University of Huddersfield

Fourth Edition University of Huddersfield September 14-16, 2017 2 Welcome to Huddersfield for the fourth edition of the Tracking the Creative Process in Music conference. Following TCPM events in Lille (2011), Montreal (2013), and Paris (2015), we are delighted to host the 2017 conference in Yorkshire. The issue of Creative Process continues to grow in significance and we are pleased that at this conference the range of musics and musical activities represented continues to expand. Huddersfield has a long-standing reputation as a music department which places creative practice alongside theoretical study. It is, for example, home to the Huddersfield Contemporary Music Festival (hcmf), this year celebrating its 40th anniversary as one of the world’s leading festivals of new music. The department is also home for the Centre for Research in New Music (CeReNeM), a leading centre for contemporary music studies, which is co-sponsoring this conference. Performance is another strength of the department, as is early music and our evening workshops reflect some of the research going on here in contemporary music, organology, performance and early music, investigating creative practice in these areas. We are delighted to welcome as keynote speakers Dr Laudan Nooshin (City, University of London), whose areas of research include creative processes in Iranian music, music and youth culture in Iran, music and gender, neo/post-colonialism and Orientalism, and music in Iranian cinema; and Professor Gianmario Borio (Università di Pavia and Institute of Music of the Giorgio Cini Foundation), who is a leading authority in 20th century music composition, music theory, and aesthetics. On the final afternoon of the conference we travel to the Yorkshire Sculpture Park for our final paper sessions, as well as providing an opportunity to visit the park and see outcomes of creative practice in the visual arts. Those who have booked will remain there for the conference banquet in the evening. We hope you will find the conference programme stimulating and thought provoking, helping to forge links between the practical and the theoretical, the aural and the visual. We wish you an enjoyable stay in Huddersfield. Michael Clarke, Nicolas Donin, Frédéric Dufeu 3 About the TCPM conference The TCPM international conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, dance, theatre, film, amongst others) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective. Each approach contributes in its own way to the advancement of our understanding of the procedures, techniques, knowledge and know-how employed by musicians involved in creative projects. Following the epistemological paradigm shifts that musicology underwent at the end of the last century, the notion of ‘creative process’ has been enriched. Sketch studies have extended their scope beyond notated works of art music. Today this field includes all contemporary musical repertories as well as the oral, technological and collaborative dimensions of the creative process in music. There is growing interest, for example, in the function of improvisation and of gesture in the creative process, in the collective and collaborative dimensions of artistic work, in the redefinition of the roles of the composer and the performer, or in the art of studio production and in the strategies of documentation, transmission and future performance of works involving technology. The complexity and the multidimensionality of this field of study require new analytical tools and new research methods at the crossroads of analytical musicology, the social science and humanities and other academic disciplines. This broadening of the field also provides a new context for the study of works and composers from the Western musical canon. Whether based on historical archives or on the collection of empirical data, studies of the creative process in music share many of the same methodological requirements, descriptive vocabulary and models of creative action. This conference therefore aims to be a forum in which the most recent findings from a broad range of research agendas can be presented, discussed, and assembled. 4 Scientific Committee Margaret BARRETT, University of Queensland Marc BATTIER, Université Paris IV Paris-Sorbonne Eric CLARKE, University of Oxford Karen COLLINS, University of Waterloo Nicholas COOK, University of Cambridge David COOPER, University of Leeds Jane DAVIDSON, University of Melbourne Angela Ida DE BENEDICTIS, Paul Sacher Stiftung, Basel Catherine GUASTAVINO, McGill University Stephanie JORDAN, University of Roehampton Jean-Louis LEBRAVE, ITEM, Paris Andreas C. LEHMANN, Universität Würzburg Louise MEINTJES, Duke University Miguel MERA, City University London Dorothy MIELL, University of Edinburgh Gerhard NIERHAUS, IEM, Graz Jessie Ann OWENS, University of California, Davis Hilary PORISS, Northeastern University Giorgio SANGUINETTI, Università degli Studi di Roma “Tor Vergata” Christine SIEGERT, Beethoven-Haus, Bonn Jean-François TRUBERT, Université Nice-Sophia Antipolis Ellen WATERMAN, Memorial University Newfoundland 5 Organising Committee Michael CLARKE, CeReNeM, University of Huddersfield Nicolas DONIN, APM, STMS Labs (IRCAM-CNRS-UPMC), Paris Frédéric DUFEU, CeReNeM, University of Huddersfield Sam GILLIES, CeReNeM, University of Huddersfield Matthew SERGEANT, University of Huddersfield / Bath Spa University The organising committee wishes to thank the volunteer team for their invaluable support during the conference: Jorge BOEHRINGER Oli LARKIN Sébastien LAVOIE Mortimer PAVLITSKI-BELL Richard PIATAK Eva SJUVE 6 Contents Keynote Lectures 13 Laudan Nooshin, The Elephant and the Blind Men: Myth-Making, Musical Tracking and the Creative Process 15 Gianmario Borio, The ‘Serial Generation’: Compositional Process and Theoretical Discourse 17 Talks and Workshops 19 Session 1A: Writing and reporting the creative process 21 Anna Stoll Knecht, “In the beginning, there was nothing…”: Genesis and creation myths 21 Tasos Zembylas, Writing and its Various Contexts in the Creative Process 22 Karlin Love, What about the Muse? An investigation of composers’ reported experiences of influences beyond their conscious control 23 Session 1B: Cognition 26 Joseph Browning, Jane W. Davidson, Roles, works and reflexivity: reproducing and reconfiguring creativity in Western art music 26 Ivan Jimenez, Tuire Kuusi, Associative Listening as a Creative Act in Composition, Improvisation, and Analysis 27 Ulla Pohjannoro, Antti M. Rousi, Music information entities in composer’s thinking. Composing as information processing 29 Session 1C: Ethnomusicology and Studio Production in the Digital Era 31 Leila Adu-Gilmore, Studio Improv as Compositional Process Through Case Studies of Music Production in Accra 31 Emmanuelle Olivier, Musical creation and recording studio in ethnomusicology. A reflection from Bamako (Mali) 32 Amandine Pras, Incorporating improvisation processes into the art of studio production 33 Session 2A: Stravinsky 35 Maureen A. Carr, The many voices of Stravinsky’s Babel (1944) 35 Mai Ikehara, Compositional process in Stravinsky’s Requiem Canticles: a shift in his attention from parts into a whole 36 Session 2B: Parametric Approaches 39 Nathalie Hérold, Timbre Analysis in the Mirror of Compositional Process: A Case Study of Chopin’s Berceuse Op. 57 39 7 Stijn Vervliet, Tracking the performer’s creative space: Tempo, rubato and expressive timing in Recordings of Alexander Scriabin’s Early Piano Preludes 40 Session 2C: Songwriting 42 Chris Whiting, Observing and Theorising the Songwriting Praxis through Autoethnography 42 Jake Arthur, “Always Keep a Diamond in Your Mind”: Musical Genesis, Lyric Distillation, and Inebriated Travelogues in Tom Waits 43 Session 3A: Early Music 45 Charulatha Mani, Across four centuries and a cultural divide – Engaging in co-creativity with Monteverdi 45 Hugo Sanches, Exploring the evidence of the compositional process in 17th century Portuguese vernacular repertoire – the case study of a romance in Musical Manuscripts 229 and 235 of the Coimbra University General Library 46 Session 3B: 20th Century 48 Shigeru Fujita, After the dodecaphonism: Dutilleux’s free writing in Tout un monde lointain and Timbres, Espace, Mouvement 48 Pablo Fessel, Rsch: Escenas - Eusebius. A collage by Gerardo Gandini 49 Session 3C: Technological Setups 51 Úna Monaghan, Prioritising performance: Technology, tradition and a performer-composer 51 Si Waite, The Use of Metaphor in Interactive Systems for Singer-Songwriters 52 Session 4A: Dance 54 Stephanie Jordan, Dissolving Boundaries: The Choreographer-Composer Duo Jonathan Burrows and Matteo Fargion 54 Stephanie Schroedter, Artistic Research in Interdisciplinary Collaborations: The Challenge of Counterbalanced Dialogues 55 Kara Yoo Leaman, From Music to Dance: How George Balanchine Begins Ballets 57 Nana Wang, Translator, Architect and Creator: a study of piano response to the Ballet of the Nuns 58 Session 4B: Performance Practice of Technology 60 Julie Mansion-Vaquié, From disc to stage: creative and re-creative stakes in Nosfell 60 8 Cyril Délécraz, When technology meets the orchestra to manage

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