is to combine the more University of Music and published peer-reviewed articles. recent performance research as suggested for example by Nicholas Performing Arts Graz From 2018 onwards, she has been Cook (Cook 2013) and a performance-based music analysis where Finland a senior researcher at the syntactic and synoptic viewpoints go hand in hand. By flexibly University of Music and navigating between performance research and music analysis we are Performing Arts Graz, focusing able to acquire a holistic view on the piano duets, genre that until on four-handed piano music by recently has not been excessively studied from performative point of combining performance research view. and music analysis. Oinas is also an active pianist, specialized in In this presentation, I will examine two four-handed piano works by chamber music and collaborating Kurtág, “Flowers we are …” and “Beating – Quarreling”, both from with classical singers. Játékok VIII (2010). More precisely, I am interested in how Kurtág’s distribution of primo and secondo in his four-handed works – sometimes in a highly unorthodox way – create a private space for the pianists, mostly excluding the audience who almost have the role of a Voyeur (see Daub 2014). For instance, while in “Flowers we are … ” the hands and torsos crisscross, it is by no means necessary for being able to play the requested notes. In fact, the work could easily be rendered in a more traditional way where primo and secondo roughly divide the

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keyboard above and below the middle C. As a counterexample for the pliable “Flowers”, I will also discuss Kurtág’s artificially created combat in his “Beating – Quarreling”. Here the composer is pushing the limits of physical proximity to an almost intolerable point where four hands are requested to play the same note above on another in sf. This requires precise timing, extreme corporeal synchronization but, most of all, trust which is one of the key aspects to be able to play four-handed music (Haddon & Hutchinson 2015). I will argue that in both works, analyzing the works’ pitch structure and contour is highly relevant, yet the readings must be framed within the four-handed praxis where the final distribution between primo and secondo resist straightforward explanations.

The significance of this research is to create bridges between performers’ own verbalization, music-analytical language, and corporeal approach as well as to examine traces of corporeality in piano duet works over times.

219 Individual Papers 33: Releasing HIP: Realisation, improvisation and unexpected options (Chair: Helena Marinho) Transcribing Couperin’s preludes à la D’Anglebert: a journey into the creative processes of the 17th -century improvised tradition

Bio: Abstract: David Chung, harpsichordist and The interpretation of the unmeasured preludes by ‘Monsieur Couperin’, musicologist, performs extensively presumably Louis (1626–1661), is often fraught with contentious issues, on the harpsichord to critical largely due to the rhythmically-free notation. Couperin’s visually acclaim in cities across Europe, arresting system of notation is unique to the composer, but the complex North America and Asia. He has system of lines that he apparently invented contains both ambiguities appeared in the Festival d’Ile-de- and inconsistencies in both Bauyn (F-Pn: Rés. Vm7 674, 675) and Parville France, Geelvinck Fortepiano (US-BE: MS 778), the two sole sources of this repertory. In fact, modern Festival, Cambridge Early editors (Moroney 1985, Tilney 1991, Wilson 2003, Chapelin-Dubar 2009, Keyboard Festival, Hong Kong Gustafson 2014) are sometimes sharply split on whether lines are International Chamber Music curved or straight, where they begin and end, and whether notes are Festival, Le French May Arts joined or separated by lines. Festival and Hong Kong New Vision Arts Festival. Chung In a possible attempt to remove some of the ambiguities of the received his education at the unmeasured notation, D’Anglebert took the bold steps to convert his David Chung Chinese University of Hong Kong, own preludes, first written in unmeasured notation in his autograph Hong Kong Baptist University the Royal Academy of Music and (F-Pn: Rés. 89ter, ca. 1660), into a new, semi-measured notation for Hong Kong Churchill College, Cambridge. publication (1689). Apparently, other composers such as Clérambault His scholarly contributions and Siret followed suit as they readily saw the benefits of the include articles and reviews in semi-measured notation and had their preludes engraved in similar such journals as Early Music, ways. Very likely, if Couperin had the opportunity of preparing his music *Early Keyboard Journal, Journal for publication, he would have taken similar steps of clarifying his inten- of Eighteenth-Century Music, tions in print. Journal of Seventeenth-Century Music, Music and Letters, and The aim of the current research is twofold. Firstly, it establishes Revue de musicologie. His edition D’Anglebert’s procedures of transcribing his own preludes from unmeas- of keyboard arrangements of ured to semi-measured notation. Secondly, by transcribing Couperin’s Jean-Baptiste Lully’s music was preludes into semi-measured notation ‘à la D’Anglebert’, this paper eval- recently published by the Web uates the extent to which the semi-measured notation could inform Library of Seventeenth-Century interpretative matters. This study will focus on two key questions: (1) Music (www.sscm-wlscm.org). What kinds of changes and revisions need to be made to transcribe the Chung is currently Professor of preludes into semi-measured notation? (2) What benefits would the performance studies at Hong semi-measured notation bring to the performer? To answer these Kong Baptist University. questions, three preludes of Couperin (Gustafson nos. 6, 7 and 10), of different lengths and sophistications, have been transcribed into

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semi-measured notation using D’Anglebert’s unique system of combining whole notes, quavers and semiquavers with curved and straight lines. By playing and comparing the semi-measured version with Couperin’s ‘originals’ in both Bauyn and Parville, it becomes apparent that the semi-measured notation brings to the fore the otherwise hidden relationship between the structure and the musical details, in which ornaments, gestures and other idiomatic effects can be instinctively discerned. The semi-measured notation also provides contextualized information for the performer to make decisions on critical matters, such as which notes to sustain and which notes to linger on for greater expressivity. Interestingly, the semi-measured notation is still flexible enough for individual performers to carve out unique performances. For the researcher, the transcription process is also a reflective one. It opens up an additional perspective to infiltrate into the creative processes of the seventeenth-century mind and proves extremely beneficial for both teaching and performing this music.

221 Releasing the ‘loudie’ – harpsichord accompaniment in G. F. Handel’s continuo cantatas

Bio: Abstract: Christian Kjos (b. 1980) is one of This artistic research project aims to highlight the role of the harpsi- Norway’s most active harpsichord player and the interpretation of basso continuo in G. F. Handel’s chordists. After studying at the continuo cantatas – i.e. cantatas for one voice and continuo. How the Norwegian Academy of Music (NMH) continuo realization is shaped in performance of this repertoire is crucial in Oslo and the Schola Cantorum to the overall sound since there are no other obligato instruments, Basiliensis, Basel, Switzerland, he unlike in the instrumental cantatas. A wide range of possible solutions has been a freelance harpsi- emerge in the intersection between improvisation, composition, imagin- chordist and continuo player in ation, and speculation within a source-oriented approach. The focus is several of Norway’s early music on an advanced and soloistic harpsichord continuo that includes differ- ensembles and has been much ent use of imitation, counterpoint, harmonic additions, ‘duet-making’ involved in artistic matters in with the vocal part and other rarely heard features; inspired by certain Barokkanerne and the Norwegian German 18th-century continuo treatises such as Heinichen’s Der Baroque Orchestra. Christian has Generalbass in der Composition (Dresden, 1728), Mattheson’s Grosse taken part in several CD recordings Generalbass-schule (Hamburg, 1731) and Daube’s General-Bass in drey Christian Kjos with the already mentioned Accorden (Leipzig, 1756) in addition to several preceding Italian(ate) Norwegian Academy of Music ensembles as well as Trondheim and English sources related to Handel, and idioms from his own key- Norway Baroque and the Ensemble board music. Cordia (IT). He has played in Concerto Copenhagen (DK) and is There are frequently significant discrepancies between how historical a founding member of the Swiss- sources describe basso continuo playing and how today’s harpsi based Ensemble Meridiana with chordists interpret and perform their part within the context of the HIP- whom he has won several ﬁrst movement. In the last decades, two contrasting approaches stand out: prizes in international early music those who accompany discretely with few parts and a transparent competitions and released accompaniment: unofficially nicknamed ‘Softies’; and those who play recordings on Linn Classics and generally fuller: ‘Loudies’ – from which the project receives its title. Chandos Classics. Research questions Christian has been a research • How to learn (re)creating such a style or approach approximately? fellow at NMH since 2015 with • How could continuo realizations as described above take shape in the artistic research project Handel’s continuo cantatas? ‘Releasing the ‘Loudie’, harpsi- • What are the musical consequences of using such a style? chord accompaniment in the • How do the musical consequences affect the chamber musical G. F. Handel’s continuo cantatas’. interplay with the singer and the traditional role hierarchy?

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Significance The project aims to deepen the understanding of the discipline and to develop realizations that go beyond mere chordal playing often heard today in a much-neglected repertoire by one of the greatest composers of the Baroque era. Hopefully, this will challenge existing views and conventions among several branches of today’s early music community, where strong performers and personas foster strong opinions. And that the project’s approach and artistic results may gain some international interest and thereby increase the awareness and will within the field to explore similar and other repertoire in such a manner.

Summary of content The presentation will be a ‘show and tell’ from the harpsichord giving a brief introduction to continuo playing in Handel’s continuo cantatas and some of the forms it might take, but mainly, together with a singer, demonstrating how different continuo realizations affect the interplay with the singer and some of the musical consequences as well as consequences that is has for the hierarchy of the traditional roles in performance.

223 Individual Papers 34: The science and poetry of romantic interpretation (Chair: Lina Navickaitė-Martinelli) Sombering Rachmaninoff’s Second Piano Concerto

Bio: Abstract: Mine Doğantan-Dack is currently Background: a Teaching Associate at the Few classical pieces of music kindled the popular imagination as much University of Cambridge. She is a as Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor Op. 18. concert pianist (Juilliard School, Completed in the spring of 1901, the piece rapidly became not only one BM, MM) whose playing has been of the most ‘popular’ pieces in the classical concerto repertoire, but described as ‘an oasis’ and also one of the most appropriated classical works in popular culture, ‘heaven on earth’, and has a particularly in the form of sound tracks for various Holywood films. parallel career as a musicologist, Coupled with the widespread disdain Rachmaninoff’s music has attrac- holding a PhD from Columbia ted within scholarly discourses as being beneath serious consideration, University. She also holds a BA in the concerto’s associations with popular culture led to characteriza- Philosophy from Boğazici tions of it as superficially and excessively sentimental, and even banal. University in Istanbul. Mine per- Many contemporary performances of the work tend to validate these forms as a soloist and chamber characterizations. musician, and has given concerts Mine Doğantan-Dack in USA, UK, Germany, France and Research Questions: University of Cambridge Turkey. She published articles on 1) How can the popular image of Rachmaninoff’s Second Piano United Kingdom the history of music theory, Concerto as an excessively sentimental work be challenged in phenomenology of performance, performance? affective responses to music, and practice as research. 2) Does the tonal language of the work put expressive constraints on its performance, problematising any attempt to challenge its ‘popular’ Her books include Mathis Lussy: image in practice? A Pioneer in Studies of Expressive Performance (2002) and the 3) Does an ‘historically informed performance’ of the work, taking the edited volumes Recorded Music: performer back to a historical point when the popular associations in Philosophical and Critical question were not yet formed, provide an appropriate context for Reﬂections (2008), and Artistic lifting off this ‘popular’ veil in practice? Practice as Research in Music (2015). She is the founder of the 4) When preparing this work for performance, which discursive contexts Marmara Piano Trio and received can the artist-researcher explore in order to present it as a somber an award from the Arts and and profoundly moving (as opposed to a ‘superficially sentimental’) Humanities Research Council for work? her work on chamber music performance.

224 Abstracts, Sunday, 8 July 10:00, Fellesrommet

Aims: Significance: 1) To document and critically reflect on the process of preparing This research contributes to artistic-research in classical music per- Rachmaninoff’s Second Piano Concerto for performance as a sombre formance and highlights the ways theory and practice can ‘collaborate’ work; in stimulating creative performance interpretations of canonic pieces of music from the tonal repertoire. 2) To propose a critical discourse about the work that counters the associations it has attracted through its representations in popular culture;

3) To contribute to artistic-research in classical music performance;

Summary of content: The presentation starts by discussing the influence of Rachmaninoff’s Second Piano Concerto on popular culture and the criticisms it has attracted in scholarly discourses. In attempting to challenge this ‘popular’ image of the work in practice, I theoretically contextualise my performative approach by reference to three areas: 1) Adorno’s aesthetic theory, with particular emphasis on his notion of the ‘shudder’ (Erschütterung), which refers to the visceral moment when the raw experience of an artwork crashes into consciousness, collapsing the barriers that sustain critical distance; 2) Benjamin’s notion of the ‘aura’ of the original, referring to the effect of an artwork being uniquely present in time and space; 3) The characteristics of the concerto that arguably shift between modern vs postmodern aesthetics, as ‘the serious’ and ‘the popular’ it affords in performance continually fluctu- ates. Based on these three notions, I discuss the process of developing a performance interpretation that aims to awaken moments of Adornian ‘shudder’, bring back a Benjaminian ‘aura’, and illuminate what the composer himself said: “I believe it is possible to be serious, to have something to say, and at the same time to be popular” (1919). This involves discussing my reception of some of the recorded performances of the concerto, my experiments with the main themes from all three movements with regard to their timing, dynamics and articulation, my approach to large-scale form, as well as my conversations with the conductor in developing my interpretation.

225 Aspects of the Poetic and Romanticism in the Interpretation of Jan Ladislav Dussek’s Élégie harmonique

Bio: Abstract: Thomas Wozonig was born in The piano sonata in f sharp minor C211 by the Bohemian composer Jan 1992 in Gleinstätten. He studied Ladislav Dussek (1760–1812) belongs to the most fascinating composi- Musicology, Music Theorie, and tions for solo piano in the early 19th century. Entitled „Elégie harmo- School Music at the University of nique sur la mort du Prince Louis Ferdinand de Prusse“, it was written in Graz and the University of Music response to the death of the mentioned Louis Ferdinand of Prussia and Performing Arts Graz, where (1772–1806), wo had been his most important patron, musical partner, he received his MA with a thesis and even friend in prior years. on the Bohemian composer Jan Ladislav Dussek. During his Whereas the scientific literature has regularely pointed out the sonata’s studies, he was a student general influence on early Romantic piano music (focusing mostly on assistant at the Centre for Gender harmonic issues), its role for bringing into touch solo piano music with Studies and the university library poetic genres and forms has never been examined adequately. at the same university. He currently Preceding similar literary references by other German composers (e.g. writes his PhD thesis on the the Eklogen, Rhapsodien, and Dithyramben by Václav Jan Tomášek Thomas Wozonig reception and interpretation (1774–1850) or the Dithyrambe D801 by Franz Schubert), the Elégie University for Music and history of Jean Sibelius. Thomas harmonique became highly influental within French piano music, where Performing Arts Graz has published articles in the the Elegie was established as an distinct genre during the course of the Austria Österreichische Musikzeitschrift 19th century (conveyed by Sigismund Neukomm’s Elégie harmonique sur and in the program of the la mort de Dussek (1813) and even more by Franz Liszt’s respective Ferienkurse für Neue Musik compositions, one of which bears the title Élégie sur des motifs du Darmstadt, and has participated Prince Louis Ferdinand de Prusse itself, S168, from 1843/1851). at international symposiums, such as “Musical Diversity and Besides its musical quality, its unusual title (which predisposes the Cultural Identities in the History composition for an ‘romantic‘ and arguably promotional approach) of the Eurovision Song Contest” might be responsible not only for the relatively high number of record- (2015), “Männlichkeiten und ihre ings, but also for the striking differences within artist’s interpretive Klischees” (2017) and a upcoming strategies, especially in the introduction (Lento patetico) to the first symposium about Gösta Neuwirth movement. Further elements such as the indication ‘sensa ornamenti‘ or (12/2017), where he is going to the quotation of a theme by Joseph Haydn in the very first measures talkt about the musicologist and might influence interpreter’s choices. Therefore, the differences do not music theorist Hellmut Federhofer only lie within the usual range from traditional to historically informed (1911–2015). performance (HIP); furthermore, they might also derive from the tension of beeing highly fantasia-like, without beeing called a Fantasia (or a rhapsody, an impromptu, etc.), but instead beeing associated with a

226 Abstracts, Sunday, 8 July 10:40, Fellesrommet

determined literary genre. Existing solutions range from fast, sober, and strongly articulated interpretations like Constance Keene in 1997, who needs 1min 57sec for the Introduction, to Richard Egarr’s historical informed and much freer recording in 2004 (3:08), whereas Frederick Marvin‘s extreme performance from 1976 (4:42) has nothing to do with HIP at all, since his interpretation is (one might say) ‘rather metronomic‘.

My paper, which derives from a projected monograph on the piano works of Dussek, will examine a number of these solutions by focusing on the organisation of tempo and articulation. The main tool for displaying this results will be the free software Sonic Visualiser. Further more, I will compare and link this purely quantitative outcome with an HIP-perspective based on contemporary writings (such as Dussek’s own Pianoforte-Schule from 1802). Finally, I will try to find new perspectives by linking the composition to the poetic Elegie, which had been rediscovered, established and discussed within German literature from Friedrich Gottlieb Klopstock and Ludwig Hölty to Johann Wolfgang von Goethe und Friedrich Hölderlin. This last point will help to render an understanding how Dussek’s contemporaries might have approached this unorthodox composition.

227 Individual Papers 35: Performers in history and historically-informed performance – two cases (Chair: Mieko Kanno) Historically Informed Performance Encounters Music Education and Examination: The case of Vivaldi’s RV 356

Bio: Abstract: Yang, Jian is Professor of Music Background Technology and Musical In the past decades, Historically Informed Performance (HIP) has had a Performance Studies at the strong impact on mainstream musical performance and education. Department of Music Engineering, At the same time, there is plenty of early music such as Vivaldi’s Violin Shanghai Conservatory of Music. Concerto in A minor, RV 356 in the performance tutorial literature and He respectively obtained with in examination syllabuses, but the HIP elements reflected in these pieces honors his bachelor’sdegree in are typically handled in different ways on stage and in recordings on Engineering from Southeast one hand, and in educational and examination contexts on the other. University, master’s degree in Violin Performance from Nanjing Research questions University of the Arts and doctor- Should HIP concepts and practices be introduced at early stages of ate in Western Music History from learning? In the typical case of Vivaldi’s RV 356, how did it become Shanghai Conservatory of Music. popular in the tutorial literature and performance examinations? What In 2013–4, he was a visiting is the implication of the different editions of RV 356 included in the per- Jian Yang scholar at the Faculty of Music formance tutors and examination syllabuses issued by ABRSM, as well Shanghai Conservatory of Music and St John’s College of the as by other bodies such as the Central Conservatory and Shanghai China University of Cambridge and was Conservatory in China? granted an Overseas Visiting Scholarship. He has published Aims more than forty papers, a dozen The aims of this research include the following: to explore HIP trends in of books (including monograph, different fields (concert, recording, music publication and education) co-authoring, translation and and regions with Vivaldi’s RV 356 as an example, to compare the music scores) and CDs and direc- requirements of HIP awareness in different tutors and examinations, ted several national and minis- and to investigate whether a balance can be struck between playing terial research projects. In 2015, skills and interpretive techniques involving HIP among young learners. Yang, Jian was awarded the First Prize of the 14th Fok Ying Tung Summary of content Education Foundation Music teachers and students tend to believe that playing skills should Outstanding Young Teachers of be adequately developed before and, to some extent, isolated from the Higher Education, one of the most interpretation of music itself, and the pieces played by beginners are highly recognized prizes for teaching materials rather than works which need to be considered young scholars in China. historically and artistically. There are lots of early music by great composers in tutorials but usually with problematic editions. Vivaldi’s Violin Concerto in A Minor, RV 356 is an example where HIP and various

228 Abstracts, Sunday, 8 July 10:00, Jan P. Syses Sal

educational purposes coincidentally but significantly overlap. The widely used edition by Tivadar Nachéz (1859–1930) – often without any acknowledgment to him – was heavily revised in a romantic style which has caused much controversy.

The tension between HIP and education (mainstream) was activated by recordings and scores published at the turn of the century. Itzhak Perlman’s popular album “Concertos from My Childhood” in 1999, was like a watershed in which he played RV 356 with a subtle balance between historical and mainstream styles. Armida Senatra’s (1888–1973) recording from the 1930s was apparently at the romantic side sticking to Nachéz’s intention while most new recordings such as Elizabeth Wallfisch’s in 2007 have been increasingly approaching the HIP extreme characterized with fast tempo, non-legato articulation, period instrument, baroque pitch, the original notation by Vivaldi and improvised ornamentation.

Consequently, the latest edition of the Suzuki tutorial has listed Nachéz next to Vivaldi and, interestingly, this grade 7 (out of 8) piece in the ABRSM syllabus with some HIP requirement has long been taken as a grade 3 to 4 (out of 10) piece in most Chinese examinations without enough consciousness of HIP, which is a noticeable drawback. This indicates that technical demands and interpretative requirements involving HIP are closely related and, therefore, might better be taught together. Obviously, in an era when historical awareness is so crucial in music performance, recordings, and publications, it would be absurdly inefficient to ignore it in the first place and then supplement it afterwards (if it really could work).

Significance This paper, with Vivaldi’s RV 356 as a case, will not only investigate how the HIP concept has spread among these ‘teaching pieces’ but also, by focusing on education and examination, predict in a way where it will go to in the future, which largely depends on the tutorials, examination syllabuses, and teaching strategies reflecting greater or lesser awareness of HIP. Ideally, the new generation of young performers would be able to take the HIP elements naturally as part of both their creative motivation and technical competence. 229 “A very disembodied violoncello”; Victorian perspectives on an Italian virtuoso

Bio: Abstract: Job ter Haar studied cello at the Background Royal Conservatory in The Hague The content of this paper is derived from the current PhD research of with René van Ast, Lidewij the proposer about the playing style of the 19th century cellist Alfredo Scheifes and Anner Bijlsma. Piatti. One of the strategies employed in this research is a large-scale During and after his studies he media review, focusing on 19th century newspaper articles. Now that specialized in chamber music. this process is in its final stages, a fascinating story emerges about With his baroque ensemble, Piatti’s career and the reception of his playing style. This story seems to Musica ad Rhenum, he has recor- have the potential to transcend the scope of the project as a whole, ded many CDs, which distinguish and therefore may be worth being presented on its own. themselves through the use of historical tempi and rubato. In Research questions recent years he has explored the • How was Piatti’s artistry received by the British press? classical and romantic style, with • How does this relate to what we know about his playing from other the Van Swieten Society, the sources, and how does it compare to his present day image? Job ter Haar Hortus Ensemble and the • What can cellists nowadays learn from this? Codarts Rotterdam, Netherlands, Archduke Ensemble. Above all, his and Royal Academy of Music, interest is in the use of early 19th Aims London, United Kingdom century expressive tools and • Provide an overview of the many reviews of Piatti’s concerts; instrumental approach. Next to • Question some aspects of the present image of Piatti as a musician; his performing career, Job ter • Demonstrate the value of this kind of research for modern day Haar is working as a research performance. coach and cello teacher at Codarts Rotterdam. Currently he Summary of content is pursuing a PhD at the Royal Alfredo Piatti (1822–1901) is widely seen as one of the most important Academy of Music in London cellists of the 19th century. He excelled in various genres, but most about the instrumental approach notably in chamber music. Piatti has been described as the cornerstone of the 19th century cello virtuoso of the ‘Monday Pops’ concert series in London; arguably, he helped Alfredo Piatti. shape the classical chamber music concert as we know it today. His long and fruitful career in England left a significant paper trail in the form of thousands of concert reviews. This paper presents the result of an analysis of this paper trail. It provides an account of the perception of Piatti’s artistry by Victorian reviewers and explores the possible implications of this account for the present knowledge of Piatti’s career and playing style. The prevailing image of Piatti as an ‘austere’ musician

230 Abstracts, Sunday, 8 July 10:40, Jan P. Syses Sal

may have to be revised. In addition, the presenter will play two arrangements by Piatti of songs by Franz Schubert, making use of the performative possibilities of these discoveries.

Significance In the course of the last decade more and more importance has been placed on the role of the performer in 19th century repertoire (as opposed to the ‘modernist’ focus on the ‘intention of the composer’). This means that the need is growing for careful documentation of the careers of 19th century players and their way of performing. Digitization of most of the British newspapers published in the 19th century opens up the possibility to read, compare and analyse English concert reviews in unprecedented quantities. This process may lead to a re-evaluation of the image we have nowadays of several players that were active in England. Piatti may serve as a showcase for this; besides, not much has been published about his playing style until now.

231 Briefing Note: Final Panel Discussion, Sunday 8 July, 11:50–13:00: Artistic Enquiry in a World of ‘Alternative Facts’

Panel Members: Moderator:

Mine Doğantan-Dack, Mieko Kanno, John Rink, Darla Crispin, University of Cambridge Sibelius Academy, University of Cambridge Norwegian Academy of Music Uniarts Helsinki

Bernard Lanskey, Øivind Varkøy, Yong Siew Toh Conservatory Norwegian Academy of Music of Music, Singapore

232 Those of us working in the fields of performance This session invites brief statements of approxim- studies and artistic research strive on a daily basis to ately five minutes each from members of a specially use words in ways that honour the complex and convened expert panel, responding to these ques- elusive nature of the artworks and artistic practices tions before opening up the discussion to all deleg- that are the subject of our attention. But what is the ates. Coming at the end of the conference, it is justification for and indeed the point of such efforts hoped that the dialogue will be enriched by in a world where even supposedly straightforward examples and insights that having arisen during the and concrete truths are being undermined by care- presentations and performances leading up to it. less and, at worst, deliberately deceitful language? For that matter, how may we carry out the very necessary act of explaining and justifying our eso- teric endeavours in social and political arenas where experts are held in low regard and the debasement of language is already far advanced? Conversely, might there be a wider role for us to play in contributing to the defence of language, in promoting a deeper understanding of the strengths and limitations of subjectivity, and in casting light upon what happens in those moments and spaces where emotion and objectivity confront one another?

233 Sixth Performance Studies Network International Conference, University of Huddersfield UK, 2 to 5 July 2020

The PSN Conference Committee is delighted to The Call for Papers will be published in approximately announce that the Sixth Performance Studies 12 months’ time, with the deadline for submitting Network International Conference will be held at the conference proposals likely to be in October 2019. University of Huddersfield from 2 to 5 July 2020 Full details will be circulated on PERF-STUD-NET in under the direction of Philip Thomas. The PSN due course. committee (comprising John Rink, Amanda Bayley and Darla Crispin, with additional input from Nicholas Cook and Daniel Leech-Wilkinson) considered two excellent bids, and it was decided that the Department of Music and Drama at the University of Huddersfield would be an ideal host for the sixth conference, given its track record in hosting such events and its status as a lively and research-intensive department with performance studies covering a wide range of historical and contemporary topics.

234 Arne Nordheim 20/20: Retrospective/Prospective

Arne Nordheim 20/20: Retrospective/Prospective is a series of events due to take place at the Norwegian Academy of Music and other art venues in Oslo in 2020. The Academy’s Arne Nordheim Centre for Artistic Research (NordART) is putting together a programme which seeks to illuminate the groundbreaking artistic practice and thinking of Norwegian composer, Arne Nordheim (1931–2010). This multi-day event will both celebrate his interdisciplinary achievements and place them in the context of significant work by present-day international artists.

By being honest to himself, the artist will also be honest to the parts of the art work that have already taken place in all of us. That have always been there. Awaiting. - Arne Nordheim

235 PSN 2018 Conference Proceedings and Publication

Following the PSN 2018 Conference, those interested More information about the development of the in publishing their papers may present their work for special edition of Music & Practice dedicated to consideration to the editors of Music & Practice. PSN 2018 will be circulated in due course.

Music & Practice is a peer-reviewed online journal http://www.musicandpractice.org dedicated to the study of practices in music. It features articles and presentations written by academ- ics and practitioners and has readers and authors from all over the world. Beside its main editorial area, the study of musical practices, the journal also engages with artistic research and performance studies.

236

The Norwegian Academy of Music is a leading artistic and academic University college with over 700 students. It offers music education founded on research and artistic developmental work. The faculty is composed of leading performers, music pedagogues, conductors, church musicians, music therapists and composers.

The Academy runs projects and activities through the research centres the Arne Nordheim Centre for Artistic Research (NordART), Centre for Research in Music and Health (CREMAH) and Centre for Educational Research in Music (CERM). The Academy also hosts a Centre of Excellence in Music Performance Education (CEMPE).

NMH participates actively in several international organisations and co-operations. Among the organisations are: the Association Europeenne des Conservatoires, Academies de Musique et Musikhochschulen (AEC); the Association of Nordic/Baltic Academies of Music; the ConNEXT group of conservatoires in Europe, Canada, Singapore and Australia; the Nordic Network for Educational Research in Music (NNMPF); the European Chamber Music Association (ECMA); and the International Consortium of nine universities with a PhD program in music therapy. It is the coordinator of the largest Nordic network within higher music education.

Norwegian Academy of Music PB 5190 Majorstua NO-0302 OSLO Tel.: +47 23 36 70 00 E-mail: [email protected] nmh.no

Print: 07 Media, 2018 ISBN 978-82-7853-253-9