N NNOVA C C Contemporary M MMusic

M MMeeting Musical Performance as Creation Chair: Isabel Pires

Book of Abstracs

Lisbon Portugal 5—7 Mai 2021 Colégio Almada Negreiros Nova University_Campus de Campolide http://fabricadesites.fcsh.unl.pt/ncmm/

NNOVA C Contemporary MMusic

MMeeting

Musical Performance as Creation Chair: Isabel Pires

Book of Abstracs

Lisbon Portugal 5–7 Mai 2021 Colé gio Almada Negreiros Nova University Campus de Campolide Nova Contemporary Music Meeting 2021 Musical Performance as Creation

Conference Chair Isabel Pires

Organizing Commitee Alexandre Damasceno, Filipa Magalhães, Riccardo Wanke, Tomás Freire

Management team and technical support Cristiana Vicente, Rui Araújo, Vera Inácio Cordeniz

Staff Carolina Martins, Luis Raimundo, Maria Inês Pires, Mariana Pedrosa

Scientific Committee Alessandro Arbo (GREAM — Strasbourg University: France), Ana Cristina Bernardo (EMCN / CESEM— Nova University: Portugal), Ana Telles (CESEM — Évora University: Portugal), Benoit Gibson (CESEM — Évora University: Portugal), Carla Fernandes (ICNOVA / FCSH — Nova University: Portugal), Carmen Pardo Salgado (Facultat de Belles Arts — Barcelona University: Spain), Christine Esclapez (PRISM / UMR 7061 — Aix Marseille University: France), Eduardo Lopes (CESEM — Évora University: Portugal), Elsa Filipe (CESEM — Nova University: Portugal), Filipa Magalhães (CESEM — Nova University: Portugal), Giordano Ferrari (MUSIDANCE / UFR Arts, Philosophie, Esthétique — Paris VIII University: France), Isabel Pires (CESEM / FCSH — Nova University: Portugal), Ivan Moody (CESEM — Nova University: Portugal), Joana Gama (CESEM — Évora University: Portugal), José Oliveira Martins (Faculdade de Letras, Estudos Artísticos / Coimbra University: Portugal), Kesia Decoté (Brasília University: Brazil), Laura Zattra (IRCAM / Conservatories of Music of Parma and Rovigo: France/Italy), Lílian Campesato (São Paulo University: Brazil), Luisa Cymbron (CESEM / FCSH — Nova University: Portugal), Madalena Soveral (CESEM / ESMAE — Polytechnic Institute of Oporto: Portugal), Makis Solomos (MUSIDANCE / UFR Arts, Philosophie, Esthétique — Paris VIII University: France), Martin Laliberté (LISAA / UFR Lettres, Arts et Communication — Gustave Eiffel University: France), Michael Clarke (CeReNeM / School of Music, Humanities and Media — Huddersfield University: UK), Moreno Andreatta (IRCAM / CNRS / GREAM — Université de Strasbourg: France)), Paula Gomes Ribeiro (CESEM / FCSH — Nova University: Portugal), Paulo Ferreira de Castro (CESEM / FCSH — Nova University: Portugal), Pedro Vicente Caselles Mulet (Conservatori Superior de Música “Joaquín Rodrigo” de València: Spain), Philip Auslander (School of Literature, Media, and Communication — Georgia Institute of Technology: USA), Pierre Alexandre Tremblay (ReCePP / School of Music, Humanities and Media — Huddersfield University: UK), Pierre Courpie (CNRS / IREMUS — Sorbonne University: France), Riccardo Wanke (CESEM — Nova University: Portugal), Rui Penha (ESMAE — Polytechnic Institute of Oporto: Portugal), Sara Carvalho (INET-md — Aveiro University: Portugal), Sílvio Ferraz (São Paulo University: Brasil), Tomás Henriques (Department of Music — State University of New York, USA), Valeria Bonafé (NuSom — University of Sao Paulo: Brazil). Nova Contemporary Music Meeting (NCMM) is a biennial, 3-day international conference launched by the Contemporary Music Research Group (GIMC) of CESEM (Centre for the Study of the Sociology and Musical Aesthetics at Nova University, Lisbon) and focused on a variety of questions relating to music since the beginning of the 20th century. Music today is more diverse than ever. The variety of genres, practices, techniques, technologies, systems of dissemination and forms of reception, brings to a new context in which the foundation of previous assumptions is shaken, and new paradigms are emerging. Music from the past, as well as from the present, is now omnipresent in our society, from the concert hall to the museum, from the media to public spaces, to private listening with headphones. As a result of each one of these and other situations, studying music is now challenging and depends on a multiplicity of artistic and scientific domains. In this context, NCMM was conceived as a contribution to the development of multidisciplinary and collaborative research in the field of contemporary music, and it consists in a research meeting that bring together researchers, musicologists, composers and performers, working with a diversity of areas related to contemporary music. With a special focus on the articulation between musical practices and research activities, whether theoretical or practice-based, NCMM intends to respond to the current challenges of contemporary music, in its artistic and research practices, offering a platform for proposing, discussing and disseminating knowledge in a variety of fields.

GIMC (Grupo de Investigação em Música Contemporânea) is one of the working groups, part of CESEM. Evaluated as “Excellent” by the European Science Foundation in 2014, CESEM is a research unit dedicated to studies on the phenomenon of Music from a great variety of points of view — sociological, aesthetic, historical, compositional, etc. —, through, both disciplinary and interdisciplinary, and its interaction between the various areas of Musicology and between these and the other Social and Human Sciences. Based at FCSH‐UNL, this research center it includes researchers from Portugal and abroad. Strategic partnership agreements resulting in CESEM’s branches have been developed at Polytechnic Institute of Porto, Superior School of Music in Lisbon and Évora University. GIMC brings together researchers, composers and performers, interested in the multiple possibilities of contemporary music and of interdisciplinary work in the music of the 20th and 21st centuries. Members of the group, all highly active and maintaining distinguished compositional and performing careers, have worked on music and technology and historical, analytical, aesthetic and performance issues in music both from Portugal and abroad. Main research fields: • Music and Contemporary Philosophy and Aesthetics; • Electronic and Computer Music; • Music and Image; • Music and Sound Interactivity; • Music and Sound Perception and Cognition; • Music and Sound Space; • Music Composition, • Music Theory and Analysis, • Musical Sound Representation and Music Notation; • Performance and Reception; • Portuguese Musical Heritage and Document Preservation; • Sound technologies and Music Industry;

CESEM is a research unit devoted to the study of music and its correlation with other arts, culture and society, incorporating various approaches and making use of the latest perspectives and methodologies in Social and Human Sciences. These are the general purposes of CESEM: • Create a suitable environment for teamwork, organized to tackle the identified scientific needs and priorities; • Support the research interests of its members and their participation in international professional venues, and the publication of the research results; • Promote new collaborative research projects that deepen the knowledge and dissemination of Portuguese, Iberian and Latin American themes; • Create new research tools, applications, and databases, allowing the international academic community to study local repertoires and other little explored objects as well as promoting the role of Music in contemporary Portuguese life; • Foster a renewed atmosphere of research and debate, bringing its members together in a dynamic musicological community capable of maintaining excellence in postgraduate studies in Music. Keynote Speakers Carlos Alberto Augusto Composer and Sound Designer, Portugal

Music and Responsible Design

Music is without a doubt one, if not the most important trait of the human species. Distinguishable to the point of being considered by some authors as a species-specific trait. Music does go with us from birth to death, and there's hardly an aspect of our lives that is not sustained by music or generates music of some sort. Music is the outcome of a complex and inseparable process, which involves our response to sound, on the one hand, and the particular cultural, geographical, political, sociological, and economic conditions under which human societies live. The current musical practice seems to destroy instead of preserving this unity, separating the musical object from its inner workings. Although music is in a golden age, with an increasing number of practitioners and ever-growing audiences, its impact has probably never been so feeble. That is particularly evident in its absence from addressing the current major issues that challenge contemporary societies.

2 Philip Auslander School of Literature, Media, and Communication, Georgia Institute of Technology, USA

Musical Persona as Creation

For almost twenty years, I have been engaged in an ongoing research project around the concept of musical persona, the subject of my new book, In Concert: Performing Musical Persona. I use the term persona to designate the musician’s presentation of self in the identity of a musician and have argued for seeing this persona as the central creation of musical performance. I look at musicians as social beings in the sense that to be a musician is to perform an identity in a social realm that is defined in relation to the realm, which I define primarily in terms of genre. Musical persona is performative in that it comes into being in performance. What musicians perform first and foremost is not music but their own identities as musicians, their musical personae. In my presentation, I will look at the centrality of persona in the creative process of musical performance by examining the role of the performer in John Cage’s notorious 4’33” (1952). The conventional view of this work is that Cage used the performer as a means of focusing the audience’s attention on ambient sound to assert his premise that there is “no such thing as silence” and that any sound can be framed as music. I will argue that the opposite is the case, that the absence of conventional musical sound places attention squarely on the performer. 4’33” thus becomes a singularly pure example of the creation of musical persona through performance.

3 List of Abstracs Abigail Sin Yong Siew Toh Conservatory of Music, National University of Singapore, Republic of Singapore

On the 100% perfect collaboration

Artists involved in project: Loh Jun Hong, violin Jonathan Shin, composer Shoki Lin, filmmaker Timothy Wan, narrator. This presentation details the values, process and techniques used in creating a new composition and video inspired by Murakami’s short story On Seeing The 100% Perfect Girl On One Beautiful April Morning. This piece was conceived and released as a digital project in the middle of the pandemic social restrictions, when traditional modes of performance in a concert hall were (and are still) unavailable. This collaborative project explores the various catalysts that shape the dynamics between creative artists in producing a new work. We re-examine the roles of the performers, and how they contribute to the shaping of the collaborative process, rejecting conventional models of composer-led interactions. The involvement of a filmmaker and spoken narration from the very beginning of the project was also a catalyst that prompted the re-shaping of key concepts. The unique conditions of creating performance outputs during a pandemic heightened these collaborative relationships in ways that would not have arisen in ordinary times. This project might serve as a case study for other collaborating artists and contribute to the discussion of new collaborative strategies in digital media.

Keywords: Collaborative Composition, Music And Image, Outside The Concert Hall

5 Agnieszka Draus Academy of Music, Kraków, Poland

New Musicology / New Music Theory – the paradigm shift from the turn of the 21st century in reflection on music (and its spatiality) – PART I

At the threshold of the 21st century (which, by the way, lasts to this day), autocritical publications in the field of art sciences (and not only in this discipline) began to sprout like mushrooms after a refreshing rain – books and articles dealing with the complicated issues of the essence of a particular field. It was no different in musicological epistemology. In the atmosphere of a sense of crisis and the end, typical for the times of consequences of every fin de siècle, on the wave of fashion for retro, for fear of the dangers arising from the digital revolution and from the longing for analogue times and the experience of life “live” (this triple tautology was used deliberately in an emphatic function) in order to ponder over music, an attempt was made to confront both the canonical texts of musicological authorities (such as Joseph Kerman) and to outline new possibilities, trends, or the activities of contemporary musicologists, as Nicholas Cook and Mark Everist, the editors of the volume entitled Rethinking Music (Oxford University Press 2001) wonderfully describe. Reading carefully this one of the more interesting publications summarising contemporary reflection on music, apart from many interesting topics (e.g. redefining the notion of musical analysis, reinterpreting the theories of Bachtin, Schenker, Adorn, Derrida, e.g. Robert Fink’s posthierarchical theory of surface and depth) – one can find a reference to space in almost every article – from the one understood most generally, clearly or traditionally, to the one focused on the technique of extracting and propagating single sounds. On the basis of such reconnaissance after the publication, it is possible to create a certain map of issues related to the space and spatiality of music, as one of the most resonant spheres in music and reflection on music of the 20th and 21st centuries. And this is probably due to five key changes (which the authors of an equally interesting publication entitled Themes of Contemporary Art: Visual Art After 1980 by Jean Robertson and Craig McDaniel write about): the emergence of new media, the growing awareness of diversity, globalisation, the influence of theory, interactions with everyday visual culture. The background for such a map will be MUSICOLOGY / THEORY OF MUSIC as a research space, on the one hand, with the plurality of analytical methods often – following Mieczysław Tomaszewski’s lead – in a polyphonic weave; and, on the other hand, as a process of contemplation, (RE-)THINKING about music anew.

6 A sea of notions seems to be analytical attitudes opening the analytical space to study of space and spatiality of music, attitudes whose message – for the sake of good communication with the recipient – is often supplemented with notions (as a map with islands) from other fields (such as psychology, proxemics, acoustics, social sciences, architecture, etc.). The proposed text will attempt to show, on the example of contemporary music, the multi- facetedness of thinking of its creators and researchers, in the context of the very concept of space and spatiality in music.

Keywords: Theory Of Music, Musicology, Space And Spatiality In Music

Alexandre Damasceno CESEM / FCSH, NOVA University, Portugal

Divertimento para 6 instrumentos: analysis and reflection on Luciano Perrone's performance

This proposal is part of a larger research that resulted in a master's thesis, which presented as one of the main objectives, the reflection on the performance of drummer Luciano Perrone with the sextet of maestro Radamés Gnattali. In this work, the option of employing analytical tools, traditionally used in the so-called classical music, in a context that involves the so-called popular music, does not aim to prove its effectiveness or not in the face of this appropriation. The viability of a process originally developed for a piece based on writing when it is placed before a manifestation that is spread more by orality, and as it has been discussed for some time, can make the result of this study limited. However, in our case, the material presented here is the result of a hybrid process, where we come across a musical score, which does not have all the information that should be performed, but has enough content to come a little closer to the result that the composer idealized. The track analyzed is Divertimento para 6 Instrumentos, which is part of the album Radamés Gnattali Sexteto - Série Depoimento - Vol. 2 (1975 - Odeon SM0FB 3879), which has Chiquinho do Acordeom (accordion), Laércio de Freitas (piano), Luciano Perrone (drums), Radamés Gnattali (piano), Pedro Vidal (bass) and Zé Menezes (guitar) as members. This performance, in the case of popular music, is one of the pillars of the

7 so-called one-time arrangements, a term found in the Grove of Jazz that refers to the structuring of an original (musical) material in an improvised way. This happens once each new performance of a particular piece of music, the performers will end up, as usual, performing it differently from its original. Taking into consideration this intervention that the musician/interpreter exercises on the score, the analysis needs to encompass factors external to the composition, in an attempt to study the music as part of a cultural whole, and where the meaning of analysis has to be a little wider and contemplate a multidisciplinary approach. For the musical analysis, made from the transcriptions, an appreciation based on three different character procedures was chosen: development of musical motives, instrumental adaptations, and onomatopoeia (Telecoteco, Ziriguidum, and Paticumbum)

Keywords: Performance, Jazz Studies, Analysis

Alfonso Benetti, Helena Marinho, Luís Bittencourt and Mónica Chambel INET-MD – University of Aveiro, Portugal

Gendering the piano: Avec Picasso ce matin... and Valse, Valsa, Vals; Keuschheits Waltz by Constança Capdeville

The works created by the Portuguese experimental composer Constança Capdeville (1937-92) that involve the piano, as a solo or ensemble instrument, present two main chronological perspectives: 1) the early piano compositions highlight the piano as a solo instrument, presenting programmatic titles or conventional designations, and display tonal styles allied to an apparent simplicity, expressed through a limited range of dynamics and technical instrumental resources; 2) from the 1970s, a growing focus on scenic and gestural components changed her approach to the piano, challenging its perception as a mere musical instrument amongst other resources, in musical theatre projects involving multimedia, dramatic contents and methods. Aiming to understand and evidence this outlook, this proposal focused on the procedures and strategies created and employed in order to enhance and unveil the gendered representations conveyed by the solo piano works. Research questions addressed the use of the piano as a locus of gendered representations, subtly implicit in the composer’s

8 materials, but also connected to the instrumental affordances and techniques suggested by the scores and scripts. This research discusses two piano works composed after 1970: Avec Picasso ce matin... (1984) and Valse, Valsa, Vals; Keuschheits Waltz (1987). The latter was initially conceived as an independent piece, but was later included as an intervention in the music theater work ...For a Stabat Mater (1987). Avec Picasso ce matin..., for solo piano, recorded tape, and light design, cites two men often reported as notorious Spanish womanisers: Picasso (explicitly, in the title, and as author of the pre-recorded texts) and Don Juan (implicitly, by reusing some of the materials of the music theatre work Don’t, Juan, from 1985). This suggests that a similar outlook on the piano might be shared by Avec Picasso ce matin... and Don’t, Juan: the piano as the overpowering beast, and the pianist as the character who tries to seduce, punish or calm it, like the “torero” mentioned in the text of the pre-recorded tape. Valse, an atonal piece, integrates extended techniques, such as clusters and exploration of sounds through percussion techniques, and theatrical elements, such as the declamation of text fragments. Chastity, as a sensual element, alludes to the relationship between the pianist (the work was dedicated to a woman pianist) and the piano. Research methods combined archaeological (Foucault 2002 [1969]), ethnographic (Bayley 2011; Canonne 2018), and experimental approaches (Assis 2018), exploring the relationship between archival contents and performance, and the role of ethnography in the recreation of experimental productions. Procedures involved identifying common themes, musical materials and instrumental techniques, and experimenting performing strategies. The performances were infused with the procedure of ‘infection’, combining our reading of the original materials with newly-created and adapted materials that reinforced a gendered reading of the works. Selected examples of some of our strategies will be described as the basis for a discussion of recreative performing protocols, and the relation between historical representations displayed in staple repertoire and discourses about the piano, and its reinvention as a staged (male) character in some of Capdeville’s works.

Keywords: Performance Ethnography, Experimentation, Recreation Practices

9 Ana Telles CESEM – Évora University, Portugal

Collaborative composer/performer creative processes: a practice-based research on the genesis of João Madureira’s solo piano works

In the context of João Madureira’s total musical output, compositions featuring the piano represent about half the total number of works. Indeed, the piano integrates different instrumental typologies, very often having been employed in association with sung or spoken voice. In the latter works, the piano tends to assume an accompanying role; in ensemble pieces, it often structures the musical discourse, namely in what concerns harmonic and thematic treatment. More recently, the piano has been treated as field of experimentation and research, in the context of an intense collaborative process between me, as a performer/practitioner-researcher (Robson, 2002), and the composer; such shared creative work unfolded mostly between 2009 and 2015, having led to the creation of several works for solo piano, including a set of nine Literary Etudes – Portraits, of which a premiere audio recording is about to be released in the Melographia Portugueza collection (by mpmp – Movimento Patrimonial pela Música Portuguesa). The present paper intends to present João Madureira’s Literary Etudes – Portraits, for solo piano, as a case-study for different types of composer-performer interaction (cf. hierarchical, consultative, cooperative, collaborative processes; Taylor, 2016), assuming a certain subjectivity inherent to a practice-based research of this kind (Gray, 1998). The theoretical framework for collaborative composer-performer interactions in contemporary music making will be provided by authors such as Hayden & Windsor, 2007; Kanga, 2014; Carey, 2016; Taylor, 2016; Redhead & Glover, 2018, while the methods adopted will rely on the observation of a diary I kept during the interactive process and correspondence exchanged at that time between me and the composer; musical analysis of different versions of the printed scores, as well of life and studio recordings of the works in question, will also be conducted. With this study, I intend to demonstrate how, in this specific case, performative issues may be considered creative tools in the shared compositional process.

Keywords: Collaborative Creative Process, João Madureira, Piano Music

10 Annini Tsioutis Sorbonne University, France

Reflections on Re:Mains for Multi-Pianist: an interview with the composer Christina Athinodorou

Following the demanding performance of Christina Athinodorou’s Re:Mains for Multi- Pianist (2013-15)*, the pianist Annini Tsioutis interviews the composer in an attempt to shed light on parts of the composing process and on the creative impulse, including the ‘kinesiographic’ perspective and the ‘designing’ of the performance, as well as on matters of music notation. Reflecting upon her experience of learning Re:Mains, of working with the composer, and of handling the premiere, Tsioutis elaborates on why this piece can provide a new paradigm for composing for the piano and for piano performers, and on how this experience could lead to revolutionizing one’s own perspective on piano playing and a pianist’s choice of repertoire. In the discussion with Athinodorou, the difficulties of the piece are addressed and evaluated : the material requirements (three pianos on stage, one grand, one upright and one toy) and the instrumental setup of Re:Mains on the one hand, and its sonic qualities and formal development on the other hand. In addition, Tsioutis argues that the “technical” difficulty of Re:Mains lies not in the pianistic traits of the writing, which are all within logical bounds, but rather, that it lies in the more general stance that the pianist is advised to adopt when engaging with the piece : a stance of openness, attentive listening, coordination of movement and positioning of the self in space. After a brief comparison between this latter aspect and other preoccupations that pianists often have when studying contemporary works (complex rhythms, extended harmonic schemata, extended techniques, non-idiomatic writing, extra-musical associations that might be hard to decode etc), Tsioutis designates gesture and spatiality as the heart of innovation of Re:Mains, and answers to the attempt to preserve the composer’s intentions. Concluding that Athinodorou’s multi-pianist works towards a fluidity of sound through gesture, and that simultaneously, the performative qualities of the pianist are inevitably revealed, this interview-paper ends with a short discussion about the new directions for researching the extended piano, and the potential in the composer-pianist collaboration.

Keywords: Contemporary Piano, Composing For Piano, Multi-pianist, Gesture, Space, Continuity

11 Basem Zaher Botros, Mohamed Abd Elhamid Rashed Faculty of Specific Education – Aswan University, Egypt

How to discuss intertextuality and authenticity in the context of contemporary music, and what issues should be considered.

The Arabic song is rich in its components, distributions, and creativity of its authors and distributors across different times. It is interesting to note that during its transformation and prosperity in the middle of the twentieth century, music distributors used the piano in introductions, interludes, and sometimes accompanying the band in an attempt to modernize the form of Arabic songs. This was done through cinematic and dramatic songs. The piano was inspiring in providing dramatic scenes in both cinema and drama. And here was an attempt to combine the piano, which is an instrument alien to the Arab family of instruments. This was in the direction of launching a modernization of Arabic music while preserving its authenticity. This development continued in all parts of the Arab countries, especially in Egypt, Lebanon and Syria, and the piano became a guest of Arab music and a major contributor to its development. Therefore, the two researchers searched for Arab musical works that used the piano during the second half of the twentieth century to the present day, and searched for a group of Arab musical works that contained introductions and musical clips for the piano. This was, for example, but not limited to, a number of composers, most notably Muhammad Abd al-Wahhab, Farid al-Atrash, Munir Murad, and the Rahbani brothers. The two researchers wrote down the works covered in the research in order to make use of these passages in teaching the piano and Arabic music curricula. The research aimed to employ some piano introductions and passages with Arab musical works to enrich the methods of playing and performing the piano and Arabic instruments. In addition, making use of the introductions and breaks of the piano with Arabic songs in the curricula of analysis of Arab music and world music. The two researchers used the descriptive approach (contente analysis). This research included both the theoretical and the practical sides, which included a recording of the works that were dealt and prepared for the use of the piano and Arabic music curricula. The results were answered by the research questions. Then the researchers concluded the research with recommendations, suggestions, references and a research summary.

12 Benjamin Duinker Faculty of Music – University of Toronto, Canada

Rebonds: structural affordances, negotiation, and creation

This paper presents a comparative recording analysis of the seminal work for solo percussion Rebonds (Iannis Xenakis, 1989), in order to demonstrate how performances of a musical work can reveal—or even create—aspects of musical structure that score- centered analysis cannot easily illuminate. I analyze ten recordings of Rebonds across multiple musical and performance parameters: tempo, instrument choice and tuning (pitch), accent interpretation, and grouping. I also focus on two passages in the work where a faithful adherence to the score is, while technically possible, rarely undertaken. Through this comparative study of tempo, pitch, accent, grouping, and score fidelity, I reflect on the following ontological questions. What does a pluralistic, dynamic conception of structure look like for Rebonds? How do variegated interpretive decisions cast performers as creators of musical structure? When performances diverge from the score in the omission of notes, the softening of accents, the insertion of dramatic tempo changes, or the altering of entire passages, do conventions that arise out of those performance practices become part of the structural fabric of the work? Are these conventions thus part of the Rebonds “text”? Kanach (2010) characterizes the performance of Xenakis’s music in terms of a “negotiation” between his immensely challenging scores and their interpreters. Such negotiations appeal to an analytical approach that foregrounds interpretations as agents in actualizing the “structural affordances” (Cook 2013) of Xenakis’s compositions. I interpret “structural affordances” as a departure from a singular, monolithic conception of structure, that is, the structure of a musical work. Leong (2016) explores “how the composer harnesses instrumental and physical limitations to create structure” [9]. In the case of Rebonds, I demonstrate how it is the performers who harness instrumental and physical limitations to create structure by responding to a score that exposes these limitations. I thus understand musical structure as a pluralistic concept; the sum of any number of actualizations of a musical score, replete with its structural affordances. In Rebonds, Xenakis composed a score rife with structural affordances. The approximate tempo markings in both of the work’s movements afford a wide latitude of interpretation; some performers choose to extend this latitude to other sections of the piece, opting against maintaining a steady tempo throughout. By virtue of instrument selection and tuning, performers navigate the pitch domain by creating structure out of pitch contour and stratification. Accents, an omnipresent fixture in Rebonds, may seem integral to the work’s structure, but their frequent omission in performance call this assumption into question. And finally, through drum tuning choices, accents, and dynamics (which are not

13 printed in the score), performers are able to create structure through grouping and phrase. In Rebonds, the score is the arena in which negotiations between composer and performer take place; negotiations through which structure is created. Using interpretations as an entry point to the analysis of a work encourages the situation of that work as a living, evolving object.

Keywords: Analysis And Performance, Recording, Musical Structure

Bibiana Bragagnolo UFMT – Federal University of Mato Grosso, Brazil

Musical performance as a creative and political act: decolonial practices and artistic research

This presentation is part of a research project developed in Federal University of Mato Grosso (Brazil), that has two main axes. The first one is the observation and mapping of the production in artistic research in Brazil, in order to understand its characteristics and peculiarities and to stimulate the expansion of the field. The second one comprehends the application of the concept of declassification from Garcia-Gutiérrez (2007, 2020) in the musical performance, aiming to stablish a critic to the traditional musical performance epistemology and to develop new musical practices and possibilities for artistic research, more aligned with its social, cultural and temporal contexts. This presentation focus on the decolonial aspect of this declassificatory process, regarding the Brazilian context of musical performance. The European classical music tradition configures still the most usual musical practice performed and taught in universities and conservatories in the country, what has many consequences for the musical practices and also for the research in musical performance. The acritical reproduction of these pedagogical and musical tradition leads musical performance not only to be a reproductive practice (instead of a creative one), but also to remain alienated from the contemporary world. Furthermore, the lack of some critical thoughts about the musical performance tradition places the musical performance as a hegemonic and colonial practice, subtracting from the present a great variety of possibilities and generating absences, using the words of Santos (2002, 2019). In this sense, the artistic research shows itself as a powerful tool to the development of decolonial musical practices. For that, this research proposes the

14 assumption of the concept of declassification as an epistemological approach to rethink musical performance thought artistic research. In this way, the performer acts as a critical and creative being, and the musical performance become the ideal place for experimental and non-hegemonic practices, acquiring the political status of a kind of activism. These theoretical reflections are already being applied in an artistic project, called “Assemblagem Sonora” (Sonorous Assemblage in English), where some strategies of declassification are being used to articulate and generate the artistic results.

Keywords: Artistic Research, Decolonial Thinking, Musical Performance

Bruno Pereira ESMAE, – Porto Polytechnic Institute / i2ADS – Porto University, Portugal

Innere gesang: the voice as an expressive device of an inner sound, an inner song

In the troubled times in which we live, the society of the spectacle has been rethinking the way a performance should be presented. An important point of this reflection is the fundamental relationship with the audience, an entity that has been changing rapidly. The focus of concern turns out to be external to the performer and, ultimately, external to his/her own artistic practice. There is a necessary concern in the way of mediating the relationship between performative action (the output of the performance) and its reception, but it seems unbalanced the relationship with the seminal process, pre- performative, of building a thought that sees, in the corporeal effectiveness of the performance, the possibility of building physicality from the intangibility of that thought. Once this imbalance is speculated, then it is important to pay attention to the less visible side of the process. It’s interesting to investigate the moment of creative germination that, starting from an internal thought, builds its future appearance using the system voice- body as a device for a tangible expression of that same thought. This moment of creative genesis is a moment of great turbulence created by the tension between thinking and doing; between the greater freedom of thought and the physical limitations of the body; between silence and the vociferation of a sound; between the non-linearity of thought and the linear constraint of the chronos; between the spatial immateriality of what we think

15 and the presence of a body in space; between the search for a performative singularity and the validation of the convention. We dive into the methodological belief that it won’t be possible to work outside of its own practice and, therefore, we assume the essential need to investigate starting from the artistic practice and its intrinsic processes. In this rhizomatic movement towards a utopian territory of freedom, it is essential to know how to listen. Learning to unlearn so that my vision of the World is disconnected from myself. Conceptually, the subject is discarded as a form of permanent self-reinvention while seeking to give way to the constitution of a new language that exists beyond the subject, the performer. It is the Foucaultian possibility of creating a language that is not spoken by anyone and the speaker only imposes a grammatical fold on it, exteriorizing it, in ephemerality. In this utopian approach to the doing, we navigate within non-idiomatic possibilities via free improvisation (or tendentially free improvisation as I prefer to name it). With this improvisation space, built using concepts such as intuition and impulse, it is intended to promote the emancipation of a vocal discourse, organic and singular, always based on the methodological principles of qualitative research, deeply practice based, claiming an approach to the democracy of experiences and methodological abundance. It is intended to assert that it will always be through performative experimentation that this same performative practice can be transformed, strengthening simultaneously the reflections that orbit it. (3 minutes of performative speculation, shared with the peers/audience, about a possible innere gesang).

Keywords: Voice, Improvisation, Performance

16 Camila Alves Independent Researcher, Brazil

Afrobeats in the Lusosphere: social discourse and language reframed in rhythm & poetry

The purpose of this work is to examine the artistic creations of rappers from Portuguese- speaking countries, in order to observe the development of the oral language in each context, and how the social and cultural changes can influence this music genre. The construction of a RAP song is made by lyrics and samples, beats or remixes, which is called rhythm and poetry, as constituted in this artistic manifestation of Hip Hop culture. In Brazil, RAP is an imported culture, but it has acquired new meanings in contact with the traditional local music, which has already originated from a multicultural environment provided by the Amerindian orality, African Bantu rithms and Lusitanas influences. In Portugal, the descendants of immigrants from Angola, Cape Verde, Guinea-Bissau and Mozambique have written lyrics that express the linguistic and cultural encounter that has taken place in the Portuguese society nowadays. Meanwhile, on the African continent, rappers from Portuguese-speaking countries create their own cultural “salad bowls”, mixing the language of Camões with the languages of the Motherland in its immense multilingual scenario. Portuguese language, such as RAP music, are living social and cultural organisms which are expressed from local and global perspectives. Thus, this music genre is characterized as a good corpus to analyse the discourse, as a continuous and dialogical flow of speakers that constantly reframe the language from their local contexts, but at the same time, interact in a micro and macrocosm of social experiences expressed in their vocabularies. According to Alim (2009), globalization has created multiple new opportunities for youth to rework, reinvent, and recreate identities through the remixing of styles, as a result of a multitude of technological innovations, by focusing on stylization in the many translocal style communities that constitute the Global Hip Hop Nation, which together may form a global style community. RAP is essentially electronic music, which makes it an important part of the technological cultural revolution of our time, since it has re-signified the ways of producing musical language simultaneously at the time of the beginning of technological modernization and has been following all phases of this revolution, which gives a global character to this specific genre. The fluid character of its language dialogues with the idea of corpora analysis that is proposed by this work, thus, the linguistic data from this type of songs can be used for the purpose of identifying semantic, pragmatic and discursive patterns of the Portuguese language in different contexts. Bakhtin (2002), says that forces contained in each utterance and the social processes of centralization and decentralization of the language are the main ingredients of the enunciation. These movements transform social plurilingualism into a

17 historical process, since it is possible to identify several social voices represented in these discourses. The methodology of analysis of this research is multidisciplinary, made by Corpus Linguistics, Sociolinguistics, Cultural Studies and Ethnomusicology.

Keywords: RAP, Portuguese Language, Music Data

Carmen Noheda Universidad Complutense de Madrid

Elena Mendoza and Matthias Rebstock’s La ciudad de las mentiras: composed theater in the plural

This study discusses the creative process of La ciudad de las mentiras (City of Lies), music theater co-authored by the composer Elena Mendoza and the stage director Matthias Rebstock. Gerard Mortier commissioned City of Lies, the first music theatre that premiered at the Teatro Real in Madrid in 2017. My research considers the work’s narrative principles, which are based on four stories by the Uruguayan writer Juan Carlos Onetti (1909–1994). This interrelationship leads me to argue about experimenting with narrative processes on the idea of polyphony. Concerning this exploration, my proposal shed light on the diversity of working methods and highlights aspects related to the production systems of opera houses that condition the authors’ conception of music theater. I aim to examine Mendoza and Rebstock’s multidisciplinary collaboration and their artistic practices that affect co-presence and corporeality when two female instrumentalists in the main roles and an ensemble on the stage together with actors and singers leading both the dramatic and musical actions. This approach reflects on a precise set design that entails non-hierarchical performances and improvisation scenes. The theoretical framework that supports this analysis refers to the terminology for “Composed theater” investigated by Matthias Rebstock and David Roesner. Therefore, I address both performative and creative processes and production conditions that challenge music theatre creation in the current context of the Teatro Real.

18 Caroline Boë PRISM Laboratory (Aix-Marseille University, CNRS), France

The polluted soundscape as music

This contribution proposes to report on personal research in musical creation, targeted towards sound ecology, and carried out on the occasion of a thesis in "Practice and Theory of Artistic Creation". Often we enjoy the sounds of nature, and we dream of listening clearly (Schafer, 2010). However, it is almost impossible today to listen to a bird sing or a drop of water fall, without the sound being parasitized by a multitude of other surrounding sounds (Hempton, 2016). Deep ecology (Naess & Rothenberg, 2009) questions the notion of silence, which sound artists of the 1950s and 70s like Cage, Ono and Neuhaus seized upon. From this genealogy, the artistic and theoretical work is oriented towards sound pollution, its listening, and its composition in imaginary landscape. Composers of mixed, concrete or electroacoustic music as well as sound artists struggle to eliminate as much acoustic pollution as possible from field recordings (Mâche, 2007), this research-creation in music consists, on the contrary, in recognizing certain noise nuisances – low intensity and mainly stationary sounds - that our urban ears filter. It is a question of isolating them in order to archive and map them on a participative website – https://anthropophony.org/ –, by focusing on their singular substance, in a materialistic way – inspired by the noise music (Russolo, 2001). This gives these waste sounds an ontological status, and places creation in the lineage of an aesthetic of rejection (Bourriaud, 2017; Dagognet, 1997). This collaborative website has a double function: the elaboration of a collective geolocalized sound palette in order to compose spatialized soundscapes, and the preparation of soundwalks oriented on the music of noises. The commitment joins a certain activism that seeks to "strengthen environmental and social awareness" to "promote changes in social and cultural practices" (Polli, 2012). This activism is inspired by Joseph Beuys who, with the term "social sculpture", defines art as a process of thought, speech, discussion and political and environmental action. A social and environmental activism that is revealed in the human relationships fostered by remote interactions on the web (Ascott, 1986). But the most intense moment of socio- aurality (Malatray, 2019) occurs during soundwalks that engage participants with their environment. A local consciousness then develops and creates empathy and communion with the inhabitants of the sound sphere (Polli, 2012). Finally, in the spatialized sound installations, the audience is immersed together and free to move around. In this

19 common space-time, this "microterritory embedded in the thickness of the contemporary socius" (Bourriaud, 1998), relational art seeks to respond to a lack of social ties. These three acts of creation - website, soundwalk and installation - participate in a heterogeneous way in the constitution of an acoustic community (Truax, 2017) that becomes aware of environmental pollution from noise pollution. The members of this community refine, through the exercise of listening, the awareness of their auditory habituation (Solomos et al., 2016), and realize that the urban soundscape as music offers the possibility of "opening wide the ears" (Pardo Salgado, 2018).

Keywords: Soundscape; Polluted Field Recording; Noise Music

Caroline Wilkins Independent Composer/Performer/Researcher, UK

Music performance in the making

I propose to situate music performance within the increasingly widespread thematic of Performance Philosophy, an interdisciplinary study that examines the nature of creative thinking within a performing arts medium, one that occurs during the act of performance itself. Given the diversity of new techniques and approaches towards the body, technology, instruments and voice, contemporary musicians are faced with a radical change of aesthetics in today’s musical world. A different process of musical creation to that of the fixed work offered by a composer questions the certainties of traditionally inherited academic knowledge. It offers interesting parallels with contemporary theatre, dance and inter-medial performance, all of which, to a greater or lesser degree, involve affective interaction between bodies, space and time as part of their creative process. To quote composer / theatre-maker Heiner Goebbels,

‘the training of musicians today should have more than ever to do with aesthetic impulses and their underlying structures… amongst the most exciting musicians of this century there are many who cannot read a manuscript…one…discovers how creative and unpredictable collective work can be.’ In this light I shall refer to the philosophical writings of Gilles Deleuze on performance as a zone of intensity that can generate new, unknown movements, forces and forms. Applied to musicians as creative thinkers, the knowledge that emerges as a result of

20 such direct action can be viewed as changeable and experimental, emphasizing in turn the protean quality of a performer. My examination includes a phenomenological approach towards the study of contemporary performing musicians, exploring how an act of performance participates in a receptor’s experience and understanding both of time and of musical form in the making. Dependent on venue conditions and the degree of physical proximity between the two, an affective performer-audience connection can be made, this through the immediacy of an act that embodies thinking through sound. There is a sense of co- creation, leaving room for a musical event to unfold and be shared with an audience through a process of both receiving and giving energy. Here the musician’s procedural memory, based on training and technique, is challenged alongside a need for his / her own presence as such. With direct reference to two excerpts from contemporary music performance, I propose to examine the above concerns from an essentially practice- based perspective.

Keywords: Performative Composing Performance-making, Music-making (musicking), Performance Composition, Performative Composing.

21 Chiara Antico CESEM / FCSH – NOVA University, Portugal

Visualization, technical mastery and ethical responsibility in performing music from the holocaust: between creation and commemoration

The political and social events of the twentieth century brought a new complexity, and the contemporary world must lead with it: not only the wars and the tragedies, but also the Universal Declaration of the Human Rights; the trauma and the respect for silence but also the emotional impact of sounds and the reconstruction of cultural societies. Although artistic expressions accompanied all the historical dynamics and transformations, it is important to remind that during the Holocaust musicians found different destinies:some of them went abroad to exile, someone became a displaced person migrating from land to land, and others lived the experience of the ghetto or concentration camps. This paper seeks to elaborate on the creative process embodied by the performer while playing music written during the Holocaust. Musical performance is the creation of sound through instrumental techniques and effects, emotional-scapes and eventually infinite meanings or messages. Performing music from the Holocaust needs a deeper process: an unimaginable space has to be visualized, and extreme psychological and physical life conditions have to be taken into consideration. Both exiled musicians and prisoners in occupied Europe did experience suffering and fear, but they described the world from wherever they were, in their own point of view. Music written in concentration camps often reports a classical structure but complex language: both technical and harmonic mastery are required to the performer. Playing that music is not just the creation of an artistic sound moment. The performance is complete only through an embodied contextualization and understanding of the meaning thatmusic could hold. Each camp and ghetto worked as an isolated macro system with own conditions and rules, so that each storytelling is indicative for one single place. In order to be able to transfer the creative act to the audience, today’s performer has to place himself right after the gap of time which divides him from the events. Musical performance is always in the present, it finds its value and mission in the present. Nevertheless, visualizing the possible context when the music was conceived or the soundscape of the moment when it was performed is necessary and has to be considered as making process and artistic research around the piece. Main aim of the collective reflection proposed in this paper is to recognize the important steps of the artistic research and analysis when approaching music of the Holocaust. Pain, starvation, loneliness, screaming, violence, solidarity, wishes, loss, fear could have

22 been projected into music. Because of the consequences of Holocaust which led to the Universal Declaration of the Human Rights, music written during those years can’t be performed as a masterpiece recurring only to the aesthetics side of music: it requires ethical responsibility as inner part of the performing-commemorative process.

Keywords: Artistic Research, Commemoration, Holocaust Musical Remembrance

Christian Benvenuti Independent Researcher, Greece

Compositional Variability as a Measure of Musical Complexity

There are different definitions of complexity which answer different types of questions. The usefulness of Shannon entropy as a measure of structural complexity in music has been validated by several studies and entropy is often a good indicator of the freedom of choice of a composer. This means that the higher the entropy, the higher the freedom with which the composer selected his or her materials and higher the uncertainty. A diametrically opposed approach, consisting of entirely subjective interpretations of complexity, has also been employed. The advantage of this approach is that it accounts for the listener’s personal background – everything one has been exposed to might influence how one perceives complexity. However, this approach makes it difficult, if not impossible, to talk about complexity in more objective terms. A somewhat intermediate approach relates to algorithmic complexity (AC) or Kolmogorov complexity, which in practice measures how compressible is a sequence. A well-known method is to use LZW compression (to generate a zipped file, for example): the higher the compressibility, the lower the information content and the more orderly is the sequence. Conversely, the lower the compressibility, the higher the information content and the less predictable is the sequence. More formally, the AC of a random sequence is approximately equal to the entropy of the sequence. The rationale behind this approach can be explained by the idea that compressible information is simpler than non-compressible information. Daniel Müllensiefen et al. have successfully used AC as a predictor of difficulty in a task involving short rhythmic sequences with primary school children. However, the complexity of longer sequences cannot be adequately quantified with this method since AC does not consider how complexity varies over time.

23 I propose a model of compositional variability which can be applied for the measurement of complexity in sequences of any size. For such, it is proposed that complexity be a measure of the entropy of the sequence divided by the variance of Shannon information, calculated according to a time-weighted entropy difference paradigm. In the model proposed, what we might call ‘effective complexity’ is what happens between two extremes: one with pure regularity and another with pure irregularity (randomness). Effective complexity will therefore be low for pure irregularity, which tends to be cognitively simple (as in white noise, for example) but high for rich combinations between regular and irregular sequences. Relying on the flow of expectation in a sequence, the model will be discussed with music examples in light of its potential as an analytical tool that takes into consideration both structural complexity and the temporal variation of complexity in a cognitionfriendly framework.

Keywords: complexity, entropy, variability, music analysis

Christine Esclapez1, Jean-Marc Montera2 1PRISM Laboratory (Aix-Marseille University, CNRS), France. 2GMEM – Marseille, France.

Free Improvisation as Interpretation?

«Performer, c’est d’abord lire: le monde est une écriture, il est déjà là, à nous d’en faire jaillir les singularités (…)» (Charles, 1968, 201)

Even if the analysis of the music of oral tradition has made it possible, since the end of the 20th century, to rethink the link between the written and the improvised, free improvisation and interpretation still remain two modalities of musical playing very often considered as foreign to each other. One is qualified as unpredictable or immediate; the other is a more or less faithful reproduction of “what is written” (Charles, 1968, 200). A large part of musicology has thus considered free improvisation in its relation to “what is written”, that is, to the score (cf. Marie-Noëlle Masson, Nicholas Cook, and Mathias Rousselot). Matthieu Saladin, for his part, works on the aesthetics of free improvisation and the political stakes carried by musicians practicing this type of improvisation. Rethinking, as proposed by this first generation of improvisers, the very conditions of

24 music production and dissemination by freeing the musical gesture from its subjection to learned codes and mainly to the written medium, makes it possible to give a place to the enunciation in act rather than to the reproduction of a fixed text. In 2021, is the separation between free improvisation and interpretation still just as strong? (As proposed in the call for papers: “Can free improvisation be considered as forms of musical performance?”). Is it possible to conceive of improvisation as an interpretation of the “partition intérieure” (“inner score”) of each improviser, to use the terminology of Jacques Siron? (The connection between interpretation and improvisation has, for example, been explored by Mathias Rousselot: to what extent could interpretation be improvisation? We will approach the question in the opposite way in this contribution). How can the link between free improvisation and interpretation be made? As early as 1992, Jacques Siron had indeed attempted in his work and method La partition intérieure. Jazz, Musiques improvisées to recreate the link between written and improvised music by conceiving the “partition intérieure” of the improvised musician as the “mental landscape used by an improviser to stretch his improvisations (…)” (1992/2004, 17). For Siron, the “partition intérieure” is a potential of actions in the making, ready to spring forth in the instant of improvisation (the unrepentant according to Jean-Marc Montera), the place of the potential activation of “what would be written internally”. These remarks will engage us from the observation of an free improvised situation (proposed and commented on by Jean-Marc Montera): (1) to clarify the terminology used (interpretation, improvisation and performance) in order to delimit their boundaries and their points of junction with regard to linguistic usage, (2) to address the issue of performativity as it has been discussed in a diverse and varied manner, by Performance Studies (Féral, 2013). According to Schechner, performative traits are linked «to the combined relations of four major types of action evoked by four verbal expressions synthesizing the mechanisms or founding traits of any performed reality» (Féral, 2013, 206) : being (existence), doing (activity), showing doing (exposing oneself) and explaining this manner of doing (reflecting on this exposure), (3) to try to map, based on these four mechanisms or founding traits, the intermediate place where improvisation could be considered as a form of performance-interpretation.

Charles, D. (1968). Performance, art. Encyclopædia Universalis [en ligne]. URL : http://www.universalis-edu.com.lama.univ-amu.fr/encyclopedie/performanceart/ Feral, J. (2013). De la performance à la performativité. Communications, 92(1): 205-218. Siron, J. (1992), La partition intérieure. Jazz, Musiques improvisées. Paris, Éditions Outre-Mesure.

25 Cláudio de Pina CESEM / FCSH, NOVA University, Portugal

Ligeti’s organ studies

This paper concerns the analysis of the organ studies Harmonies (1967) and Coulée (1969) composed by György Ligeti (1923-2006). Ligeti composed only a few works for the pipe organ; Ricercare per organo (1953), Volumina (1961-62, rev. 1966), Harmonies (1967) and Coulée (1969). To fully understand Harmonies and Coulée, one should acquaint himself with rest of the work of Ligeti, either electronic or orchestral. Albeit everyone of them has a different approach, there is a logical interconnection: the resulting sound produced. In that vein, an analytical methodology of electroacoustic music is useful to fully understand his organ works, since you can’t derive all the explanations from the score. Both have a comprehensive performance notes regarding; interpretation, registration, other possibilities for achieving the required sounds and an explanation of certain aspects of the notation. Harmonies revolves around a continuous change of a ten note chord. The wind supply of the organ is deprived of air. The resulting sound is a subtle transition, caused by the reduction of air pressure. Alas, the resulting sound is not correlated to the pitch written. This operation ‘starves’ the wind supply to the pipes and shifts the spectrum toward a “pale, oddly unfamiliar, ‘wilted’ sound colours” (Ligeti, 1969). Coulée is a shorter piece starting with only two notes played in prestissimo, like a fast trill. The number of notes increases to five notes throughout the piece, achieving an auditory effect of a stream of notes, similar to his harpsichord work Continuum (1968). Both pieces have an inner formal structure and pitch organization, denoted by further analysis of the notation and the resulting sound. The sound analysis is made with spectrograms generated with Acousmographe of several interpretations of both works.

Keywords: Pipe Organ, Extended Techniques, Ligeti, Analysis, Composition, Acoustics.

26 Daniel Santos Rodríguez1, Henrique Portovedo2 1Polytechnic University of Madrid, Spain. 2CITAR – Portuguese Catholic University; Portugal. University of Aveiro, Portugal.

The electric guitar. Forms of augmentation and their use in the contemporary repertoire

The electric guitar was created in the 1930’s being one of the first augmented instruments in history. This type of guitar applies the principles of electromagnetism to achieve sound amplification. The development of the instrument responds to the historical need to enhance the volume of the guitar to balance its sound within the instrumental ensembles. However, as a consequence of amplification, the timbre also undergoes modifications, so that the performers and composers have to manipulate it using a range of electronic setups, amp and pedals. Furthermore, the appearance of some kind of noises and sounds derived from electromagnetic phenomena leads to a new aesthetic perception of the instrument. This whole process involves an important change in the way the sound is produced, mostly due to the fact that previously the modifications of the instrument timbre were made from the gestures and control of the interpreter together with the acoustics of the space. In the electric guitar this equation has the addition of various electronic sound amplification and modulation devices. Unlike other instruments, whose organological evolution was applied to the field of classical music, the electric guitar was first led to popular music and afterwards absorbed by the tradition of academic music. This particularity crystallized in a different development of the instrument's augmentation compared to other classical instruments. This article analyzes the evolution of the augmentation processes in the electric guitar by comparing five works belonging to different approaches and periods of contemporary music, from the 1980’s to the end of the 2010’s, i.e., Vampyr! (1984) by Tristan Murail, Electric Counterpoint (1987) by Steve Reich, Trash TV Trance (2002) by Fausto Romitelli, Anomaly Momentum (2017) by Elliot Sharp, and Not I (2018) by Stefan Prins. The aim is to show the variation in its electronic configuration and also the different degree of autonomy of the interpreter when integrating electronics, that is, the dependence on external musicians or technicians that control the sound and effects. In no case it is intended to analyze the work, but to describe the role of electronics in the works and how it is possible to configure it to perform the compositions. In practice, the augmentation of the instrument gathers different configurations: the basic set (electric guitar and amplifier), the basic set and electronic fixed part, the basic set and electronic pedals without fixed part, the basic set with electronic pedals and computer, and, finally, a configuration in which the participation of another interpreter is necessary, intervening

27 in the production of the sound. From all these approaches, the complexity of setting up the necessary set to interpret the music can be extracted, and also the possibility of using different solutions to interpret the same work.

Keywords: Augmented Instruments, Electric Guitar, Contemporary Music Performance

Dimitris Andrikopoulos1, Nuno Aroso2 1CESEM/ESMAE, Porto Polytechnique Institute, Portugal.2INET-MD – Minho University, Portugal

Composer-Computer-Interpreter. A three-way collaborative process in the creation of two new works for multipercussion.

The last decades we see a redefinition in the way of interaction between the performer and the composer, an interaction that led to the discovery of new paths of creative collaboration between parts. This article is a study of this relationship as presented in the works “Solo I” for multipercussion and “Solo for Two”, a duo for two multipercussion sets by Dimitris Andrikopoulos. We aim to address, firstly, issues related to the generation of compositional material through algorithmic processes, material that was used in the creation of the pieces, itself a type of collaboration between the composer and the computer inside a Computer Assisted Composition (CAC) environment. Further we address the collaborative process between the composer and the interpreters from the early stages of the creation of the works up to the moment of performance and recording of the pieces. We address how this process and collaborative attitude influenced basic parameters of the composition, parameters as the sonic identities of the works and the research into instrumental sets that are moving away from the conventional/established instrumental setups, as well as, how it influenced, on the compositional level, the transformation of the abstract created material to a viable technically musical text in the final form that the pieces were presented.

Keywords: CAC, Collaborative Musical Activities, Multipercussion, Research On Unconventional Instrumental Setups.

28 Diogo Alvim1, Matilde Meireles2 1CESEM / FCSH – NOVA University, Portugal. 2University of Oxford, UK

CAMPO PRÓXIMO

“Campo Próximo” (Near Field) is a collaborative project that explores musical making from the perception of soundscapes and the construction of places, interconnecting remote locations with the space where it is presented. In this presentation we will discuss the various iterations of the project, and how each one suggested new ways of thinking about sound and place, as well as making and listening to music. Each iteration of Campo Próximo includes field recordings (sound and image) of particular locations. These locations are selected based on a strategic relationship with the territory informed by the architecture of the presentation space. These materials are presented through video and sound projection for a period of time proportional to the distance between the original place and the place of listening. This duration corresponds to the time sound takes to travel that distance in a straight line - like the flight of the bee, or the crow. Simultaneously, a microphone positioned in the concert space captures the recordings and reproduces this result. This process is repeated, modulating the properties of the sound, which merges with the auditorium's acoustics, based on the system used in I Am Sitting in a Room by Alvin Lucier (1969). The dialogue between the different soundscapes and the auditorium is shortened as we listen to progressively closer locations. This process develops until reaching a point of total convergence in which architecture, and sometimes the very presence of the audience, become the protagonists of the resulting musical proposal. With a first version in 2015 in Escola da Gaivotas in Lisbon, integrated in the curatorial project “Old School” by Susana Pomba, the project was revisited in 2019 in an installation version with a concert in the São Francisco Convent in Coimbra. The specific context and the different characteristics of this presentation space led to the development of a specific composition and performance strategy. This helped us implement a methodology that confers the work a dynamic balance between invariable procedures and variable elements. In September 2020, a new version for the National Pantheon integrated in the Lisboa Soa Festival consolidated this methodology. This reinforced Campo Próximo as an fluid work that feeds on specific presentation contexts to reflect, not only on the relations of place and situated soundscape, but also on the compositional practice and collaborative musical improvisation supported by this same situation. Thus, Campo Próximo is presented here as a collaborative research project in progress, with various simultaneous layers. It sustains a constant reconstruction of its device in

29 dialogue with different places and architectures. This device, as a mutable organic system, constitutes the basis of a prolific and regenerative collaborative composition process, which opens up new conditions for listening articulated with the present place and moment.

Eliazer Kramer ACTOR – University of Montreal, Canada

E-Rock: creating blend, combing styles, and composing through collaboration.

E-Rock is a composition for violin, bass clarinet, trombone, and vibraphone/small percussion that explores klezmer-inspired music while complexifying it and imitating different instruments and musical styles. The piece was composed for a CORE (Composer-Performer Orchestration Research Ensemble) group at the University of Montreal in the context of the international ACTOR (Analysis, Creation, and Teaching of ORchestration) research partnership. The CORE project promotes collaboration between composers and performers to investigate and solve orchestration-related problems particular to this heterogeneous chamber ensemble, with an emphasis on achieving blend. Participants were also introduced to concepts related to orchestration by presentations on topics such as aural sonology, semantics, and perceptual grouping processes in orchestration. It is difficult to compose a piece that underlines blend and the marriage of timbres for such a heterogeneous ensemble: there are difficulties arising from the composition of the ensemble and there are the difficulties inherent in the style in which one chooses to compose. The decision to draw on Klezmer music for inspiration allows for unity in the ensemble: the violin and clarinet are staples of klezmer music, brass instruments are often present in klezmer bands, and the vibraphone, a keyboard instrument, can take on the role of the accordion. The imitation of other styles and instruments within E-Rock allows for a diverse exploration of blend and further unity within the ensemble. To mimic a jazz band, the clarinetist imitates a snare drum using percussive effects, such as beatboxing and slap tongue; the vibraphone becomes a piano through a comping pattern; the violin turns into a double bass through low pizzicato, while the trombone remains a trombone by playing a melody with the plunger mute. In addition, slight timbral

30 variations allow instruments to imitate each other to achieve blend. For example, at the beginning of the piece, the bass clarinet plays poco slap to match the timbre of the violin’s pizzicato. Certain passages in E-Rock contain textures inspired both by interactions with the performers and the terminology of aural sonology. Thinking of orchestration in terms of grainy or dystonic soundscapes and discussing how the performers would translate them into sound or musical gestures offered ways to treat the ensemble as one instrument and allowed for a deeper exploration of blend. Overall, collaborating with the performers greatly shaped the outcome of E-Rock. Group and individual meetings provided solutions to technical, musical, and blend-related problems, while structured and free improvisation sessions gave way to spontaneous results that were either directly implemented into the piece or further developed by the composer. Finally, presentations illustrating how the performers would approach blend for this ensemble illuminated numerous timbral combinations that influenced the composition. Ultimately, E-Rock demonstrates numerous approaches to blend and ways to unify a heterogeneous ensemble, be it by a common style, by imitating other instruments/genres, or by creating textures that make the ensemble more than the sum of its parts.

Keywords: Blend, Heterogeneous, Orchestration

31 Emma Spinelli Aix-Marseille University, France

Method for the analysis of a musical detournement: reinterpretation, authenticity and intertextuality of the baroque music in Yngwie Malmsteen’s work

The role of the performer as a creator is very clear when it comes to early music, and it has reclaimed its importance in art music at the end of the 20th century. Between these two periods, and particularly in the romantic period, the performer has been considered as a medium between the composer and the listener. He was seen as the keeper of the work’s authenticity, which he had to perform without altering the composer’s desires. However, in popular music, that distinction between the composer and the performer is not so clear, and the idea of the original work’s authenticity seems to be less important. Indeed, rock, pop and metal musicians often perform other musicians’ songs, and don’t hesitate to transform them in the process. Some musicians or bands even perform classical works, and transpose them into their own style. It is then interesting to note that popular music, such as rock, pop and metal, appeared at the same time postmodern gestures were developed by contemporary composers, including musical quotation, re- appropriation and reuse. Thus, though the criteria of authenticity was fundamental in music performing until the end of the 20th century, it has been questioned by postmodern practices and popular music, which created a shift from authenticity to intertextuality by promoting musical reuse and reinterpretation. At the same time, in the 1960’s, a group of French Situationnists (including Guy Debord) theorized an artistic and political practice: the detournement. This notion is almost never applied to musical practices and seems to be of little use in the musical and musicological vocabulary. Yet, the detournement could enable us to question the notions of authenticity and intertextuality in the musical field. Thus, we would like to use this notion of detournement to characterize musical reinterpretation, and particularly to qualify the references to baroque music in Yngwie Malmsteen’s work. Indeed, theses references to the baroque in a neoclassical metal style seems to meet the three criteria of the detournement, that is to say the reuse of a preexisting material, the transformation of this material, and the break with past traditions. We can then wonder how to define a musical detournement, in its connection with authenticity and intertextuality. As it has not been theorized yet in the musical field, we propose a trichotomous method to characterize a musical detournement, that will allow us to analyze the three criteria of this practice: reuse, transformation, and break with past traditions. We will then start by analyzing how

32 neoclassical metal is influenced by classical and baroque music, and how these two styles (art music and metal music) are related. Then, we shall observe how the baroque music is detourned by Yngwie Malmsteen with the musical quotations of baroque composers, but also with the references to the baroque style of composition. Finally, we will see how this reinterpretation of the baroque music breaks with the past representations of art music, and distances itself from the authenticity criteria that was attached to the notion of musical performance

Keywords: Detournement, Reinterpretation, Musical Reuse

Federico Favali Independent Researcher, Italy

Qwalala, a river of colorful sounds

This paper aims to show how an architectural structure can generate a musical structure. In 2017, I visited an installation of the American artist Pae White – Qwalala – that has been open to the public at the Venice Biennale. The title of the work means: “place from where water descends.” It is a word of the language of the Pomo, a Native American people in Northern California. Indeed the work by White is inspired by the form of a river that was extremely important for the life of the small community. The installation for the Biennale is constituted of many glass bricks with different colours: white, red, yellow, green, blue and their variations. The bricks have inner lines. The form of the installation is inspired by the form of the river. As a composer I tried to understand how such a type of structure could generate a piece of music. Which are the relations between lines in the installation and lines of the instruments in the score? Which is the relation between consistency of the work by White and texture in my composition? These are only two of the several questions I’ve had in my mind for many months. Being struck by this magnificent work, I composed a piece titled “Qwalala”. My composition is written for a 12-element ensemble, and thus it has been possible to use a large variety of musical colours to follow the colours in the bricks. The form of my composition, as well as the inner dynamics of its structure, is inspired by White’s work. I wrote several patterns (rhythmic and melodic) representing the bricks of different colours, using musical elements to represent the constitutive elements of White’s work.

33 Considering recent developments of theories between mathematics, music and images, I thought about a musical form representing Qwalala, with an overall shape made up of modular elements. Thus, in my talk I will highlight how I saw these links between architecture and music and especially I’ll put the attention on how I could write a musical form starting from a physical object. This issue is particularly relevant for my research as a composer today: creating a musical form starting from other forms of art or from the nature or artistic objects.

Keywords: Qwalala, River, Time

34 Felipe Rodrigues Ferreira Perez Arts Institute of the São Paulo State University, Brazil

New Music, New Vocality: the music-text continuum in the second half of the XX century

Text and music have existed together in the Western World at least since Ancient Greece, as seen in the writings of Plato and Aristotle or Homer’s Iliad and Odyssey and so has the theorization about their relations. Plato’s theory of mimesis and St. Augustine’s theory of the prevalence of text (in relation to “the melody”) endured in Western vocal music through its history at least until the late XIX century. Throughout this period, one can perceive the fact that Text and Voice (albeit combined in song, polyphony and opera, among others) have been treated as different entities, and the question of how to put words to music developed in the direction of how to adequate one to the other. This changes radically, beginning in the early XX century, with the innovations of Futurism, Concrete Poetry, Sound Poetry, new vocal techniques and new ways to approach vocality, such as Sprechstimme, vocalizations, whisper-singing, and further on with Electronic Music, nonsense texts, and other new ways of working with voice and text, culminating in the second half of the century. Just as the 1950s saw the erosion of the previous musical system of tonality and of the traditional musical forms, it also brings about an erosion of the traditional relationship between music and text in vocal works. This is where the main question of this article comes to light. Responding to the crisis in musical language, composers and performers proposed a great number of answers such as serialism, the theory of musical time unity, polarizations, textural composing, spectralism, minimalism, and so on. Accompanying these radical changes in the way of composing and making music, they continued using text, but in different ways. What we propose in this article is an approach to contemporary vocal music with text, through the application of a sound-text continuum inside the unity of the voice, where the transition between the extremes of this continuum works as a structural way of creating musical contrast and variation, present in the works of Berio, Nono, Stockhausen, Xenakis, Aperghis and others. The conceptualization of this method is created basing ourselves in the concepts of orality/vocality and performance, proposed by Paul Zumthor, the concepts of vocality, unity of the vocalic and “de-vocalization” proposed by Adriana Cavarero, and the concept of the grain of the voice, proposed by Roland Barthes.

Keywords: Vocal Music, Contemporary Music, Voice

35 Felipe Martins1, Giovanna Lelis Airoldi2, Lucia Esteves2, Lucas Quinamo3, Lucas Torrez Toledo2 1Federal University of Minas Gerais, Brazil. 2São Paulo University, Brazil. 3University of Campinas, Brazil

Collaboration and distance: the challenges on the collective creation of Nácar, an audiovisual improvisational piece for cello and electronics.

Nácar, an audiovisual improvisational piece for cello and electronics, is the result of an intense month of online collaboration between five artists, the authors of this abstract, as part of the musitec2 (2nd Music and Technology Conference, 2020). Aiming to create a collaborative piece in which musical technologies were present, the group - formed by one performer (cellist and painter) and four composers, three of them working on sound processing and one on image processing - tried to blur the boundaries between sound and image through the digital expansion of the cello, which triggered both sound and image processing. Together, the group came up with the following images to guide our creative process, which reflect the enclosure imposed by COVID-19 pandemics: Jets, bubbles, streams of water come out of a shell planted on the seabed. They travel through the cavities and curls, resonating in the circular walls. The strength of these forces vibrates the entire calcium structure that was once inhabited by some creature. Now, from within the uninhabited shell, we can hear other beings: amorphous, dynamic, in constant metamorphosis. They meet and allow themselves to be carried away by bubbles, to the taste of the waters, conversing in a prosaic and unpretentious way. The evoked images are the context of our sound reveries. With those sound images in mind, the performer recorded improvisations –the fingerboard being struck, pizzicati deformed by glissandi and long notes with interference beats caused by the shock of purposely close intervals on double strings– and used as foundation for creation of Max/MSP patches for sound live-processing. The resulting texture refers to an instrument that emerges from the resonating depths of a shell, and in this process releases so much energy that gradually transduces it into boiling lava, fluster and steam. In addition, the cello sound was analyzed in real time using audio descriptors, especially those that have a more direct correlation with auditory perception (pitch, attack and intensity), providing control parameters for processing watercolours made by the performer in which she aimed to represent the movement of water in the Processing environment.

36 In this communication, we intend to reflect on the process of composition of Nácar, which happened remotely due to social distancing as a COVID-19 pandemic consequence and why results obtained were quite different from the ones we were habituated to work with before pandemic. For that, we are considering Helmut Lachenmann maxim “composing is building an instrument”, which he proposes in Über Komponieren (1986) and so, what instrument have we built and which instruments can be built in this new scenario we are living in, where technology is a central point of musical composition but not its only means; as well as José Henrique Padovani’s proposition, reflecting on Lachenman’s maxim, about the instrument as a metaphor on computer assisted composition in his essay O instrumento imaginário: o paradigma instrumental na criação musical (2017).

Keywords: Live Electronics, Visual Music, Extended Techniques

Fernando dos Santos Universidade Federal do Rio de Janeiro, Brazil

Ibero-American contemporary music ensembles: “ABSTRAI ensemble” as a case study

The ensemble performance involves social and musical interaction between a group of performers. In its practice, communication and interpersonal interaction skills emerge, in which this creative and collaborative process can be considered one of the main properties of musical performance. The artistic transformations that occurred in the last decades brought a dramatic transformation of the place that contemporary music occupies in society. In this sense, the research, practices, processes, performances, and ensembles dedicated exclusively to contemporary music are also affected. The genealogy and activities of ensembles that are responsible for the diffusion and dissemination of contemporary music can show the experience necessary to achieve mastery of skills for ensemble performance, based on aspects as follows: the organization; the instrumentation; the program choices; the repertoire search; the testing techniques; the performance approaches. The processes of ensemble performance depend on practical procedures. Therefore, a necessary experience to achieve mastery in interpretation must be complemented by a specialized training discipline. This case study will interconnect the ABSTRAI ensemble

37 (Brazil) activities, related to the dynamics and practices inherent in the interpretation of the pieces from the contemporary repertoire until the premier works. Also, will be discussing the approaches issues from the first album entitled Experiência (2018), the result of a dynamic and collaborative work, which reflects the actions of the ensemble in spreading contemporary music, and contributesto the performance as a creation narrative.

Keywords: Contemporary Music Ensembles, ABSTRAI Ensemble, Ensemble Performance

Fernando dos Santos1, Guilherme Ribeiro2, Laiana Oliveira2 1Federal University of Rio de Janeiro, Brazil. 2São Paulo State University, Brazil.

Musical creation based on images of the composer- performers on ‘El ojo de la mujer’, for singer and saxophonist

The sound-musical and performance creation of El ojo de la mujer proposes a creative model: the composer-image-performer-image. Created and awarded in 2018 in the city of São Paulo (Brazil), El ojo de la mujer was conceived from the book of the same name (1991) by the Nicaraguan poet Gioconda Belli (b. 1948) and was composed by Guilherme Ribeiro (b.1994) in a collaborative creation process with the singer Laiana Oliveira (b. 1987), and the saxophonist Fernando dos Santos (b. 1993). Starting from the notion of image proposed by Gilbert Simondon (1965-66), in his book Imagination et invention, the piece El ojo de la mujer was in all its levels of creation, development, and realization, conceived from images: the image of the composer in the poet's text and the image of the performers in the composer's sound-musical and performative ideas, which results in the possible images formed by the spectators from the performance created by the group (composer-performers). As far as images are concerned, some stretches poems from Belli's book are chosen to integrate the piece and contribute to its central proposal: the body as a structural and sound part of the work. In this sense, the piece is divided into sections whose sound- musical and performative structures are created from the corporealities imagined in the

38 reading of Gioconda Belli's poems. There are four sections: i. Diafragma, o respirar; ii. Mão-na-boca, o calar-se; iii. Boca chiusa, o contemplar-se; iv. Percutir do corpo, o exprimir-se. For each of these sections, there are sonorous and performative gestures that embody sound, which give the bodies of the performers not only the visuality of the gestures but also their sound and their integration as a structural part of the musical creation and performance. The composer-performer-image model is conceived in this creative process as a structure that takes into consideration how composer-performer collaborations can influence and contribute to the construction of creation in the context of contemporary concert music. From this perspective, this piece, which is based on different image proposals has provided us different creative possibilities, as well as new ways of listening, interacting, and reacting to the fruition of a musical performance. As a result, El ojo de la mujer in a performance that –conceived from the image cycle of its creator- performers– shows itself as new with each realization, since the images created are hardly repeated, but on the contrary, are renewed.

Keywords: El Ojo De La Mujer, Collaborative Creation, Performative Gestures

Filipa Magalhães CESEM / FCSH, NOVA University, Portugal

Music, performance and preservation: current perspectives for the documentation of works involving performance

This paper is designed to encourage the discussion of the main concepts and themes in contextualizing and reflecting on the creative work of the composer Constança Capdeville, taking into account the time and context in which her works were composed. Her work is surrounded by a certain hybridism, as it juxtaposes several artistic expressions. By the seventies, in the context of the Portuguese music scene, the concept of performance as it is understood today was not yet fully recognized, either by composers, or by the artists who collaborated with Capdeville. In this regard, the composer António de Sousa Dias considers that this was possibly due to the tendency to connect the term with performance art and with certain positions more linked to the happening or free improvisation, which was not Capdeville’s goal. The composer’s works

39 correspond to artistic manifestations that include music, visual elements, movement, among others, and are therefore, according to Sousa Dias, a communion of several arts that aim to instill in the public a reflective spirit about aspects of her culture and her relationship with this. In that sense, these works are considered performances. Given the difficulty in classifying Capdeville’s musical works, some etymological issues around the concepts of performance and re-performance will be discussed. The idea of repeating a performance is called into question by some authors, who question whether the performance, initially considered as a single act, can be delivered again. In order to answer this doubt, the idea of re-performance will be debated by introducing a retrospective of Marina Abramovic’s work. This approach is considered pertinent in the context of Capdeville’s creations to point out authors’ sights about re-performances. Abramovic began her artistic career in the early 1970s, in parallel with Capdeville’s own blossoming career as a composer. During that time, Abramovic did not seem concerned with the repetition of her performances; moreover, the question was not even raised. This interest arises from the year 2000. Similarly, Capdeville, especially in the way she organizes her materials, revealed that she was not concerned with the future of her performances and it is not known if she intended or not to have them repeated. João Natividade, the dancer who followed practically the entire trajectory of the composer, believes that Capdeville would repeat her works today. However, in an interview for the Revista Flama, concerning a work conception, Capdeville stated: “I leave it without the least effort. The problem of its survival is no longer mine or, at least, not just mine anymore.” The fact that Capdeville’s works unite different artistic expressions leads us to reflect on documentation issues within other artistic areas such as dance, or other forms of art involving performance, presenting some perspectives and practices currently in force.

Keywords: Performance, Contemporary Music, Documentation

40 Gabriel Jones University of Leeds, UK

Empirical performance analysis as a means of creation in Stockhausen’s Klavierstück X

The traditions and methodologies of empirical performance analysis that have developed and stabilised over the course of the last thirty years have tended to focus on stylistic and historical trends in the performance of common-practice-period repertoire. With some notable exceptions, very little research has been dedicated to radical developments in post-WWII avant-garde composition and performance practice, in spite of the many unique possibilities offered by the now substantial recording corpora of a number of key works. In response to this lacuna, this paper illustrates how existing performance analysis methodologies may be adapted to tackle this often highly challenging repertoire, offering historical and stylistic insights, while also clarifying the complexity and performative ambiguity of the music, particularly in the realms of rhythm and tempo. Finally, I show how these same methods may then be used by the performer as a means of creative practice during the learning process, drawing inspiration from analysis of the recorded tradition to produce new and experimental performances, which may not have been conceivable otherwise. As a case study, I present my empirical performance research on Karlheinz Stockhausen’s Klavierstück X (1961), highlighting the diversity of the storied recording tradition and its often unpredictable relationship with the challenging and ambiguous demands of the score, which includes many different configurations of clusters, cluster glissandi, grace notes, delimiting durational values, and the overriding direction to perform the piece ‘as fast as possible’. This is followed by video demonstrations and excerpts from my own experimental performances, produced using self-reflective empirical analysis as a tool for approaching the complex rhythmic strata of the piece, in direct response to the current limitations of the performance tradition. In addition to opening up new expressive possibilities for this seminal piece, my innovative methodology is shown to have broader applications in the creative interpretation of other complex music.

Keywords: Stockhausen, Performance Analysis, Creative Performance

41 Gabriel Trottier Universiy of Montreal, Canada

The inventory and development of new performance tools in the horn repertoire of the XXth and XXIst centuries

During the last 20 years, challenging music have been written using new sounds and professional horn players around the globe have been working to push the boundaries of orchestration for their instrument further creating new sounds and going beyond what have been documented yet in the last published extended techniques treatises for the horn. The goals are classifying these new practices by making a detailed inventory of endogenous techniques (directly related to the horn mechanics and history) and exogeneous techniques (related to techniques from other instruments or art forms), identifying the main performance tools in the contemporary music for horn and understanding emerging esthetical approaches. The research methods used came from practical experience performing more than 150 contemporary music works (including interdisciplinary works and mixed electronics repertoire), collaborative work with composers trying to find new sounds, interviews with horn players from leading ensembles and analysis of contemporary solo horn works. This research is important to guide composers developing experimental works for the horn and other brass instruments, give more traditionally trained horn players tools to tackle the contemporary repertoire and give higher education institutions ideas to develop programs that considers modern art. Finally, there has been recent research in acoustics and psychoacoustics that could benefit from understanding some of the techniques presented.

42 Guilherme Ribeiro, Fabio Simão, Silvio Ferraz São Paulo State University, Brazil

Acoustic bubbles in the telematic performance of "Ceci n'est pas une trompette"

For this Meeting, we propose to report a musical experience that we had in Brazil during the pandemic of the COVID-19 virus. Our first aim was to find a way to create and perform with the resources we had at that time of social isolation. With that, we created Ceci n'est pas une trompette, a piece written by the composer Guilherme Ribeiro in a collaborative process with trumpeter Fabio Simão, clarinetist Kaique Iritsu and percussionist Christopher Alex. The creation of the piece is part of a proposal made by the Brazilian composer and professor Silvio Ferraz, during the meetings of the Contemporary Music Laboratory at the University of São Paulo. Ferraz proposed to us the reflection of instrumental/vocal music done in groups in a virtual way and in “real time”, taking into account the problems that we would face in this telematic environment, such as, for example: an acoustic instrument whose sound-musical appreciation is not the same anymore, and a tempo in which the metronome or conductor would no longer be able to make the performers breathe and attack together a chord or a sound block on the downbeat. In this sense, the process of discoveries and the resolution of problems that video-call platforms generate for musical practice signed what should be this piece: a way of making music together that dialogues with the acoustic bubbles in which we were inserted and isolated in that moment: our houses. When looking for a way out of making music in the context of social isolation, we found in the creative process of Ceci n'est pas une trompette a pathway, a work methodology that enables creative musical interaction despite seemingly limiting conditions. If, on the one hand, the geographical distance and the challenges imposed by the need for accelerated learning of telematics technologies proved to be adverse conditions, this perception soon became something potentially experimental and new when we explored the situation not from the perspective of scarcity and limitations, but from the perspective of power and possibilities. Using inquiries, talk sessions, software and microphone experimentations, as well as the study and preparation of the acoustic reverberation spaces of each of the performers, we were able to find in this creative process a universe of possibilities that was not limited to purely sound issues, but that incorporated image, body and movement into our musical creation. In this way, Ceci n'est pas une trompette, without involving any type of interaction and physical contact between the group, caused the distance between the performer and the listener, or between the instrument and the microphone - in the musician's walk through his house while, at the same time, playing his instrument - not

43 only generating a dynamic gradation (as it would be if it happened in a concert hall), but also generating an acoustic exploration of the musical instrument reverberating through the rooms of the house.

Keywords: Collaborative Creation, Telematic Performance, Music Acoustics Experimentation

Haize Lizarazu Girona University, Barcelona, Spain

Bodies in musical performance: a gestural approach

It has been clear in recent years that the understanding and study of music-making needed to change the traditional musicological focus on the notated score. Other scenic disciplines, such as theater or performance, have made the performative turn some decades ago and have developed some extensive studies on the performing body as a core concept of the creative process. Music-making is an art of sound and movement. One cannot separate the moving body of a performer from the resulting sound. All these movements are embodied gestures that the performer enacts on stage and that are linked to their own experience and knowledge. To accept this embodied approach in music research, is to acknowledge a significant change of paradigm, as it shifts the focus of the notated score to a more complex experience of a continuous sound-movement relation with the performing body. Musical gestures and movements can be seen and felt from different perspectives: as a self and as an other (first person, third person). This then leads us to talk about the gestures that can be seen and the ones that can only be felt. The pre-gesture, the inner movement, the previous moment to the sound materialization is the key concept that will be developed in this paper, shown as an important term linked to music cognition and embodied musical knowledge.

Keywords: Musical Gestures, Musical Performance, Embodiment

44 Henrique Portovedo1,2, Paulo Ferreira Lopes3, Luís Neto Costa4 1CITAR – Portuguese Catholic University; Portugal. 2University of Aveiro, Portugal. 3University of Applied Sciences Mainz Hochschule Mainz, Germany. 4Independent Researcher, Portugal

Multidimensional contemporary music performance as creation: SaxMultis, a system of multiphonic permutations

This paper will examine the relations within the Multidimensionality of Contemporary Music Performance conceiving Multiphonic Permutations as means of composition. The changing paradigm of performance practice is creating not only new virtuosity but leading performance as the status of creative tool. New composition aesthetics are deeply influenced by electronic materials and sonic repositories at the same time as new mediums are currently seen as possible extensions of instrumental practice. These mediums are available for creative purposes during composition and performative processes. While the aesthetics of acoustic and electronic sounds are creating mutual influences, composers and sound designers develop new languages, new gestural attitudes, new extended techniques, new notation methods and inclusively new instrumental development. Non-conventional approaches to instrumental sonic manipulation offer possibilities of expressive extension and augmentation, just as they expand possibilities in the field of composition. Here, the case studies address a collection of pieces based on the production and selection of saxophone’s multiphonics as the principal compositional element. The multiphonics were organised into layers of tremolos, producing timbral changes and being selected thru a process that uses two different methods and softwares. The first method was implemented thru a patch named SaxMultis and allows the recording of all multiphonic timbral permutations and its cataloging. It gives, as well, the possibility of aleatoric positions of key combinations for saxophone sounds. This software is organised in following order: 1) Selection of Key Position; 2) Position of Tremolo; 3) Indication of Dinâmics; 4) Creation of Buffer with positions code; 5) Recording. The second method, Multi2Chord is a software as well, that analyses the spectrum of each multiphonic permutation and translate it to musical notation using ZSA and BACH Max/MSP Libraries. This strategy brought to life, not only new documentation, but as well, a resource of acoustic and electronic tools for composition and instrumental repertoire development in a totally new perspective. It is analysed how acoustic and electronic sonic events interact and influence each other while establishing a relation of performance multidimensionality as compositional tool in contemporary practice, presenting new pieces based on this symbiosis.

45 Keywords: Multidimensionality, Contemporary Performance, Multiphonics, Saxophone

Isotta Trastevere PRISM Laboratory (Aix-Marseille University, CNRS), France

The energetic perspective of musical form in sound art. Understanding the sense of duration in a sound art event.

Sound art in its multiplicity of forms and devices has the characteristic of giving to hear at the same time several flows of musical informations. It is thus of a different nature from other musical performances and lies at the heart of the issue of contemporary form and sense of duration. While listening, the artist and the audience are placed on an energetic beam, which no longer belongs to the solid and vertical world, but rather to a liquid and horizontal world (Deleuze, 1982), whose temporality is strictly linked to the present. The flow represents both the continuity of the signal from the synthesiser or the recording medium, and coincides with the continuous experience of listening. By not having a graphic support for creation, listening thus has a fundamental role, not only at the time of reception but also in the production of a work of sound art. In this proposal, listening is considered a fundamental behaviour without which the work would not exist (Delalande, 2019). What are the characteristics of the experience we do listening a sound art event ? Listening is above all participate in a process. A sound art performance is a journey whose rules - not social rules, the latter being absolutely acquired - still remain implicit for the public and the artists themselves. Actually each composer creates their own method of composition along with the work. So much so that this situation offers great freedom, which it would be a shame to give up, it also raises questions about its understanding and puts in danger its transmission potential. Since the second half of the 20th century, instrumental as well as electroacoustic composers (Young, Feldman, Grisey, Radigue, Parmegiani etc.) have developed composition techniques based on listening and sound transformation. The unit of measurement therefore becomes the sound, and no longer the musical note (Landy, 2007). We compose by creating differences, tensions between contractions and expansions, or structuring processes which progress step by step.

46 During this conference, I will offer to listen to an excerpt from Se mouvoir, the fourth mouvement of Corpo e mente (2020-2021), a piano and electronics work that will be part of the corpus of my thesis project. The objective is, by explaining the techniques used, to introduce the musical form from an expressive and energetic point of view. I will thus draw on thoughts of vitalist philosophers like Dewey, Simondon, Deleuze and Bergson. My hypothesis is that the musical form, over all in sound art, could be studied as a life experience. These are the first steps of my project, based on aural analysis which could give new reading keys to understand sound art. This project will contrast the contemporary tendency which leads us towards the extinction of the feeling of duration, without for all that loosing the pleasure of living on the present moment.

Keywords: Musical Form, Listening, Sound Art, Time, Flux

João Fernandes Musidanse – Paris 8 University, France

The Free Music Improvisation performance and the emergence of new musical creations

The New Grove defines improvisation as "The creation of a musical work, or the final form of a musical work, as it is being performed". This simple definition demonstrates the importance of the performance in the Free Music Improvisation (FMI) practice as a way of conceiving new musical creations. We can demonstrate the importance of the performance in FMI by analysing the creation phases of different forms of musical creation. We observe that in FMI we can have only one phase: the performance itself. The musiciens generate and develop new musical ideas while they are performing in front of an audience. They rely on their musical experience to adapt their technical capabilities and interact, in real time, with the environment surrounding them. In this paper, I would like to propose an analysis of the free improvisation performance and question how can this music practice produce new musical creations at each event? How can improvisers change their performance capabilities for each situation? How can they adapt to all kind of situations that can arise in the performance time? I would like to

47 extend this question to its adaptation to the social, political and nowadays health situations. For this meeting, I will focus on the large improvisation ensemble Grand8 with whom I play since 2016. I will propose an analysis of the Grand8 performances to demonstrate the importance of the performance in the improvisation practice, and how crucial it is to emerge new music. I will show the multiple factors that Grand8 explores in its performances to ensure that new musical creations arise each time they stand before the audience. In particular, I will analyse the musical production of the year 2020, during the pandemic lockdown, where the ensemble had to redefine its performances to continue the improvisation practice. Grand8 is a large improvisation ensemble from the PACA region in France (southeast). It is formed by 19 musicians with very different backgrounds, from popular music to electroacoustic music, passing by classical, jazz, rock, etc. The instruments of this ensemble includes at least ten different types of music instruments.

João Ricardo CESEM, Évora University, Portugal

Image-Music-Text: operatic experiments in the age of the audiovisual essay

Emerging as a new tool and form of criticism and theorizing, the audio-visual essay has stirred many different opinions within the academy, with its many different outcomes. For the scholarly purposes, combining it with text, reflection and commentary, seems to be the most common and most accepted form of audiovisual essay, easily found all over the internet in well-known video archives such as YouTube and Vimeo. Towards a more poetic end of the spectrum, breaking both the horizontal and vertical dimensions of any work may deepen and reveal new possibilities, often resulting in the creation of new hybrid pieces. This paper aims to demystify these new formats and concepts, focusing on its potentiality as a tool for criticism and its creative possibilities regarding music. Quoting different images, texts and music, Catherine Grant’s Touching the Film Object? has created something new, out of many examples and inspirations, thinking and developing new interconnections; and more interesting, she exposed her theories with and within a creative object. Accordingly, the goal of this article is not only to analyze and

48 expose the practices of said researchers and creators, the new formats and concepts, but also to transpose their theoretical and practical outcomes to the musical universe, by creating and presenting original audiovisual essays that aim to arouse the audience interest and fascination in the referenced, and not only heard, music. After a brief exposition of the state of the art, a review of essayists, their embryonic works and techniques that served as examples and inspiration for the present transpositions from film theory and criticism to music and opera, the practical outcomes of this article will be analyzed: original audiovisual works created from opera and rearranged with different audiovisual components from different works, aiming to subvert the most common and usual formats expected in any video regarding music and/or opera. The end goal is to investigate and explore the combination of fragments related to opera, while at the same time trying to underline its unique characteristics by merging them into new audiovisual pieces, treating opera “[…] as a point of departure for a deeply reflective, poetic and creative transformation.”

Keywords: Audiovisual, Music, Creation, Opera, Video

Joevan de Mattos Caitano Independent Researcher, Brazil

Isao Nakamura as an intercultural percussionist and his activities in the Internationale Ferienkurse für Neue Musik in Darmstadt

Since 1985, Isao Nakamura (b. 1958) has been developing various activities as percussionist in festivals, workshops in Germany and other continents. His versatility and intercultural creativity mixing Brazilian samba, tradition of “Matsuri” drums at Shinto festivals in Japan, and Germanic new music has attracted students from different parts of the world who have studied and are studying percussion in the Hochschule für Musik in Karlsruhe, where Nakamura holds the position of professor. Acting as a teacher and performer, he was also very active at Darmstädter Ferienkurse from 1986 to 2008 acting as a soloist and also in partnership with pianist Kaya Han at Duo Konflikt, when he performed works by several composers, among them, James Wood, Harrison Birtwistle, Chang Wing-wah, Volker Staub, James Dillon, Jürg Wyttenbach, Julio Estrada, Younghi

49 Pagh-Paan, Toshio Hosokawa, Nam-Kuk Kim, Dieter Mack, Gerald Eckert, Mauricio Kagel, Bernfried Pröve, Salvatore Sciarrino, Jo Kondo, Robert HP Platz, Thierry de Mey, Thomas Lauck, Klaus Huber, Hans Ulrich Engelmann, Sohrab Uduman, Gerhard Stäbler, William Attwood, Sungji Hong, Masahiro Isijima, Pröve Bernfried, Peter Eötvös, Nicolaus Richter de Vroe, Isang Yun, Steffen Schleiermacher, Terumichi Tanaka, John Cage, and so. Thanks to the support of professor Bernhard Wulff at Freiburg University of Music, Isao Nakamura was introduced to director Friedrich Hommel at the Internationales Musikinstitut Darmstadt in 1986, when concerts with percussion works were discussed and implemented. The advent of the “Darmstadt in Japan/ Japan in Darmstadt” project conceived by Toshio Hosokawa, made possible the invasion of Japanese participants in the Ferienkurse 1994, in a special meeting that brought intercultural performances, witnessed in the performance of Mayumi Miyiata (shō) and Isao Nakamura in the event Akiyoshidai International Contemporary Music Seminar and Festival, Cooperation guest concerts, Part II, “A Summer Midnight Chamber Concert”. The inauguration of Solf Schaefer as director of Darmstädter Ferienkurse in 1995 continued the maintenance of Isao Nakamura's pedagogical competence as an instrumentalist at concerts, a teacher at percussion workshops in Darmstadt, and a partner on the committee for organizing Darmstädter Ferienkurse 2000, in a group formed by Barbara Maurer, Nicholas Hodges, Michael Reudenbach, Peter Veale, Mark Osborn. In the convergent interculturalism in new music, Isao Nakamura's participation in Ensemble Yūsei from Tokyo at Ferienkurse 1998 also stands out, when traditional Japanese music was performed and discussed in Darmstadt with the intermediation of Toshio Hosokawa. Solf Schaefer's artistic direction in the early 21st century brought traditional Korean music to Darmstadt with Young-Cher Park and Isao Nakamura performing at Ferienkurse 2002. At Ferienkurse 2004, Nakamura played as a guest at the Ensemble of Tongyeong International Music Festival (TIMF) enhancing the connection between Darmstadt and Korea. The symposium intercultural traces in contemporary composition led by Jörn Peter Hiekel at Ferienkurse 2006 put into question the receptivity of other non-European cultures in Darmstadt, coexisting with performances by Isao Nakamura that year. Based on material collected at IMD Archiv, interviews with Isao Nakamura and other protagonists such as percussionists Mircea Ardeleanu, Zoltán Rácz, László Hudacsek, Gergely Biró, and so, this proposal intends to discuss in detail about the legacy of this Japanese musician who worked intensively with several composers, trained several students, placing the percussion in a visibility status in Darmstadt in the Hommel and in the Schaefer's leadership.

Keywords: Darmstadt, Isao Nakamura, New Music

50 Jonathan Heilbron Faculty of Arts, Monash University, Australia

Composed Bodies: incorporating Fernando Grillo’s instrumental practice through Paperoles

The Italian double bassist Fernando Grillo (1945-2013) first achieved public recognition and renown through his technically adventurous and virtuosic performances of the mid- 1970s. His idiosyncratic approach to double bass technique, notation, and physical gesture brought him critical attention as well as the admiration of leading composers such as Karlheinz Stockhausen, who famously referred to him as the “Buddha of the Bass”. While Grillo was highly regarded as an interpreter of challenging solo works by leading composers of his day, including Giacinto Scelsi, Iannis Xenakis, and others, it was in his own oeuvre for solo bass that he most clearly articulated his broader philosophy concerning the unity of sound and gesture. In this paper, I will focus on the challenges and insights I encountered whilst undergoing an indepth study of Paperoles (1975), a composition that arguably best represents his work from his most radical period. In Paperoles, Grillo utilizes an unorthodox visual language to encode a complex set of extended techniques and physical gestures that challenged conceptions of the limits of solo double bass performance. By drawing from emergent theories from performance studies that take bodies and embodied practices as (re)producers and transmitters of knowledge, I aim to locate specific areas within the interpretive process in which Grillo’s and my own performance practices came into a dynamic relation. Through the act of interpreting and performing works by composer-performers such as Grillo, I aim to highlight the potential for complex forms of interpretive and bodily agency to emerge - one in which bodies and practices collide, coalesce, cleave, and wrestle, in turn shaping and transforming these practices in new and exciting ways.

Keywords: Composer-performer, Embodiment, Grillo

51 Jorge Graça2,5, Paulo Maria Rodrigues1,5, Helena Rodrigues2,5, Mariana Miguel3,4,5, Mariana Vences5, Luís Paixão5, Maria da Silva5, Miguel Ferraz5, Élio Moreira5 1INET-MD, DECA – University of Aveiro, Portugal. 2CESEM / FCSH – NOVA University, Portugal. 3LAMCI–CESEM / FCSH – NOVA University, Portugal. 4Évora University, Portugal. 5Companhia de Música Teatral, Portugal.

Syncretic Musical Experiments #19: developing a live performance during a pandemic

Companhia de Música Teatral’s (CMT) work is strongly based in collaborative creative processes and often involves close interaction between performers and audiences. In 2020, due to the pandemic, several of CMT´s planned activities were limited or outright forbidden. New paths had to be discovered and the Zoom™ video-conference platform became an important tool to carry on working on CMT's projects. It supported a series of new creations that were built taking into consideration the platform’s distinctive features. One of these was the music-theater piece O Céu Por Cima de Cá (trans. Heaven Above Here), a live performance offering two different points of view (at the theater and via Zoom™). O Céu Por Cima de Cá was the result of further developing ideas that emerged throughout the pandemic times in projects such as Poemário, Poemário Vivo and ZygZag&Zoom. These formed a path of learning, creativity and resilience that established the grounds for a two-week long artistic residency at Casa das Artes of Vila Nova de Famalicão where the piece took its final shape. This paper is proposed by the artistic team that participated in the creation and performance of O Céu Por Cima de Cá and aims to unveil the concepts underlying the piece, the sources of inspiration and the collaborative methodology of working. It is a collective auto-ethnographic artistic research reflection exploring a) how the performance came to be, b) how “the stage was set” and the scenery and lights were conceived, c) the expansion on the themes of angels, birds and clouds that had been a source of inspiration, and d) how the final performance impacted not only the performers but also the audiences. O Céu Por Cima de Cá is enmeshed and embedded in the places where it happens, drinking from their history to build itself. This paper is not only a reflection on the final performance, but also a kind of “crew logbook” of a voyage that took us to the clouds and beyond, expanding on the webs of relations that were created between each of the artists and the audience(s).

52 Keywords: Artistic Performance, Artistic Diary, Zoom Performance

José Júlio Lopes CESEM / FCSH – NOVA University, Portugal

Music is a performative act

The idea of musical performance as creation immediately draws a resemblance to a particular angle of thought about language that linguistics, or rather, that philosophy of language, developed from the concept of the theory of speech acts - that are the name given to John Austin's philosophical project, which conceives language as action. Assuming that speaking is acting, pragmatics is concerned with the practical effects in the use of language. There are statements in language that, at the very moment of their enunciation, produce the enunciated action. Or, backwards, there are actions that can only be produced through its own enunciation. In fact, we refer to the performative dimension of language that highlights the importance of the context and the circumstances of the enunciation in the affirmation of the legitimacy of the utterances. If we understand music as a language, that is, as a producer of meaning, such a comparison can be productive in the effort to understand how musical performance and its communicative pragmatics can be analyzed and therefore converted into a program of actions. The sounds produced by instruments (of any type), normally are organized according to a program to which we call composition in specific forms recognized by their listeners. Sound compositions correspond to acts of language, to a desire for communication. Searle (John Searle) poses the more general question of knowing exactly how language relates to reality. The bold question is more what exactly is the meaning? What is it for a speaker to say something and mean something by what he says? What is the meaning of words in a language, where words have a conventional meaning? What is for a composer/musician to create something and produce meaning by what he/she creates? This paper follows Wittgenstein notion of “language games” in order to be able to think of the theme of musical performance as creation based on the philosophy of language.

53 José Neto, Jessica Gubert, Luís Afonso Montanha, Silvio Ferraz São Paulo University, Brazil

Evoking a landscape through the encounter of the voices of performer and composer

This work discusses some ways in which the traditional relationship between composer and performer, in which creation and conception fall to the first, and faithful interpretation to the second, can be subverted. These concepts, solidified by the European romantic tradition of the 19th century, such as the devaluation of the interpreter, the creation of the canonical repertoire, the overvaluation and materialization of the work of art by the composers' score and deification, influenced musical practices still reverberating today. Here, a creation based on the encounter between the unique voices, experiences, creative and poetic desires of the performer and the composer is sought, recognizing the creative powers in both activities. To study the effective practice of this creation, the investigation is carried out through Artistic Research. This discussion is based on a creative process in which the authors –a clarinetist and a composer– sought to evoke a specific landscape on stage. This landscape, the Chapada dos Guimarães, a place considered the geodesic center of South America, in Brazil, has great affective importance for the performer. The creation was shared among the authors, each according to their domains of work, always departing and going through both musical and corporal experimentation. In the fields of performance and composition, experimentation guided the creative processes, resulting in new sounds and other ways of approaching the musical instrument; and the poetic images of that landscape were brought by the performer herself, from her personal experiences. For this, both musical and performing arts procedures were used, so that not only the sound, but also the movements, images and the performance scene were an integral part of the work. In this work, the performer resembles an actor who makes scenes and worlds arise from her presence and her creative and affective work; and the composer, in turn, to a theater director who gives indications from a point of view / listening external to the performance, seeking to prepare this flow and nourish the work of the performer. Thus, the creative work focuses on activating this specific landscape, this scene, at the time of performance so that Chapada dos Guimarães can emerge through the performer. Through this collaborative process, some practices and concepts have surfaced. From Gilles Deleuze and Claire Parnet, the encounter (of voices, movements, images, thoughts) as the way in which this creation takes place. From Adriana Cavarero, the importance of the uniqueness of the voices involved. From Yoshi Oida and Peter Brook, empty the scenic space to let something

54 new happen. From Silvio Ferraz, the idea of music that flows like a river, that breathes. And Nicholas Cook, questioning the composition-performance relationship itself. Thus, some ways of composing from the body are outlined, of emphasizing creation in performance, and of creating from the meeting of voices.

Keywords: Clarinet, Musical Collaboration, Artistic Research.

Justine Maillard1, Caroline Traube1, Lindsey Reymore2, Stephen McAdams2 1Faculté de musique, University of Montréal, Canada. 2Schulich School of Music, McGill University, Canada

Orchestrational thinking and composer-performer relationships in the context of a collaborative creation process

The Composer-performer Orchestration Research Ensembles (CORE) is a project realized in the context of the Analysis, Creation and Teaching of ORchestration (ACTOR) research partnership, in five participating universities. These ensembles include graduate students in composition and performance who collaborate interactively to design and solve problems related to the orchestration of the ensemble, a process that will be repeated biannually throughout the duration of the ACTOR partnership. All ensembles had the same heterogeneous instrumentation: violin, bass clarinet, trombone and vibraphone plus small percussion. During the course of the project, directed interviews with the CORE performers and composers oriented toward the participants' conceptions of timbre and orchestration with this instrumentation were recorded, transcribed and archived for subsequent analysis. This paper discusses preliminary analyses of the data collected during the initiation phase in the Fall of 2019 at McGill University and the University of Montreal. Verbatim extracts from the interviews were manually coded on the basis of a qualitative research method inspired by grounded theory. The analyst assigns a "code" to each verbatim segment, thus attributing a significant evocative attribute to each portion of the verbal data. This process divides data into manageable segments and provides quick access to relevant information. Categories and subcategories that

55 emerge can then be linked, integrated and modeled to develop theory directly from the data. The coding process was performed with the qualitative analysis software NVivo. The resulting coding tree is organized into two main categories: (1) sound and music parameters, (2) vision of the project. In the first category, the themes most frequently addressed by composers and performers are timbre, extended techniques, timbral territories, blend and spectral continuity. In the second, the challenges, the novelty, the relationship between composer and performer and the creative process were often discussed. In order to observe patterns and recurrent thematic associations in the data, the NVivo feature called Matrix coding queries was used to extract coding intersections between different lists of items. This analysis revealed that the trombone is frequently mentioned together with imbalances in sound intensity and register, and the vibraphone is mentioned along with spectral continuity, blend and timbral homogeneity. Extended techniques are often combined with timbral territories, blend, spectral continuity and contrast. Concerning the vision of the project, the data reveal that the composer-performer relationship is often approached with a negative attitude: although composers benefit from the collaboration by the input of the performers and their immediate feedback, performers expressed a certain skepticism about the idea that such a collaborative project could dissolve the hierarchical dynamics between the two parties. This reveals the necessity to support and develop collaborative creation processes that take the performers’ view into account and value their creativity and contribution to the work and to orchestration-related problem solving, while ensuring that playing techniques are properly and efficiently notated on the score. Further analyses of the interviews will examine the evolution of orchestrational thinking from the perspectives of both composers and performers and analyze in more depth their collaborative dynamics in a problem-solving situation.

Keywords: Text Analysis, Composer-performer Relationship, Orchestration

56 Karolina Dąbek Academy of Music, Kraków, Poland

New Musicology/New Theory of Music - the paradigm shift at the turn of the 20th and the 21st century concerning music (and its spatiality) – part III

The paper will concern the problem of analysing spatial music, especially “topophonic music”, in which performers' arrangement is spatial (e.g. they surround the public) and it is different from the traditional set-up in which the boundaries and distances between the stage and the audience are clear and fixed. Traditional attitudes in musicological research privilege the musical text (understood as an object) over the musical experience (understood as an activity). They do not provide appropriate analytical tools concerning spatial music in which the aspect of the listener’s experience is important. As a point of departure, the author will investigate Bohdan Pociej’s distinction between "inner" and "outer" spatiality (1967) in comparison to Krzysztof Szwajgier’s categorisation that includes three stages: the passivity, the activity and the autonomy of space (1973). This will help to define spatial music and to bring attention to spatial and social context of the performance. The phenomenon of spatial music requires a new approach that will underline the importance of the listener’s experience and, at the same time, will consider the possible impact and meaning of the physical space as well as of the presence of other human beings during such experience. During performance, the listener may be in various relations with spatially distributed sound sources, which may interfere with his understanding of the music. For example, in The Little Match Girl written by Przemysław Scheller in 2019 for string orchestra, 3 violinists should be placed behind the auditorium, but their exact places differ according to the specific spatial and social context of the time and place of the performance: in NOSPR Concert Hall in Katowice (soloists were placed behind and high above the listeners, on the second balcony), in St Catherine's Church in Vilnius (soloists were placed behind the listeners, but closer and visible) or in the Witold Lutosławski Concert Studio in Warsaw (concert was transmitted online and soloists were placed at the stage). Each of these spatial arrangements determined different experiences and interpretations of the meaning of the piece – what can be seen in critical reviews that appeared after the concerts. The paper aim is to present a methodology (and its exemplification) that will make allowance for the listener’s perspective as well as the context of time and place of the performance of the piece. The analysis of Scheller’s piece will contain three aspects: musical (focused on musical material, the influence of music, and the issue of the

57 listener’s expectations), spatial (focused on the relations between the listener and space, where space is understood as a place of the performance of the piece) and social (focused on two types of relationship: listener-listener and listener-performer).

Keywords: Spatial Music, Performance, The Listener’s Experience

Késia Decoté Rodrigues Independent Researcher, Brazil

A recital of your own - digital strategies for piano performances in pandemic times

The context where the music experience happens has seen many transformations throughout history: from the exclusivity of performances to small groups in rooms of wealthy families, to the large scale of the concert hall and the anonymity of big audiences, until the ultimate individualistic experience of headphones in the contemporary times. It is known that the environment where music is played is not just a neutral container, but it indeed mediates the music experience, therefore it intrinsically influences the performance and the reception of music. Since March 2020, with the restrictions to live performance due to the new coronavirus pandemic, music performance has been through a fast change of environment once again with the rapid migration of concerts to the digital realm. While concert halls and theatres have to remain closed, the internet has been speedily filled with broadcasts of recorded and live performances. How is then the music experience affected in this current change of context where, although there is the possibility of a co-presence in time, suddenly performer and audience do not share the same space anymore? In particular, which impact this new type of mediation –the online domain with its diverse possibilities– may have on the practice of classical music performance? In this paper I discuss the experience of three online performances which I delivered during the coronavirus pandemic crisis in 2020, where each was presented exploring a different strategy: (1) 1 minute music was a series of one minute piano improvisations delivered to listeners individually through WhatsApp video call; (2) Full Moon was a live piano and toy piano performance broadcast as an Instagram Live event; (3) Piano miniaturas: video-recital was a Youtube concert featuring a prerecorded piano performance combined with

58 images, in a proposal to explore the idea of video-art to present a piano performance. From the point of view of the performer, it is examined how each of these experiences affected the process of shaping the performance (which include, for example, choice of repertoire, performance space settings, and musical interpretive decisions). Observations about the experience of the delivery of the performances themselves are also made. These reflect particularly about the different levels of immediacy between performance and reception, also of interaction between performer and audience during and after the events. Finally, I reflect on how the learnings and insights from these experiences may have a lasting impact on my practice as a pianist.

Keywords: Music Performance; Online Concert; Piano Recital.

Marcin Strzelecki Academy of Music, Kraków, Poland

New Musicology / New Music Theory – the paradigm shift from the turn of the 21st century in reflection on music (and its spatiality) – PART II

What's so spatial about music? Between metaphorical and actual meaning of space in recent music analysis Music, as a special kind of intelectual, artistic and social activity, may be analysed from potentially infinite number of perspectives. Some of researching methods are more general, abstract or even metaphorical, and flexible in terms of possibility to be adapted to different analytical problems. Recently the metaphor of space gained attention among different branches od science. As an example of such methodological abstraction one may point out the idea of multidimensional scaling (MDS), a statistical method useful whet it comes to measure similarities between qualities, like musical ones. Musical pitch, loudness and tempo may be (with some reservations) regarded as quantities, measured with use of one axis, e.g. from low to high, from soft to loud, from slow to fast. This makes no sense when harmony, timbre, articulation, texture, rhythmic patterns (musical time becomes one of dimensions), emotional expression, or musical style are being discussed. When comparing such qualities MDS may appear handy.

59 From the other hand, sound is a spatial phenomenon (it requires space to propagate) so sounding music is spatial too. This meaning of spatiality is not anymore metaphorical, but actual, and involves physical and phisiological processes. Human senses provide vital information about the environment. All senses may contribute towards the spatial perception, however hearing plays a special role here. Thus, hearing is highly accurate device of spatial contextual awareness. Auditory scene is capacious. It may represent multiple objects and processes, distributed in all dimensions. Based on such biological mechanisms, human cultures developed advanced forms of through-sound communication, language and music, in particular. Today, the art of music is discussed much more as cultural construct than as shaped by natural constrains. However those evolutionary adaptations are still there, affecting the way music is cognized. Since primary function of hearing is to inform about the environment, any sound perceived, beside its semantic content, may carry some knowledge about world around. From this perspective, to represent surrounding space is music's natural potential. One may observe a spatial turn in art and music. It is worth of noticing that in cultural discourse the understanding of spatiality is spread between two opposite meanings: metaphorical and actual. Physics of spatial sound and biology behind its percpetion lay at fundaments of culturaly cunstructed symbolic space. There exists fascinating links between those two levels, important for understanding "what is so spatial about music".

Keywords: Spatial Hearing, Spatial Music Analysis, Perception And Cognition Of Music

60 Maria de Fátima Lambert1, Paula Freire2 1INED / ESE – Porto Polytechnic Institute, Portugal. 2FCSH – NOVA University, Portugal

From home towards a world…

What can be the role of music in museum exhibitions? That was the main issue when we conceived the curating project “From home towards a world…”. In the early weeks of the pandemic confinement new ideas emerged trying to overcome the once (and still) current situation. A group of Portuguese creators conceived the main idea, and the curating project was developed and presented at the 21st Bienal Internacional de Cerveira. The opening took place the 1st august 2020 but the journey of this exhibition did not end there. We might wonder about the impact of this exhibition, why suddenly so many directors and cultural centers in Portugal and Spain expressed such an interest about it. And the itinerancy will go on during 2021. The answer was prompt: the triadic connection between Literature, Painting and Music is quite unusual and proposes new glimpses that might surely to be more and more often developed in a near future of ours. The process took place between visual artists, writers and poets and then in a second phase, with composers (and musicians). Everything was achieved in unexpected completeness through zoom meetings, uncountable WhatsApp messages. Let us recall that this curating project reveals an historical goal that seduces philosophy, aesthetics, poetry and music since past knowledge and creation. The Aedo performances in Ancient Greece (Triunica Choreia) articulated intrinsically dance, music and poetry and deeply moved the audience. Curiously, for the main public, during centuries in Occidental Art History the aesthetic reception was much easily organized and surrounded by the power of image. Even nowadays, we understand that non-specialized audiences and publics are more acquainted with Contemporary Visual Arts than with the most recent languages and tendencies of Performative Arts. Sometimes people reveal their difficulties concerning its understanding. Of course, Literature astonishes their readers and questioned their aesthetic taste. But, never losing our faith, lets jump and recall the utopias by Nicolas Poussin, when in the 18th century he aimed for a kind of interrelated achievement of analogical contents between music, poetry, and painting. These and other ideas and facts, that we can easily identify in Literature, Art and Music History were bounced by the acting out of artists and musicians in the Occidental Avant-gardes in the early years of the 20th Futurism, Dadaism or Bauhaus and after, in Contemporary Culture Era with John Cage, Fluxus Group, among other cases. However, in a curating mood, most of the time, music assumed a kind of invisible presence, improving the aesthetic environment where the visual works were displayed, but not being interrelated at the state of a prime time of creation with words and images. The creation process that took place with From home

61 towards a world… took as a huge challenge the accomplishment of a multisensory culture. We wanted to explore the challenge of incorporating 15 contemporary music composers in this curating process, in a third moment. The colors and words revealed the identity of inner worlds that are deeply thrown in the music, acoustic or electronic, performed by different musicians, instruments, or technological procedures.

Keywords: Curatorial Process, Museum Exhibitions, Writers, Visual Artists And Composers.

Maria Inês Pires CESEM / FCSH – NOVA University, Portugal

Portuguese musical groups dedicated to the erudite contemporary music repertoire: new research directions

In the 1960s, a new generation of composers like Filipe Pires, Jorge Peixinho, Emmanuel Nunes, Constança Capdeville, Álvaro Salazar and Cândido Lima began to have contact with renowned European composers, as for instance Luigi Nono, Karlheinz Stockhausen, Iánnis Xenákis, Pierre Boulez, Pierre Schaeffer and Henri Pousseur. Influenced by them, Portuguese younger composers took the first step towards a profound change in the Portuguese musical panorama. In this way, the musical ideas that were developed in France, Germany and in other Center Europe countries, such as musique concrète, serialism and others, started to be introduced in Portugal. Nevertheless, the contemporary repertoire of the Portuguese music scene continued to encounter adversities, which led to some composers starting their own musical groups. For instance, Jorge Peixinho created Grupo de Música Contemporânea de Lisboa in 1970, Cândido Lima started Grupo Música Nova (1973), Álvaro Salazar formed Oficina Musical (1978), Constança Capdville established Colecviva (1985) and Miso Ensemble was founded by Miguel Azguime and Paula Azguime (1985). If until 1985, we usually observe a presence of a composer on the contemporary ensemble group foundation, from the 1990's onwards, the presence of musicians and other identities on the creation of an ensemble become more common. Several groups emerged, such as Contracello Duet (1993), Drumming (1999), Remix Ensemble (2000), OrchestrUtopica (2001), Ensemble 20/21 (2003), Síntese Grupo de Música

62 Contemporânea (2006), Sond’Arte Ensemble (2007) and Performa Ensemble (2007), among others. Our proposal intends to analyze the actual state of knowledge on Portuguese musical groups dedicated to the erudite contemporary music repertoire. After a study of the existing sources available that concern the history, we found that there were no consistent and in-depth studies on these groups. In this context, we will focus our presentation on their emergence history as well as relevant in the Portuguese music panorama. Simultaneously, we intend to present the future direction of our research regarding this theme.

Keywords: Erudite Contemporary Music Ensembles, Erudite Contemporary Portuguese Music

Mariachiara Grilli GATM – Gruppo Analisi e Teoria Musicale, Italy

How to analyse Scelsi’s music? Methodological inadequacies and a possible approach

Scelsi conceives sound as a material and three-dimensional object: its sphericity means that it is inseparable in its constitutive components. This materic understanding finds its actualization through the development of a linguistic project for each instrument (Morini, 2001), where the performance technique itself is a compositional parameter. The centrality of timbre and instrumental peculiarities makes it impossible in analysis for us to restrict ourselves to the pitches alone, inasmuch as what we identify as gesture becomes itself a linguistic feature. It thus appears clear that the Scelsian score, with respect to the performative act, shapes itself as an incomplete object. In light of this, our position-paper shows how consolidated analytical methodologies are inadequate. Western musical- theoretical systems have almost always focused on two foundational aspects, namely structure and syntax, and are mostly based on the idea of a hierarchy of the relationships between sounds. However, the traits of materiality and inseparableness, which are upstream of the composer’s mindset, lead us here firstly to suppose an absence of hierarchy between structure and syntax and secondly to overturn and at the same time annul the difference between primary and secondary parameters. Indeed, intensity,

63 speed and thickness of sound are neglected in the most commonly-applied analytical methodologies, evaluated as secondary. Such an attitude leads us to think of listening as the key moment of the analysis, as it seems to be the only means through which a genuinely closer approach to all the characteristics of sound is effectively possible, always keeping Scelsi’s philosophical-conceptual references alive in the background. Hence, we formulate the hypothesis that it is what is salient (and no longer primary) that can take on a grammatical value. Lending centrality to the sound-instrument relationship finally leads us to speculate whether it is really necessary to look for any stylistic uniformity in Scelsi’s scores, even more if we bear in mind that much of the existing literature relating to these shows that where an attempt to apply consolidated methodologies is detectable, it involves only a part of the piece studied. This weighting also recalls the inadequacies highlighted above; some of the approaches arise from a sort of “analytical bias”, as a result of which each scholar tends to employ the methodology with which they are most familiar or, in the case of ad hoc approaches, to construct an analytical criterion on the basis of which they tend to search for exactly what they intend to find. Therefore in many cases the analysis appears to be of a “traditional” and “classical” kind, as traditional and classical are the elements and the situations sought after, often forcedly. Terminological inconsistencies and lack of homogeneity are the result of these attitudes, together with a tendency to consider as structured only that which appears to lend itself to definition through traditional terms. Ultimately, the sphere configures itself as a need for new analytical approaches, which cannot ignore the conceptualperformative framework that underscores it.

Keywords: Scelsi, Analytical Issues, Sphere

64 Mariana Miguel1,3,4, Ana Telles2 1LAMCI–CESEM / FCSH – NOVA University, Portugal. 2CESEM, Évora University, Portugal. 3Companhia de Música Teatral, Portugal. 4Évora University, Portugal

Become One: an experience in prepared piano, live electronics, and creativity within a minimalistic framework

This paper presents an overview on the creative process and research involved in the making of a musical work for the purpose of a Masters in Performance (Piano) at Universidade de Évora, attended by the first author and tutored by the second author. The creation of the piece “Become One” and its public performance were at the heart of an investigation based on experimental creative practice at the piano. Inspired by the instrumentation and compositional processes of Steve Reich’s Music for 18 Musicians, the purpose of this investigation was to 1) research and record inside-piano sounds and techniques which resembled Reich’s work (namely string instruments and percussion mallet instruments); 2) identify and apply the compositional processes used by Reich and Perotin (whose techniques inspired Reich); 3) use the Ableton Live software and electronic devices to create, manipulate and perform; and 4) create a new musical work using the mentioned processes which could inspire others to explore contemporary piano techniques while also stimulating creativity. Based on Bunger (1973), Vaes (2009), Shockley (2018) and Mayas (2019), and embedding past artistic experiences, an interaction was established between the piano, the artist and materials such as wooden clothespins, bamboo chopsticks and fishing line. The use of materials and techniques was documented on the thesis and their usage shaped the ideas and structure of the piece, considering both the possibilities available and the constraints of certain techniques. The compositional analysis of Reich’s work was backed by Reich (1976) and Mellits (2009) and complemented with Burkhart (1994) on the proprieties of isorhytmic motets. The use of electronics – namely a laptop, a Zoom-H2n recorder, a digital audio workstation (DAW) and a midi controller – was essential in the forming of the composition, enabling a direct manipulation of the sounds used and immediate previews of the piece. Additionally, it also allowed the limited time available to contact with a “prepare-able” piano to be fully utilized in the creative exploration process. This process of composing, recording and manipulating the piece is further described in this paper, specifically the usage of Ableton Live, its functionalities and its integration with a MIDI controller, used in the performance. The research undertaken and resultant artwork are an example of a possible bridge between piano performers and the use of the full capabilities of their instrument, as well

65 as an example on the use of software and electronics as an aid to compose using inside piano techniques. This might be of interest to pianists, piano students and other musicians interested in exercising their creative skills. However, further studies are relevant in determining the limitations of this process within minimalistic music, exploring the possibility of performing the piece with an ensemble instead (mentioned in the thesis) and developing a multidisciplinary approach to the described interaction (for instance, resourcing to video-art).

Keywords: Artistic Research, Creative Practice, Inside Piano

Martin Laliberté University Gustave-Eiffel, France

Electroacoustic performance as an act of creation: networking with technology with a musical exigence.

Since the 1960’s, electroacoustic music has aimed towards live performances, both with fixed-media pieces with sound diffusions systems or different “acousmoniums”, and with live tools such as synthesizers, microphones, sound sources and various real-time sonic treatments. Since the 1980’s it also became possible to perform live totally digital pieces and carry on the analog live habits and methodologies. In the wake of Boulez, Manoury, Murail, Dufourt and many more, real-time digital music was the musical challenge of my generation born in the 1960’s. Now is perhaps a good time to reflect on 40 years of digital live performance. I often wonder if we attained our goal. Did real-time really solve the problems of refined musical expression of electroacoustic music, limited for so long by poor sonic tools compared with acoustic musical instruments or refined tape-music? Many great composers (Vaggione, Stroppa…) do not think so and still prefer mostly fixed-media pieces. On the other hand, today the sonic possibilities are truly immense, both for the studio and for the stage, and often very pleasing to the ear. But are we up to the task of making quality music with those technologies? Or are we a bit lazy still or simply drowned in too many options? In this regard, the current resurgence of modular synths, with their rather poor “analog” sounds and limited sonic options, but with many performative possibilities,

66 seems to make some sense. Could they be more than just a commercial push for ever- changing technologies? Since the 1990’s, the impact of the joint possibilities of open modular programming languages, such as Max, Pure Data, Super Collider or ChucK, with various gesture and sound acquisitions tools (MIDI or USB instruments, joysticks and pots, sonar, IR pads, cameras and mics of all kinds…) appears very significative. In my opinion, despite their individual limitations, the accumulation and networking of those various tools, surprisingly stable overtime, allows to create proper “meta” musical instruments that an experienced performer may invest time in, in order to go beyond the slightly lazy approach and truly start to perform musically in the highest sense. This conference will try to argument and demonstrate that live composition, improvisation and performance are now more than ever possible and that we may achieve satisfactory artistic results, providing we do not lower our musical expectations. This conference could be illustrated by live examples and/or a short performance (voice and live electronics).

Keywords: Live Performance, Electroacoustic Music, Critical Thinking

Monika Karwaszewska1, Beata Oryl1, Michał Garnowski2 1Stanisław Moniuszko Academy of Music, Gdańsk, Poland. 2Independent Visual Artist, Poland

N44n – Circulating echo of an action as an interactive repetition – in contemporary music, choreography and visual live performance

Nowadays, the technologies and elements used in a contemporary live performance such as lightings, clothes, sensors, computers, loudspeakers arrays, even humans are tools to express art. The performer mission in working live performances with contemporary music and choreography, interactive installations, and digital films is to create artwork that best reflects and engages contemporary society. Interactivity between dance and music allows the artists to pursue new way to show expressivity. Interactive dance places quite different demands on the dancers – is a primarily visual medium. It is essential that artistic work relies mainly on the creativity of the contributors not the

67 methods work, which are just the way to achieve such intermedia art. Technology’s role in live performance is to try to achieve an interactive medium. The subject of studies and analyses will be the electro-acoustic piece contemporary polish composer Jacek Grudzień, which has become the inspiration for an intermedia performance art “N44n” This audio-visual work is the result of the collaboration between the composer, the choreographer, the visual artist and the music theoretician. The live performance art that will be presented at the conference is a synthesis of several actions: performing movement to the music, an interactive visualization of improvised movement inspired by the music and the interactive visualization. The musical layer will be subjected to choreographic interpretation recorded in video form which, in turn, will provide scope for exploration in the visual environment, whose deformations and transformations affect the moving performance artist, who is at the same time a medium that affects the lighting and visual phenomena happening on stage. As a consequence, created is a picture of coexistent and collaborative bilateral planes, blurring the boundary between the initiator of the action on stage and the role subordinated to the artefact in the making. Each of the assumptions adopted is intended to show the dynamics of the creative process, which through successive choices made by artists in response to the effect of computer activities, as a result creates an interdisciplinary, generative aesthetic work.

Keywords: Intermedia, Music Choreography, Live Performance

68 Nicola Bizzo CESEM / FCSH – NOVA University, Portugal

The music of Queen between movies and videogames

The relationship between the music of the English rock band Queen and the other visual media is quite complex and can be analysed following different paths: the iconography of the rock band spans several media and forms of communication, from the static LP and singles covers to the moving images of videoclips and the deep relationship with movies, not forgetting the use of studied costumes during live shows (for example citing the dancer and choreographer Vaslav Nijinskij) with the aim to increase the dramatic impact of the performance. Another main direction started in 1980 with the soundtrack of the movie Flash Gordon, for which Queen wrote the music mixing together the sounds of synthesizers and orchestra giving the movie a similarity with a classical opera for the general conception and the proportions of the musical score; besides that the use of the leitmotiv recalls the Wagner’s revolutionary idea to connect the music and the character. And the use of electronic instruments gives the movie a clear musical direction, so in this case the music shapes the final perception of the movie itself. Six years later Queen decided to write the music for another movie, the sci-fi Highlander. This time, they preferred focusing on more standard songs-form structure, but they were strongly influenced by the story itself and its characters and therefore the soundtrack keeps these elements and gives them new form: even in this case the collaboration with the movie director was a central point and it will go on in videoclips too, that are strongly related to the movie general atmosphere. In 1998 the English group decided to give their music a new life bringing it to a videogame, for the project called The eye: this time the original songs were newly mixed in order to achieve a better integration with the action-adventure electronic videogame structure, focusing mainly on music and disregarding the lyrics. Even the structure of the songs themselves changed to better meet the needs of the new media: this can be read as new possibility of the music that shapes itself accordingly to the final media in which it will be used in a challenging transformation that is deeply connected with a new aesthetic never seen before.

Keywords: Queen, Soundtracks

69 Nuno Fonseca IFILNOVA / CESEM / FCSH – NOVA University, Portugal

Music in the white cube: music exhibited as sound art

When hearing the words “sound art”, those less acquainted with recent trends in the art world or even with the jargon of contemporary art will immediately think of music. Music is traditionally the art of sounds, the same way painting is the art of colours (on a surface) or sculpture is the art of materials and volumes. Of course, anyone slightly familiar with the evolution of modern art knows that this simplistic view doesn’t apply anymore to the extent that a manifold of synesthetic correspondences and experimental crossovers have put disciplinary boundaries into question, at least since the early twentieth-century avant- gardes (Futurism, Dadaism, Surrealism, etc). Not only have sounds been used as a medium in the visual arts, but contemporary visual artists have also somewhat co-opted sounds in what has been called “sound art” as opposed to music. Even though the term is rather vague and contentious –hardly adopted by the artists themselves–, curators, art critics and gallery owners have often clung to it as a way to promote artists and practices where sound is used as a medium or a semantic reference. In fact, efforts have sometimes been made to detach “sound art” from music. Music being the art of tones, melodic, harmonic and rhythmic structures (tonal organisation) and “sound art” the art of unpitched sounds or sounds-in-themselves. Notwithstanding, some contemporary artists (with arguably some well-known forerunners, like Duchamp [Musical Sculpture], Yves Klein [Monotone Symphony], La Monte Young [Theatre of Eternal Music’s Dream House] or Nam June Paik [TV Cello]) have recently brought music – in the traditional sense of organised sound – to the art gallery and to the museum. Not merely with the purpose of using the art venue as a different scenario or the art patrons as a different audience for the typical execution of a composition, but instead using music as another time-based medium – the same way as artists resort to film, dance or performance nowadays – or a cultural reference to express their creative ideas. The focus would therefore no longer be in the execution of purely musical ideas but in plastically or conceptually exploring music as a medium, an environment or a cultural (social and political) phenomenon. After a brief discussion of some historical encounters between music and visual art (from Satie’s “musique d’ameublement” to Reich’s Pendulum Music), I will address the conceptual challenges of talking about “music as (sound) art”, distinguishing between (different notions of) music, nonmusical sound art, music about or inspired by art, art music, music in the context of multimedia art and art about music –distinctions that will inevitably disclose grey areas where notions become too entangled–, whilst dismissing some situations where music is performed in art venues but is not considered (sound) art, such as music played for the inauguration or on the occasion of art exhibitions or

70 music used in museums as mood music. While addressing these fine distinctions, I will mention some examples from contemporary artists (Sala, Marclay, Benjamin Meyers and Graham) that will be helpful in shedding light on the specific use of music as an artistic medium and cultural reference.

Keywords: Music, Sound Art, Art Venues

Nuno Torres CESEM / FCSH, NOVA University, Portugal

SPECTRUM: Autonomous robotic gesture and processes of deconstruction of a human-centred performance practice.

Spectrum is a project that seeks to challenge the listening relations established by current radio paradigms. It aims to explore the media of radio, furthering the initial experiments of John Cage, Maryanne Amacher and Max Neuhaus. In this presentation I will describe the development of the project, and dwell on the inquiries that arose in that process. The project, initially developed as a sound-installation, comprises a radio choir whose “voices” rely imminently on the reception of live FM broadcast, Spectrum is composed of a set of radios, each attached to two step-motors controlled by a microprocessor – one operates the frequency knob and the other the volume knob. An additional microprocessor hosts the score and controls each of the radios through a dedicated local wi-fi network. The piece is run by a PureData patch, and each of the radios has a Python programme that receives the commands via Open Sound Control (OSC). This project closely follows the work developed by John Cage in Imaginary Landscape No. 4. The sound material of this piece relates deeply with the local context where it is presented, being partly dependent on the content of the broadcast that occupies the electromagnetic spectrum, thus conferring a character of indeterminacy inherent in the composition. With Spectrum I seek to expand Cage's work by adding a machine element to the execution/manipulation of the radios, but also allowing the work to be presented in a sound installation format. This project, framed in a practice-based research, raises a set of questions and premises that are a contribution for a reflection on agency in composition and performance. In the

71 compositional domain, as in Cage's piece, indeterminacy is inherent, but in Spectrum it is reinforced by adding randomness. The composition structure of Spectrum is based on an algorithm that comprises a determined timeline, in the course of which are introduced instructions for the random activation and manipulation of each radio. In each iteration the algorithm rewrites and completes the score, raising questions such as how it defines the limits of the performance itself. In the performance domain, automation and machine control inquire notions of agency. A new layer is introduced to Cage's piece, where human agency is replaced by non- human. This reshapes the performative dimension of the work, suggesting an autonomous and robotic gesture, and initiating a process of deconstruction of a human- centred performance practice. Thus, in the context of this research, I question the relationships that can be established between different levels of control in composition and the modes of autonomy in performance.

Keywords: Radio, Robotization, Automatism

72 Pavlos Antoniadis1,2, Aurélien Duval1, Jean-François Jégo3, Makis Solomos4, Frédéric Bevilacqua5 1EUR-ArTeC, Paris 8 Unversity, France. 2TU Berlin-Audiokommunikation – Humbolt Stiftung, Germany. 3NREV-AIAC, Paris 8 University, France. 4Musidanse, Paris 8 University, France. 5UMR STMS IRCAM-CNRS, Sorbonne University, France.

Dwelling Xenakis: An augmented reality project on ‘Evryali’ for piano solo

Iannis Xenakis’ Evryali is his second piece for solo piano (1973). The title means “another name for Medusa. It means wide sea” (Xenakis), and we know that the sea (a rough sea more than the calm sea of a gulf) is an important reference for Xenakis’ music. The piece is mainly composed through graphics. It is the first piece where Xenakis draws “arborescences”: “a tangle of lines in pitch-time space. This entanglement […] undergoes rotations, dilations, deformations, etc.” (ibid.). Two other types of sonorities are used: repeated notes or chords and point sound clouds. The whole composition is rather simple, even if the global form is not very clear (like in other Xenakis’s pieces); it works with exploiting one sonority after the other and, from the middle of the piece till the end, there is a fragmentation leading to a kind of exhaustion of the material. Evryali is a very difficult and exhausting piece for the performer. The same probably for the listener, because of Xenakis’ harsh sonorities and dramaticity. This project would propose a way to “dwell” Xenakis’ music in the ecological sense of the word, that is through constructing multiple links between the existence of the piece, the body and mind of the performer, the surrounding space, the listeners and their affects and so on. We will address these questions through a new paradigm of pianists’ interaction with Xenakis’ notation, defined as embodied navigation and inspired by radical embodied cognition (Antoniadis, 2018, Antoniadis and Chemero, 2021). Its novelty lies in ecologically rethinking the classic notion of textual interpretation as embodied interaction, and musical performance itself as a dynamic system The paradigm has been materialized in the GesTCom (Gesture Cutting through Textual Complexity) (Antoniadis, 2018), a dedicated interactive system for learning notated music. At a first stage, it is a modular, sensor-based environment for the analysis, processing and real-time control of complex piano notation through multimodal recordings. Recently, we have integrated live full body motion capture and augmented reality applications to create a hybrid space consisting of symbolic and physical elements, a sort of ‘palimpsest’ for interactive scenography. We will be presenting the documentation of a recent augmented reality

73 concert at Université Paris 8, trying to address the tensions between textual interpretation and embodied performance and offering a vision for the new generations of Xenakis’ performers.

Keywords: Xenakis’ Performance Practice, Embodied Cognition, Ecology Of Music, Augmented Reality, Motion Capture

Rachel Becker Boise State University, USA

The gendered physical narrative of wind virtuosity: Pasculli, the opera fantasia, and the female oboe

Whether it is the discomfort of circular breathing or the flourish of a bow, physicality holds power over an audience. Visual aspects allow the audience to empathize with the performer: to recognize the difficulty of their task and to become more fully invested in the emotions and affects of the piece being played. But simultaneously, visual aspects of playing become an arena for restrictions in who may play what, and virtuosity produces a tension between the enjoyment of the player and of the audience, between what is comfortable and what looks good, and also emotionally “between appearances and an interiority not ultimately accessible to display”, as Elisabeth Le Guin argues. Further, critically, virtuosity reads differently for different instruments, for different times, and different places. Le Guin focuses on eighteenth-century performance, but applying her analytical methods to the virtuosic oboe works of Antonio Pasculli (a fixture of Palermo musical life in the late 1800s) proves similarly enlightening of nineteenth-century virtuosity, the nineteenth- century body, and the nineteenth-century performer-composer. Here I focus on the physicality of oboe performance (and its appearance in Pasculli’s music) and the connection of this physicality to the firm rooting of the oboe in the physicality and emotions of the female body and mind. The ubiquity of the “carnal” when performing does not diminish its legitimacy as a means of analysis; instead it supports this approach. Every instrument is rooted in physicality, but the differences between instruments are clear and illuminating.

74 A review from 1988 describes oboist Léon Goossens as having “showed the way to making the instrument (previously considered “too strenuous”) into one suitable for young ladies”, showing the continued resonance of the oboe’s tricky historical physicality. More subtly, a review from 2000 of oboist Yeon-Hee Kwak’s recording of five Pasculli pieces remarks, “that this extraordinary young woman doesn't pass out is truly a miracle”; this is certainly gentler in its problematic association than an assertion that the bassoon can only be played by a strong man, but it does recall entrenched concerns over the oboe’s suitability for women. I challenge you to consider whether you can realistically imagine a review which concludes “that this extraordinary man doesn’t pass out is truly a miracle”. The oboe remains even now an instrument whose need to be controlled, and whose resistance to such control, reflects a nineteenth century conception of a woman’s body and of the activities appropriate for women. Beyond this, the intricate connections between the physicality of performance and the musical content of fantasias magnify narrative possibilities in these works, allowing the operatic women portrayed within them to escape their operatic tragedies and actively perform their own happy endings.

Keywords: Gender, Physicality, Instrument

Robert Jedrzejewski Fryderyk Chopin University of Music, Warsaw, Poland

What, where, when and why it is happening?

We are not spontaneously aware of duration when we give our whole attention to the present situation, that is when we are not made to turn to any other time of action through our needs or through social necessity. In other words, we are not conscious of time when we are fully satisfied with the present situation. We become spontaneously aware of time in media res (into the middle of things) only when we are dissatisfied in some sense. There are two main factors: waiting (as in the conscious interval between the emergence of a need and its fulfilment) and the effort of continuity (the obstacle to be overcome in order to complete a task once initial impulse has been exhausted). What sort of "time" are we becoming conscious of in such cases? It is not a quantized variety of temporal experience, not that sort we might refer to as "real". The latter variety would probably have a more objective, measured quality based on the rate of some reliable clock.

75 Its duration, like the richness of its contents, depends on the possibilities for the organization of successive elements into one unit. As our perception of succession is dependent on the possibilities of organization, everything which facilitates this - the attitude of the subject, grouping by proximity, structure, meaning - increases the richness of what constitutes the present. It is perfectly accurate to say that a sense of time can only exist where there is submission to reality. Through imagination, tension / anticipation and decision (act of ostension), to reactions and evaluations that close the autopoietic loop (feedback).

Keywords: Improvisation, Composition, Creation, Intuition, Perception

Ryan J. Lambe Music Department University of California, USA

Performative/Transformative: performance and participation in queer amateur community music

In US queer open mics—activist, amateur performance communities centering LGBTQ and queer of color experience—participants repeat both “performative” and “transformative” to describe live musical and cultural performances. In this talk, I examine this performative/transformative dialectic used by queer open mic participants to interpret, create, and value performances. This investigation explores the terms used by performers and audiences to talk about performances. While the term “performative” originated in the humanities and made significant interventions in music scholarship, it has taken on meanings in activist spaces that depart from those in the academy. In some activist spaces, having one’s work described as “performative” can represent an indictment of one’s inauthentic intentions. Queer open mic participants favor what they call “transformative” acts over “performative” ones. In doing so, they attempt to differentiate themselves from white feminism, neoliberal cooptation, and open mics in general. Whereas open mics generally prioritize training towards a professional career, queer open mics eschew professionalization as “performative.” Instead, queer open mics value “transformative” sonic acts that build community and facilitate healing through individual expression. Drawing on my fieldwork in US queer open mics, I use thick

76 descriptions of performances to demonstrate how “performative” describes precomposed, success-oriented, and presentational work. By contrast, its supplement “transformative” signals anti-normative, amateur, improvised, and activist-oriented performances. Expanding literature from performance studies and queer studies, this research sheds light on community musical performance practices resisting wide circulation in favor of intimate participation. This talk translates emic queer sound theories for the academy by tracing the changing usages of performativity in performance.

Keywords: Amateur, Queer, Translation

Sara Belo Lisbon Theatre and Film School – Lisbon Polytechnic Institute, Portugal

The voice as creation. Pre-voice and vocal theater

What is left of the voice in the scene when it is not based on verbal or musical language, that is, when these structures are not its main driver? In other words, what can a performer vocalize on stage if we suppress words and singing (in its tonal logic)? At this conference, some of the results of the doctoral research will be shared, where the theme of voice as a driver of creation was essential. To that extent, we sought to study how the voice can be the conductor of scenic creation, leaving out vocal experimentalism that does not include the scene, theatricality. Following the work, the concepts of “Pre- Voice” and “Vocal Theater” were proposed, whose scope will be explained ahead. From the artistic/researcher point of view, not only the construction of artistic objects, but also the observation of the work of other creators are part of this research. Thus, Francis Bacon's painting was taken as an inspiration for vocal improvisation in search of the voice taken from the logos and the polyphonic tonal system, as well as the artistic path of Cathy Berberian, Alfred Wolfsohn, Roy Hart, Enrique Pardo, Linda Wise, Meredith Monk, Fátima Miranda, finding in their resonances countless proposals of the voice as the engine of the scene. Likewise, the MAGMA show (a show conceived within the scope of this research) formulated important study clues, analyzed in the light of a post-dramatic and contemporary belief. The concept of pre-voice, as a result of the original study for this research, seeks to find the ontological genesis of the voice, in what precedes it and drives its emission. It relates

77 to the pre-pictorial developed by Deleuze, to that of Simondon's pre-individual, to the idea of Barba's pre-expressive, as well as the idea of suspension defended by MerleauPonty. It can be defined as: everything that is in power (inside and outside the expresser) before the voice emerges and that will condition its appearance. The pre- voice is the gesture, the moment that precedes the vocal emanation, therefore, it is the silence or the inspiration, where the entire body of the performer empties itself of references or suspends them to surrender to vocal gesture. Therefore, the pre-voice is not the voice, but what precedes it: a silence imbued in sense – it is power and sense. When analyzing the typology of a performance where the theater and the voice cross and where the voice is the place of theatricality, we witnessed the concepts of Extended Voice Technique, Nuova Vocalità, Crossover, Musical Theater, Composed Theater and Postopera a designation, opting for Voice Theater, a theatrical show of a post-dramatic nature, engine of which is the voice in its multiple aspects. Its characteristics –centrality of the voice, vocal research, interdependence with theatricality and dialogue with other artistic areas– are revealed through the voice personified in a body/being as a result of the pre-voice.

Keywords: Voice, Pre-voice, Theatre, Vocal Experimentalismo

78 Serge Lacasse Faculté de musique, Laval University, Canada

The three (confusing) modes of existence of music: composition, performance, phonography

In today’s world, we may access music in many ways, including scores, concerts and recordings. Musical traditions will favor one of these musical forms of expression according to various criteria: Western classical music, for example, will consider the score as the main work, while electroacoustic music will find the work in the recording. Similarly, many folk music traditions will access music mainly through live performances. Even though most traditions will combine all three forms of expression in various proportions, it appears that a lot of confusion still exist among music practitioners and researchers. This paper proposes a model for characterizing music’s “modes of existence”. The model constitutes both a critique and a prolongation of Gérard Genette’s perspective on the “Immanence and Transcendence” of The Work of Art (1994/1997) relying on the work of other writers such as Theodor Gracyk (1996). The model aims to establish a dialog between theoretical and pragmatical visions of music. Namely, it proposes a tripartite model of music (composition, performance, phonography) that coincide not only with how we experience music in the everyday but also how it is defined in legal terms, notably in the context of copyright law. Following Genette, the model also aims to reconcile (as much as possible) idealist and nominalist conceptions of music. It is hoped that this approach may help us better understand how different people and communities might related to music, and hence offer us an alternative way to understand each other.

Keywords: Music; Ontology; Philosophy

79 Serge Lacasse, Sophie Stévance Faculté de musique, Laval University, Canada

Research-Creation in music as an interdiscipline: from definition to action

The advent of artistic disciplines in North American universities in the early 1970s profoundly questioned the primacy of the scientific model (particularly the scientific method) recently adopted by the humanities and the social sciences. Without rejecting this scientific model altogether, the development of artistic disciplines has exposed ontological questioning, semiological systems and disciplinary practices to novel scientific procedures and new vocabularies. At the same time, it led to progressively adapting and assimilating certain characteristics of the scientific model and its general “method.” It is following this integration into the university ecosystem that the concept of “researchcreation” emerged. Appearing in Canadian universities in the 1980s, it can be described as the artefactual disciplinary counterpart to the scientific model and method in the context of the knowledge of higher learning. At the same time this integration of the arts at the university level occurred, new problems have gradually emerged and are multiplying in the field of contemporary reality, calling for epistemological flexibility that is at the very center of research-creation, its artefactual and scientific being. Accordingly, we have proposed the following definition of “research-creation”: “Research-creation is understood as an approach applied to an individual or multiple-agent project combining research methods and creative practices within a dynamic frame of causal interaction (that is, each having a direct influence on the other), and leading to both scholarly and artefactual productions (be they artistic or otherwise)” (Stévance and Lacasse, 2018, p. 123). Approached from this point of view, research-creation in music can be considered a true interdisciplinary approach where individuals may actively collaborate using an integrated approach combining theories and methods from their respective disciplines with the goal of mutual enrichment and enhancement. What conditions are needed to build a coherent research-creation project in music? How can spaces of dialogue, collaboration and interaction –represented by the hyphen that forges the expression “research-creation” (Stévance and Lacasse, 2013)– be put in place, particularly in music? This paper therefore proposes to discuss this transversal space, the ecosophical interaction aiming to share unique experiences (creation), and to measure, describe and understand the entanglement of the relations that all the participants, researchers and creators weave together (research). We thus hope to offer an open and fruitful space of reflection around this intimate encounter between research and creation illustrated by examples of actual researchcreation projects.

80 Keywords: Research-Creation; Music

Simonetta Sargenti Conservatorio Guido Cantelli, Novara. GATM, Gruppo Analisi e Teoria Musicale, Italy

Creative performance and technology evolution: an example of analysis.

Background Performance is the heart of any musical production. The whole history of music, arises from performative experiences, however in the context of Western cultured music a particular relevance is attributed to the score. The role of performance has been re- evaluated since the second half of the twentieth century in particular through the technological evolution. This also produced a development of theoretical studies that have re-evaluated the performance even in the context of cultured musicology. (Berry, Cook). Furthermore, this last historical phase, the year 2020, due to the pandemic a further increase in the importance of performance has occurred. However the centrality of performance if it takes advantage of technological evolution does not always correspond to a tools availability for everyone. Aims and methods A different development of the sustainability of technological tools that make the role of the performer a main role, it is present for example in several works belonging historical repertoire of the 20th century. Interesting examples can be: Solo by Karlheinz Stockhausen and A Pierre. Dell’azzurro silenzio, inquietum by Luigi Nono, in which a decisive role is given to the performer through live electronics sound processing. Both these works have undergone a different evolution demonstrable with a brief analysis of the instrumental score and of the live electronics part. While Solo has reached a very advanced level of democratization of the performance’s tools A Pierre still needs greater complexity and costs to be performed. I will show here with some examples this different evolution. The examples proposed highlight: 1. the central role of the performer;

81 2. the development of sustainable tools for performance and the need for further evolution of technological tools. By sustainability I mean the availability of tools for everyone at no particular cost. Conclusions If performance is currently a creative event also supported by the use of technologies that allow real-time transformation on the one hand and remote performance on the other, then the role of the performance is increasingly central. A future perspective should therefore be a progressive sustainability of the tools that allow the development of such creativity that concerns both: the extension of sustainability to artistic production and to teaching tools.

Keywords: Performance, Technology, Sustainalility

Stephen McAdams1, Eliot Briton2, Keith Hamel3, Roger Reynolds4, Caroline Traube5 1Schulich School of Music, McGill University, Canada. 2School of Music, University of Toronto, Canada. 3School of Music University of British Columbia, Canada. 4Department of Music, University of California, USA. 5Faculté de musique, University of Montréal, Canada.

Composer-performer orchestration research ensembles

Within the Analysis, Creation, and Teaching of Orchestration (ACTOR) international partnership, five graduate-level Composer-performer Orchestration Research Ensembles (CORE) groups were formed in Canadian and U.S. universities (McGill, UBC, UCSD, UMontreal, UToronto) to promote and document collaborative orchestration problem- solving between performers and composers. In the first round in 2018-20, 22 short pieces or études for a quartet of violin, bass clarinet, trombone and vibraphone plus small percussion were composed. This unconventional instrumentation was selected for posing unusual challenges in achieving blended sounds and smooth transitions between instruments, thus bringing collective orchestration decision-making between performers and composers to the fore. Using the same instrumentation at all institutions and identical recording protocols developed by Martha de Francisco of McGill in collaboration with UCSD colleagues allowed for direct comparison of evidence from each institution’s

82 activities, forming a basis for more elaborate analysis and experimentation (as well as sharing pieces between institutions). Concerts and readings were held at UBC and UToronto and recordings were made at UBC and UCSD. Although the pandemic halted final concerts and exchanges of pieces across four of the universities, which will be resumed in 2021, the project nonetheless has already given rise to a plethora of material for analysis. One primary aim of the current project is to analyze these materials from the perspectives mentioned above to better understand the conception and realization of orchestration in young musicians in a researchcreation setting. Throughout the CORE project, the creative processes of exploration, orchestrational problemsolving, and the realization of new music were recorded, documented, and archived for consideration. Sketches and scores, recordings of workshop sessions, rehearsals with transcriptions of performer-conductor-composer dialogues, and concert or studio recordings are being examined alongside transcriptions of video interviews with performers and composers and texts written by them. We have three analytical aims in mind: 1) to combine score and aural analysis of recordings according to taxonomies of perceptual effects, orchestration techniques, and planal analysis, 2) to examine the evolution of orchestrational thinking in young composers through sketch studies, interview analyses, and the terminologies for orchestration techniques, perceptual processes and timbre perception that arise in discussing orchestration, and 3) to analyze verbal interactions between performers, composers and conductors in a problem-solving situation. For example, how do different types of orchestration affect the experience of interpretation and performance? Is the sense of “musicality” affected, restrained or renewed by a given approach to orchestration? Text and discourse analysis of interview transcriptions and written texts are also being conducted using computer-based tools such as Nvivo. This presentation will describe the project's goals, aims and methodological approaches at the five partner institutions, certain facets of which will be detailed in other presentations.

Keywords: Orchestration, Composer-performer Interactions, Musical Timbre

83 Teresinha Prada Federal University of Mato Grosso, Brazil

Blirium (1965) by Gilberto Mendes: new perspectives

The musical piece Blirium was created in 1965 by the Brazilian composer Gilberto Mendes (1922-2016) in a phase indicated by musicologists as highly experimental in Brazilian concert music. In this paper we will present a description of Blirium, making connections between the composition and ours days, as a revival of this piece with new alternatives, and its relevance to the virtual media that today gather performers, suggesting chamber formations and even solo performances (the classical guitar will be used). In Blirium there are multiple musical representations, such as the tonal and atonal sonorous means and the deliberate use of musical quotations; however, the highlight is, in fact, its strong experimentalism, which imposes on the performer a series of musical creations choices rather than a definitive score. The Blirium’s sheet music is a register of instructions for the musicians to play according to their own choices, being an improvised and partially aleatory performance, controlled by parameters proposed by the author in the form of tables of musical properties and notes sets, previously established by Mendes for fragments montage: colours, dynamics, articulations, tempo, rests etc., for any musical instrument. The score itself is a script, made for each performer to be in charge of composing their planned parts and there is a chance for improvisation in real time. At each final of parts transition, Mendes proposes the quote excerpts from any wellknown music, classical or popular, that occurs to the performer, and may be improvisations in these quotations of fragments of any song "perfectly recognizable" by the public – it is the moment when Gilberto Mendes called it “uncontrolled freedom”, preferably, doing everything in a very irregular way, including without completing the quotations of known songs, just to suggest to the public an almost souvenir, an uncertain memory of that song. Thus, Blirium forces the performer to think, more than ever, what kind of musical, technical and interpretive choices will make in your interpretation, since it is a music made only of instructions on how to do it – this was what Mendes thought when composing Blirium, which can be seen as a pioneer collaborative work and, in this sense, which can reflect the aesthetic-cultural and technical training (nowadays, also the extended technique) of a performer. Gilberto Mendes' artistic career is a cross between the tonal and the atonal, an approach that he takes between Brazil, the United States of America and Europe, mainly Germany and Austria, reflected in his musical work. A fact pointed out by Mendes considers that, in certain versions, the same interpreter can record your performance in a playback to do together with the live performance. As an artistic work in times of social isolation, Blirium can, after more than half a century since

84 its debut, become an important musical work in dialogue with the alternatives of virtual performance, enabling a musical work that portrays the will of its performers and of the instrumental characteristics, in a variety of purposes that would provide from the ludic to the high musical performance.

Keywords: Gilberto Mendes; Contemporary Music; Classical Guitar.

Tiago Sousa CEHUM – University of Minho, Portugal

Style and individuality in performance - from Hanslick's formalism to contemporary perspectives of authenticity

In his book, On the Musically Beautiful (1854), Eduard Hanslick outlined the foundations of musical formalism. The author defines music as "tonally moving forms", thus establishing both the essence and the proper manner of aesthetically appreciating this art. According to Hanslick's own view, music in itself is unable to represent or evoke feelings. The musically beautiful is absolutely autonomous and any extramusical content we impart to it is purely adventitious. Somewhat surprisingly, however, Hanslick imbues the performer with an unexpected power of expression: to the performer it is granted to release directly the feeling which possesses him […] Here a personal attitude becomes directly audibly effective in tones, not just silently formative in them (1986/(1854),p. 49). In the face of these words, we must ascertain to what extent can a performer's expressive contribution be dissociated from the musical beauty of his performance, through which we are supposed to access the musical beauty of the work itself. In fact, I argue that such a dissociation is not possible. In my communication I will present an argument that demonstrates the incompatibility in granting an expressionist inclination to performance while maintaining a formalist conception of the musical work itself. How can we address this? To shed light on this matter, I shall consider some contemporary positions I find relevant for this debate by Stephen Davies, Julian Dodd

85 and Peter Kivy. We can enumerate, broadly, three evaluative dimensions of a performance, or three kinds of “autenthicity": 1) Identity/ontological dimension. The value of a performance is linked to its degree of adequacy to the composer's normative prescriptions, which establish it's ontologically identity (cf. Davies, 2001). 2) Interpretive dimension. The value of a performance depends on its degree of adequacy to its "essential musical content" (cf. Dodd, 2018, 2020). 3) Creative/artistic dimension. The value of a performance depends on the artistic contribution the performer introduces as a unique and personal element (cf. Kivy, 1995, 2009). The dimension most closely matching the role Hanslick ascribes to the performer is the last one, defined in great detail by Peter Kivy by use of the notion of "personal authenticity". Kivy considers the performance as a work of art in its own right, built upon the composer's "original" work. We may then ask whether there will be a sense of "personal expression" inherent in the creative-perfomance act that is compatible with the constraints of formalism. Kivy claims that it is a mistake to conceive "personal authenticity" as "sincerity". He seeks to explain that, even if authenticity is "personal", it does not imply any representation of "personal feelings", because we can see it as a result of the individual, unique and unrepeatable aesthetical creative power, idiosyncratically characteristic of the performer. I will attempt to argue that Kivy's argumentative expedient of conceptual dissociation between what is artistically personal and what is emotionally personal is also present in On the Musically Beautiful, through an analysis of the Hanslickian notion of "style", the key notion that could resolve the theoretical tension between form and personal expression.

Keywords: Performance; Authenticity, Formalism, Hanslick, Kivy, Davies, Dodd

86 Yuval Adler, Robert Hasegawa, Joshua Rosner Schulich School of Music, McGill University, Canada.

Documenting composer-performer collaborations on orchestrational problem solving

The CORE (Composer/Performer Orchestration Research Ensemble) project within the research partnership ACTOR (Analysis, Creation and Teaching of Orchestration) aims to investigate how student composers and performers solve orchestrational problems through a collaborative research-creation process and to document the creative process of contemporary musicians. At five universities across Canada and the United States, graduate-level composers and performers were organized into research ensembles, working together towards the creation of new pieces for an unusual fixed instrumentation. The selected ensemble of bass clarinet, trombone, vibraphone, and violin posed a unique challenge for composers striving to integrate the four instruments into a cohesive ensemble. The creation of twenty-two new works for this mixed quartet was carefully documented through the collection of sketches, scores, recordings of workshops and rehearsals, video interviews with composers and performers, and written texts. This presentation focuses on orchestrational analysis of three pieces, and the examination of communication of intention between composers and performers. Through score and audio analysis using a perceptually based taxonomy of orchestrational effects developed by ACTOR project director Stephen McAdams, we studied three compositions written by McGill University graduate students in collaboration with the ensemble’s performers. Our analytical approach considered perceptual issues of auditory fusion, segregation, integration, and stratification, focusing largely on the strategies developed by each composer to achieve their desired textural effects. Alexander Blank’s composition, Flow, achieved timbral fusion by means of soft dynamics and registral proximity. Pedram Diba’s Reaching for the Unreachable Point of Desire fuses the four discrete instruments by means of cognitive overload. Diba takes advantage of the limits of human auditory processing by overloading the ear with different pitch and rhythmic information in each instrument, encouraging the perception of a single complex gesture. Quentin Lauvray’s …for narrow is the door… achieves textural cohesion through the use of similar articulations with immediate decay. By combining short violin pizzicati, dry vibraphone attacks, and staccato notes in the bass clarinet and trombone, Lauvray creates an integrated pointillistic landscape. Aside from the different orchestration techniques used by each composer to achieve instrumental fusion, we also observed differences in how composer intentions were communicated to performers through the scores and rehearsal discussions. A high degree of notational specificity yielded varying results, sometimes clarifying the

87 composers’ sonic goals but at other times causing informational overload for the performers and distracting them from listening to and coordinating with the rest of the group. Alternatively, a more "open" and less prescriptive approach to notation encouraged group interaction, but often required supplemental explanations from the composer in rehearsals. Examining the similarities and differences between these three composers’ strategies yields new insight into the problem-solving aspects of composition and orchestration. The materials that were collected are valuable pedagogical resources and offer significant insight into composers’ strategies of instrumental integration in an ecologically valid environment. [This paper proposal is submitted as part of a three-paper panel including contributions from other ACTOR researchers working on the CORE project].

Keywords: Performance Studies, Creative Process In Music, Orchestration, Collaboration

88 Biographies Abigail Sin Singaporean pianist Abigail Sin has appeared in concert halls across the globe as a soloist and collaborative pianist. A top prize winner of several international piano competitions, she is an alumnus of the prestigious Verbier Festival Academy and is a Young Steinway Artist. Abigail is the co-founder of the More Than Music concert series in Singapore, which aims to bring classical chamber music to new audiences. In 2020, More Than Music recorded and released video performances of the complete Beethoven Violin Sonatas, along with educational outreach content. Abigail recently completed a PhD at the Royal Academy of Music, supported by the Lee Kuan Yew Scholarship, under the supervision of Dr Briony Cox-Williams. In July 2018, Abigail joined the academic faculty of the Yong Siew Toh Conservatory of Music in Singapore. //

Agnieszka Draus Agnieszka Draus, a music theorist, is an assistant professor and Dean of the Faculty of Composition, Interpretation and Musical Education of the Academy of Music in Kraków, a member of the Board of the Division of Musicologists of the Polish Composers’ Union as well as a teacher in the Żeleński State Secondary Music School in Kraków and the vice-president of Pro Musica Bona Foundation. In her research activities she has focused on the issues of musical theatre, especially in the works of Penderecki and Stockhausen, as well as on the works of such Polish composers as Lutosławski, Mykietyn, and Stachowski. She published three books and over 50 articles. She conducts classes with students and school youth in the field of music history, literature, musical analysis and methodology, as well as aural training, harmony and the methods of conducting general music classes. She is active in organising musical projects and events. //

Alexandre Damasceno Alexandre Damasceno. Currently studying for a Doctorate in Musical Arts by Universidad Nova de Lisboa, Master in Music - UNICAMP in the area of Musical Performance, Specialist in Teaching in Higher Education by FMU and Bachelor in Music - Drum instrument - by the Faculty of Arts Alcântara Machado. He is a drum teacher in the Alcântara Machado Arts Faculty and the São Caetano do Sul Arts Foundation. As an instrumentalist, he participated in the recording of CDs / DVDs among they are the DVD of Zizi Possi, “Para Inglês Ver e Ouvir”, nominated for the TIM 2006 Award, the CDs “Nem” and “Emily” of the singer and composer Cid Campos and the CD Piratininga, of the group Aquilo Del Nisso. He has also participated in concerts with artists such as Phil de Greg, Henry Greindl, Eva Jagun, Iva Bittova, Caetano Veloso, Arnaldo Antunes, Jaques Morelenbaum, Guinga, Gal Costa and many others. //

Alfonso Benetti Alfonso Benetti is fellow researcher at the University of Aveiro/Inet-MD (Institute of Ethnomusicology - Centre for Studies in Music and Dance), in Portugal. In this context, he has developed extensive work on expressivity and piano performance, autoethnography, artistic research and experimentation in music performance - thematic in which is co-coordinator of a project approved for funding by FCT (Foundation for Science and Technology). He has published articles and

90 participated in several conferences (Portugal, Germany, Brazil, Spain, England and Belgium), is a member of editorial committees of scientific publications and events, a member of the founding committee of the IMPAR (Initiatives, Meetings and Publications on Artistic Research) and an associate editor and founder of the IMPAR-Online Journal for Artistic Research. Benetti is also the creator and coordinator of the Xperimus Ensemble - a group of artists/researchers devoted to the subject of experimentation in music performance. Complementarily, the book Fashion, Music and Feeling, published in co-authorship with Dr. Rafaela Norogrando, is a result of the interdisciplinary character of his work. His artistic performances are marked by a variety of styles and repertoires, involving from classical and contemporary traditional works to musical experimentation and interdisciplinary artistic means. Dr. Benetti has been a guest soloist with orchestras from Brazil and Portugal and has performed in concerts, recitals and music festivals in Portugal, Brazil, Germany, England, Austria and Poland. //

Ana Telles Ana Telles | Agregação (Música e Musicologia), Universidade de Évora (2017); Docteur de l’Université (Musique et Musicologie), Université de Paris IV – Sorbonne (2009); Diplôme d’Etudes Approfondies (Musique et Musicologie), Université de Paris IV – Sorbonne (2002); Master of Musical Arts (MMA, Music – Piano Performance), New York University (2001); Bachelor of Music (BM, Music – Piano Performance), Manhattan School of Music (1999); Bacharelato em Música (Piano), Escola Superior de Música de Lisboa (1995). Ana Telles performs regularly in Portugal, Germany, France, Italy, Ireland, Cuba, Brazil, Taiwan, Canada and the United States, as a soloist or integrated in chamber music groups. Her discography includes over twenty published CD’s. She develops research projects in the fields of Music of the 20th and 21st centuries, Portuguese modern and contemporary music, Piano music, having authored a significant number of book chapters, papers in peer-reviewed journals and musical editions, including a critical edition of Luís de Freitas Branco’s Piano Preludes (AvA Musical Editions). Associate professor with habilitation at the University of Évora's Music Department, she is currently the Director of the School of Arts of the same university. //

Annini Tsioutis Annini Tsioutis studied piano and chamber music at the École Normale de Musique de Paris, and at the Conservatoire Claude Debussy. She also read Musicology at the Sorbonne University, where she specialized in 20th century music. In 2019 Annini completed her doctoral thesis on the 32 Piano Pieces by the Greek composer Nikos Skalkottas (1904- 1949). A fervent supporter of the music of our time, Annini has collaborated with a number of composers of different and often contrasting styles and schools, and has given many first performances of their works around Europe, in solo or chamber music groups. In November 2017 she premiered the work Re: mains for multipianist, by Christina Athinodorou, in the framework of the Paphos European Capital 2017. In the following years she further explored repertoire on acoustic pianos of different sizes (upright, grand and toy piano). Annini lives and works in Paris. //

Aurélien Duval French visual artist specialized in real-time 3d and living in Paris, Aurélien Duval has a hybrid profile between arts and technologies. He has both academic and professional experiences: he learned

91 first computer graphics (modeling, texturing, optimization and integration in real-time 3d engines), then he discovered in 2012 the Unity software. He dove into the world of coding and bringing life to virtual worlds and he designs since then augmented and virtual reality experiences for desktop or mobile platforms. He has a professional background in industrial fields: vehicle simulators, real estate catalogs, training applications for telecom technicians. He is currently finishing a masters degree in arts and technologies at Paris 8 university. He focuses now on creating the link between artists and developers in order to smooth out the creation workflow as well as developing his own aesthetics. His interests go towards live performance, installations and music. //

Basem Zaher Botros Basem Zaher Botros Beshai (1973), Egyptian, is PhD and supervisor of piano department, Faculty of Specific Education, Aswan University. Qualification: Assistant Professor and PhD in piano. //

Beata Oryl Beata Oryl, graduate of the Academy of Music. Stanisław Moniuszko in Gdańsk, specializing in Rhythmics. Currently employed at her alma mater as a research and teaching worker at the Department of Piano Rhythmics and Improvisation at the Faculty of Choral Conducting, Church Music, Artistic Education, Rhythmics and Jazz. For many years she has been an employee of the General Ballet School of Janina Jarzynówny-Sobczak in Gdańsk, where she conducts classes in rhythmics and music. She has repeatedly participated in various forms of professional development, taking active and passive participation in numerous workshops, seminars, conferences, scientific sessions and rhythmic congresses organized in the country and abroad. In her activities, she focuses on the relationship between music and movement, looking for various forms of artistic expression, using elements of contemporary dance techniques, individual movement expression, and body self-awareness influencing the expressiveness of the created creations. Her achievements include original works on stage movement, choreography for performances, operas and concerts. //

Ben Duinker Benjamin Duinker is a Canadian music theorist and percussionist. His doctoral dissertation focused on metric and rhythmic aspects of hip-hop flow and was awarded the 2020 SMT-40 dissertation fellowship by the Society for Music Theory. Duinker has published articles in the journals Empirical Musicology Review, Music Theory Online, Popular Music, and his work on segmentation and phrasing in hip-hop flow is forthcoming in Music Theory Spectrum. He received a PhD in Music Theory and Master of Music Performance from McGill University, and presently holds a SSHRC Postdoctoral Fellowship for research in music analysis and performance at the University of Toronto. Duinker maintains a parallel career as a percussionist and chamber musician, regularly touring, recording, and commissioning new works. //

Bibiana Bragagnolo Bibiana Bragagnolo is Doctor in Musicology by Federal University of Paraíba (Brazil), advised by Dr. Didier Guigue, and with some exchange period at Aveiro University, financed by CAPES and advised by Dr. Luca Chiantore. Bibiana has developed activities as pianist, mostly in the group of experimental music “Artesanato Furioso” and in the theater, and as a researcher, mainly in the fields

92 of the insertion of performance in musical analysis and artistic research. In 2018, she received the TeMA prize in Brazil for her paper “The sonorous contrasts in Contrastes by Marisa Rezende” and in 2015 she was the soloist in the Brazilian premiere of the Concert for Prepared Piano and Chamber Orchestra by John Cage. Since 2019 Bibiana is adjunct professor in the Arts Department of Federal University of Mato Grosso (Brazil) acting in the fields of performance, piano and musical education. //

Bruno Pereira Singer, performer, researcher and teacher. He holds a degree in lyrical singing and a post- graduation in opera. Working closely with composers, he premiered several new works and, in the last few years, after more than 15 years intensively performing opera, he has been researching and performing within the field of contemporary performance and vocal improvisation. In this context he has created and performed works such as Quartas Paredes, Borderline 194, Suspensão/distensão v.1, Canções para voar, etc. He has been actively performing and teaching in very different contexts in Portugal, Spain, France, Belgium, Holland, Sweden, Germany, Czech Republic, Ireland, Turkey, Slovenia, Russia, Lithuania and Brazil. Member of i2ADS – FBAUP, where he finds an interesting context for interdisciplinary and contemporary artistic research projects. He holds a PhD in Arts - Contemporary performative practices where he developed a deep research about voice, body and improvisation which are still his present interests. //

Camila Alves Camila Cristina de Oliveira Alves was awarded her Ph.D. by the Linguistics department at Sao Paulo State University in 2017. Her work was part of a research project entitled “Creative writing practices: aspects about subjectivity and otherness” coordinated by Professor Marina Mendonça. The PhD dissertation and contribution to this project was named “Beats, Remixes and Voices: Identity and Interdiscursivity in the Periphery Music” and explored how the stylistic and compositional linguistic resources of Brazilian songs – such as Rap, Funk and Tecnobrega – materialize ideologies and produce interactions between individuals through speeches that (re)affirm identities by social voices in the artwork discourse. During this research, she spent one year in the UK (2015-2016) as Ph.D. Student Research Associate at Queen Mary University of London (School of Languages, Linguistics and Film – Comparative Literature and Culture Department) improving research skills and studies on Cultural Studies under the supervision of Professor Galin Tihanov. She has published papers and attended conferences in Brazil and other countries in this period, such as France, Germany, Holland, Ireland, Italy, Poland, Portugal, Scotland and Wales. In the last few years she has worked with languages, culture, arts and technology at universities, schools, language centers and tech startups. She is interested and experienced in the areas: Applied Linguistics, Corpus Linguistics, Cultural Studies, Digital Humanities, Discourse Analysis, Education on Ethnic-Racial Relations, Latin American Studies, Literature, Media, Music, Natural Language Processing and Sociolinguistics. //

Carlos Alberto Augusto Composer, sound designer, lecturer and acoustic communication specialist. Head of the Noise Control division of the Environmental Studies Service of the Portuguese Secretary of State of the Environment, which later became the Division of Noice Control of the Ministry of the Environment

93 and former member of the Portuguese Standards Committee. Founding member of the Portuguese Acoustics Society and the World Forum of Acoustic Ecology. Worked with Canadian composers R. Murray Schafer and Barry Truax. Under Truax’s supervision completed an MA at Simon Fraser University (Vancouver, BC, Canada). Curator the Music and Sound Arts program of Coimbra, Capital Nacional da Cultura 2006. Author of numerous articles on music, sound arts and acoustic communication, and the book “Sounds and Silences of the Portuguese Soundscape” (FFMS, 2014). Composer of music, including instrumental, electroacoustic and mixed media, opera and music- theatre. Very active in music and sound design for theatre, video, cinema and interactive media. Member and founder of several groups in the area of jazz, improvised and electroacoustic music. Video director focused on education and advertising, and writer for several Portuguese newspapers and magazines. //

Carmen Noheda Carmen Noheda is a Ph.D. candidate in Musicology at the Complutense University of Madrid (defense on January 2021), with a Training Professor Program grant from the Ministry of Science, Innovation, and Universities of Spain. She has an M.A. in Music Creation and Performance, a B.A. in Clarinet at the Madrid Royal Conservatory of Music, and a B.A. in Musicology at the Complutense University of Madrid, both with honors. She has been a Visiting pre-doctoral fellow at the Seoul National University (2016) and the University of California Los Angeles (2018). Carmen is on the Executive Board of the Spanish Clarinet Association and the Music and Arts Group at the Spanish Musicological Society. Her research focus is on contemporary Spanish opera and music theater. //

Caroline Boë Caroline Boë is a French sound artist and a composer. Born in 1963 in Vaucluse, she lives and works in Marseille (France). Since 2013, she has dedicated herself to sound art research-creation. Currently a doctoral artistresearcher in the PRISM laboratory (Aix-Marseille-University / CNRS), her research area concerns noise pollution, relational art and web-art. Its ecological commitment directs its work towards environmental art, sound ecology, and the polluted soundscape. She is recognized for her sound installations (at GMEM / CNCM, at the Palais de Tokyo in Paris) and for her performances for graphic scores (at the Musée des Beaux-arts in Marseille, at the Cité Radieuse Le Corbusier). Her collaboration with Tunisian artists Selma and Sofiane Ouissi for the choreographic show Laaroussa (Marseille European Capital of Culture 2013) and then meetings with musicologist Christine Esclapez and sound artist Peter Sinclair upset her vision of musical composition. This is how she oriented her research towards the soundscape. A SACEM prize for the promotion of symphonic music was awarded to her in 2016. From 1995 to 2013, she composed several contemporary live performance music (theater, choreographies, poetry-opera with Fany Tirel, Didier Berjonneau, Bruno Mallet, Christophe Boulanger and Jean-Pierre Lemesle, Régine Géraud) and has produced numerous musical installations for collective exhibitions of contemporary art. It was also the time of his musical research with birdsong and sensory journeys in the dark with Didier Berjonneau. From 1987 to 1995, within the framework of the sound post-production company Paris Dièse of which she was the manager, she composed commissioned music for radio (France Musique, France Culture) and for television (CNN International, Rai Uno , Arte, la 5, Canal +, France 3, France 2, TF1). //

94 Caroline Traube Caroline Traube (Associate Professor, Université de Montréal) works at the intersection of acoustics and performance studies, drawing on fields as diverse as musical acoustics, psychoacoustics, and music technology. She leads the Laboratoire informatique acoustique et musique and the Laboratoire de recherche sur le geste musicien, a research centre for the study of musician’s gestures from biomechanical, acoustic, and perceptual perspectives. Her research interests include the timbre of musical instruments and the relationships between the physical characteristics of the instrument, the parameters of instrumental gesture, and the perceptual attributes of instrumental sounds, including the way musicians express the perceptions in language. She is an active member of three music-related research centers based in Montréal— OICRM, CIRMMT and BRAMS. She has also been involved in the development of programs in the field of digital musics and composition for screen at the Université de Montréal. //

Caroline Wilkins Independent Composer/Performer/Researcher Dr. Caroline Wilkins comes from a background of new music performance, composition and theatre, and has worked extensively on solo and collaborative productions involving these. Her particular interest lies in creating new forms of presentation, whether in the field of inter-medial sound theatre, sound poetry or performance art. She completed a practice-based PhD in Sound Theatre at Brunel University (W. London) in 2012 and since then continues to present at (inter-)national conferences including ARTECH (Guimares), IFTR World Congress (Munich), Sibelius Academy (Helsinki) (2010) & Folies du Temps, Caen University (2011). Most recently she presented at the Performance Philosophy Biennial Conference 2019 (Amsterdam). Book and journal publications include Studies in Musical Theatre / International Journal of the Performing Arts & Digital Media / Journal of Interdisciplinary Vocal Studies (2012 / 2018), Gestures of Music Theater (O.U.P. 2014) and Journal of Performance Philosophy, Vol. 2. 1. (online, 2016). //

Chiara Antico Italian viola player, Chiara Antico is a DMA candidate at Universidade NOVA in Lisbon, writing about musical activity during the Holocaust, crossing Musicology and Memory Studies. She was selected for the training courses in Auschwitz-Birkenau and BergenBelsen former concentration camps. She presented papers in international conferences about music and the Holocaust. A coauthored book chapter proposal for “Micro-historical Perspectives on an Integrated History of the Holocaust” (Gruyter editors) has been accepted. The author holds a MA summa cum laude in Music Performance and a Master’s degree in Pedagogy: apart from teaching she collaborated with professional orchestras in Italy and Portugal. She played in very important concert halls around Europe, presenting also chamber music and solo pieces. She is particularly concerned with non- verbal communication linked to collective memory. //

Christian Benvenuti Christian Benvenuti is a Brazilian composer, teacher, and researcher based in Greece. Benvenuti writes acoustic, electroacoustic and multimedia works, exploring processes and methods that form a duality of determinacy and intuition. He holds a doctorate (PhD) in music from the University of

95 Surrey and was a postdoctoral research fellow at the Federal University of Rio Grande do Sul and at the Federal University of Paraná. Benvenuti is also a consultant to the European Commission in the areas of musical composition, musicology, and musical analysis. His research interests include composition, music information dynamics, communication, music and technology, and information theory. //

Cláudio de Pina Organist, improviser and composer of contemporary music. Titular organist of the historical pipe organ of Parish of our Lady of Ajuda. Researcher in GIMC/CESEM. Studied in Gregorian Institute of Lisbon, Hot Jazz Club and Physics Engineering in FCUL. Studied with Annette Vande Gorne, Gilles Gobeil, Trevor Wishart, Hans Tutschku, Jaime Reis, Åke Parmerud, Adrian Moore, Eurico Carrapatoso and César Viana. Master in Musical Arts, Dean’s Honour Roll 2018/19. PhD candidate in Musical Arts regarding contemporary music for pipe organ and electroacoustic music (ESML/FCSH). His scientific output mainly concerns; musical analysis, musical composition, electroacoustic music, acoustics, sound synthesis, organ and musical performing. His work has been selected, edited and published worldwide. //

Daniel Santos Rodríguez Daniel Santos Rodríguez (Salamanca 1990) is a guitarist, composer and music producer. He graduated from CONSMUPA where he obtained the grade of outstanding in guitar performance. He studied postgraduate studies at the Royal Conservatory of Madrid (RCSMM), specializing in technologies and interpretation of contemporary music. He is a teacher at the School of Modern Music in Leganés and is currently studying for a doctorate at the Polytechnic University of Madrid. He has published three record works, he has performed at the Cervantes Institute in Tokyo, at the Círculo de Bellas Artes in Madrid, at the FAC in Havana, at the Plaza Mayor in Salamanca, at the International Contemporary Music Conference in Madrid, etc. He has sounded on Radio Nacional, Radio 5, Radio 3 and Radio Clásica. He has received the 2017 Injuve Award, the 2018 SGAE Foundation scholarship and the 2019 Madrid Community scholarship. //

Dimitris Andrikopoulos Dimitris Andrikopoulos (Larissa, Greece). He studied composition in the Netherlands, in Rotterdam with Klaas de Vries. In 2013 he successfully completed his PhD in composition at the University of Birmingham. He has collaborated with several groups, such as the Asko Ensemble, Mondrian Quartet, Remix Ensemble, Nederlands Ballet Orkest, Orchestre National de Lorraine, the National Orchestra of Athens, Jazz Orchestra of Matosinhos, Drumming Grupo de Percussão, among others. He won in May 2002, the NOG competition in Holland. He was selected at the "Centre Acanthes 2005" in Metz where he worked with W. Rihm, P. Dusapin and A. Solbiati. In 2010 he was awarded the Centre for Composition and Associated Studies Price at the University of Birmingham. In 2012 he was awarded the "ITEA / Harvey Phillips Award for Excellence in Composition". His works have been presented in several countries in and outside Europe. Since 2004 he has been a composition teacher at Escola Superior de Música, Artes e Espetáculo (ESMAE) of Instituto Politécnico do Porto. //

96 Diogo Alvim Diogo Alvim composes instrumental and electroacoustic music and develops sound art projects. His PhD research (SARC, Belfast) focused on the relations between music and architecture. His work has been presented in several events, such as: Gulbenkian Orchestra’s composers’ workshop (2008, 2009); Festival Synthèse 2009 (Bourges); Ibrasotope#60, (São Paulo, Brazil); Belfast Festival (with Matilde Meireles, 2014), Sonorities Festival (with the Royal String Quartet, 2015); Music for S, by Tânia Carvalho, with the Portuguese Symphony Orchestra (2018) and Campo Próximo (Near Field) at Convento São Francisco, Coimbra and Lisboa Soa Festival (with Matilde Meireles, 2020). He teaches Sound Arts at ESAD Caldas da Rainha, and electronic and is an integrated researcher at CESEM (FCSH-NOVA). He also makes music for dance and theatre and develops collaborations with other artists/performers. //

Eliazer Kramer Eliazer Kramer is a pianist and composer from Montreal. Eliazer holds a bachelor's and master’s in piano performance from the Musikhögskolan in Piteå, Sweden, and the University of Gothenburg, respectively. In 2016, Eliazer obtained his Diplôme d'études professionnelles approfondies (DEPA) in piano performance from the University of Montreal under the guidance of Paul Stewart, and in 2017, he completed his master’s in composition under the tutelage of François-Hugues Leclair and Denis Gougeon. In 2016, Eliazer composed the music for the viral animation video, 'Le clitoris', and in 2017, he was named one of the winners of the Concours de l'OUM, University of Montreal's orchestral composition competition. In 2018, Eliazer completed his DEPA in composition with Denis Gougeon. He is currently pursuing his doctorate in composition at the University of Montreal under François-Xavier Dupas and Caroline Traube. His works have been performed in Canada, USA, Sweden, Japan, Cyprus, Turkey, and Finland. //

Eliot Britton Eliot Britton integrates electronic, audiovisual and instrumental music through an energetic and colourful personal language. His award-winning creative output reflects an eclectic musical experience, from gramophones to videogames, drum machines to orchestras. Currently Britton is cross appointed between Music Technology and Composition at the University of Toronto Faculty of Music. There he is working on the opening of a new research centre for brain, performance and music creation as well as the renovation and re-launching of the UofT’s historic Electronic Music Studio (UTEMS). Recent awards include a Connaught Emerging Researcher Award, Canadian Foundation for Innovation grant and two consecutive DORA awards for best composition and sound design. //

Emma Spinelli Emma Spinelli is a student in the Master degree “Acoustique et Musicologie” at Aix-Marseille Université. Her Master’s thesis studies how the practice of the detournement, originally used in the plastic arts field, can be analyzed as a musical gesture in the reinterpretation of classical music my modern popular artists. The research topics she studies are mostly centered on the interpretation of past music in a contemporary context, and on the hybridization between popular and classical music. She is thus interested in questions such as authenticity, interpretation, and the musical reuse.

97 She also has been practicing the electric guitar for 10 years, and studies the lute at the Conservatoire Darius Milhaud, which allows her to base her researches on her musical experience. //

Fabio Simão Principal Trumpet at the Theatro São Pedro Symphony Orchestra (São Paulo, Brazil) since 2010, Guest Principal Trumpet at Babylon Kino Orchestra (Berlin, Germany) in 2019 season. Develops artistic research in Performance at Universidade de São Paulo’s Masters program. Among recent projects are (all premiere): About Mixtur: S. Kafejian (2019), STOP: K.Stockhausen (2019 - brazilian premiere), Vento Escasso: T.Gati (2019), Santiago: G.Ribeiro (2019), Blocks: A. Lunsqui (2018), Palavra Trovão: R. Valente (2018), Revólver Volúpia : G. Xavier (2018), Caminho através da Inquietude: Y. Sano-Mani (2017). Founder of the brass quintet ViBrasSom and Trio São Paulo (trumpet trio), develops chamber and educational activities in the city of São Paulo and the surrounding area. Teaching activities include Emesp Tom Jobim and Guri Santa Marcelina (2008 - 2012). As Guest Musician, already performed with the most important brazilian orchestras. Complementary studies in contemporary performance at International Ensemble Modern Academy Klangspurren (Austria, 2018) and trumpet Sibelius Academy Brass Festival (Finland, 2016). //

Federico Favali The music of the Italian composer Federico Favali has received international acclaim, being performed worldwide by many remarkable ensemble such as Birmingham Contemporary Music Group and Lontano Ensemble. His catalogue includes vocal music, an opera, solo instrument compositions and music for ensemble and orchestra. In 2014 his opera “The fall of the House of Usher” has been premiered at the Teatro del Giglio of Lucca (Italy). In 2015 he was invited to the Daegu International Contemporary Music Festival (South Korea), and in 2016 to the Crosscurrents Festival (Birmingham). He is also active as a musicologist. Focusing primarily on analysis of contemporary music, his writings have been published by several sites and reviews. He graduated in musicology at the University of Bologna (Italy). He studied composition at the University of Birmingham, King’s College London, Conservatory of La Spezia, New York University and Universidad Nacional de Tres de Febrero (Buenos Aires). //

Felipe Rodrigues Ferreira Perez Graduated in Social Sciences from University of São Paulo (USP) in 2015 and is currently a graduation student in Electroacoustic Composition, under Flo Menezes, at the Arts Institute of São Paulo State University (UNESP). Currently develops a research, funded by FAPESP, about the relationship between text and music in contemporary vocal compositions, under the supervision of Dr. Fabio Miguel. Since 2019 is a founding member of the vocal ensemble SabIÁ Coro, acting as a performer, composer and administrative vice-president. Also, since 2019, is a member GeppeVozIa (Practice and Research Group about Voice at the Arts Institute), where he took part in the group research about youth choir repertoire. As a performer, acts since 2010 as guitarist, singer and composer in the fields of popular and classical music, specializing – as a composer - on vocal electronic music and choir/voice music. //

98 Felipe Miranda Martins Fellipe Miranda Martins is currently a PhD student in the Sonology department of the School of Music of the Federal University of Minas Gerais (UFMG); received a master degree from the same department with the thesis “Estudo exploratório de processos de transformação sonora a partir de Trevor Wishart: reinvenção e tradução para o ambiente SuperCollider”; received the electrical engineering degree – with major studies in audio – from the Federal University of Minas Gerais in 2017 with a sandwich period in the Sonology department of the Royal Conservatoire – The Hague (Netherlands) between 2014-2015. He creates and researches in several different areas across the arts and engineering, such as algorithmic composition, sound installation, automata development, visual music and animation. //

Fernando dos Santos The saxophonist, educator, and researcher Fernando dos Santos (1993) is currently working on his Master in Music at Universidade Federal do Rio de Janeiro (UFRJ, Brazil). His research explores the contemporary music performance from 20th to 21st century, focuses on the performance of Ibero- American contemporary music ensembles, and collaboration with composers. As a performer, he is invited to premiere pieces in collaboration with Brazilian and international composers. He participated in concerts of the “XXIX Panaroma de Música Brasileira Atual” (Rio de Janeiro), “Série de Concertos do studio PANaroma com PUTS” (São Paulo), “Festival Música Estranha” (São Paulo), and others. He has also a member founder of In ensemble and has been contributing with Ateliê Contemporâneo (São Paulo) and UFRJ sax ensemble (Rio de Janeiro) for interpretations (also with electronic) of 20th- and 21st-centuries repertoire. //

Filipa Magalhães Filipa Magalhães holds a PhD in Musicology. She specifically worked on a set of music theatre compositions by Constança Capdeville, with the purpose of recovering them through a documentation method. This approach also led her to important institutions such as the INA — Institut National de l’Audiovisuel, in Paris, and the CSC—Sound and Music Computing Group, in Italy, with the purpose of acquiring new knowledge in the field of audiovisual preservation. Her research focuses on an interdisciplinary framework that included preservation, computer sciences, digital philology and musical analysis studies, enabling her to expand her technical skills in the field of musicology. She is currently a researcher at CESEM — Centre for the Study of the Sociology and Aesthetics of Music, FCSH, NOVA University of Lisbon, and also member of the Research Group on Contemporary Music (GIMC). //

Frédéric Bevilacqua Frédéric Bevilacqua is head researcher at IRCAM in Paris, leading the team Sound Music Movement Interaction, in the research lab Science & Technology for Music and Sound between (IRCAM, CNRS and Sorbonne Université). His research concerns the modeling and the design of movement-sound interaction, and the development of gesture-based interactive systems. He holds a master degree in physics and a PhD in Biomedical Optics from EPFL in Lausanne. He also studied music at the Berklee College of Music in Boston and has participated in different music and media arts projects. From 1999 to 2003 he was a researcher at the University of California Irvine. In 2003

99 he joined IRCAM as a researcher on gesture analysis for music and performing arts. He co-authored more than 150 scientific publications and co-authored 5 patents. His research projects and installations were presented internationally, including the Pompidou Center, MoMA (USA), ZKM (Germany), EMPAC (USA), YCAM (Japon). He was keynote or invited speaker at several international conferences such as the ACM TEI’13. As the coordinator of the “Interlude project”, he was awarded in 2011 the 1st Prize of the Guthman Musical Instrument Competition (Georgia Tech) and received the award “prix ANR du Numérique” from the French National Research Agency (category Societal Impact, 2013). //

Gabriel Jones I am a pianist and musicologist, born and raised in Brighton, UK currently pursuing a practice-led PhD at the University of Leeds, exploring the performance practice of Stockhausen’s Klavierstücke. My hybrid methodology brings together empirical analysis of the recorded tradition, score analysis, new and archival performer testimony, and my own pianistic insights to inform new ways of listening and performing these pieces. The finished project will feature experimental studio recordings of Klavierstücke I, VII and X, offering a range of alternatives to the established performance traditions surveyed in the thesis. Recent conference presentations have explored the concept of irrationality and methods of empirical performance analysis in Klavierstück I, and the creative relationship of Stockhausen and David Tudor in the 1950s. My current research interests lie in the aesthetics and performance practice of post-WWII New Music, new methodologies of performance analysis, and the future of musical practice as research. //

Gabriel Trottier Gabriel Trottier performs the repertoire from the baroque period to the music our time on modern and historical horns. Moreover, he teaches, organizes concerts and develops interdisciplinary projects that incorporate other art forms. His work has been supported by the Canada Council for the Arts and the Conseil des Arts et des Lettres du Québec (CALQ). He has worked with ensembles such as the Orchestre Métropolitain (Montréal), Oslo Sinfonietta and the woodwind quintet Le Concert Impromptu (Paris). Graduating from the Norwegian Academy of Music (M. Mus 2016) Gabriel's studied with Frøydis Ree Wekre and Julius Pranevicius, Saar Berger and Louis-Philippe Marsolais. Specializing in contemporary music performance, he is finishing a doctorate at the University of Montreal and is an alumnus of the International Ensemble Modern Academy (M. Mus 2018) and the Lucerne Festival Academy as well as a board member of Codes d’Accès supporting emerging avant-garde emerging musicians in Québec. //

Giovanna Lelis Giovanna Lelis holds a bachelor's degree in music with a cello habilitation by USP. She started studying the cello when she was eight and, in 2005, entered the Municipal School of Music from São Paulo. She has played at several orchestras such as Orquestra Jovem Tom Jobim, Philharmonic of Heliópolis, Filarmônica Bachiana and currently, OCAM. In 2014, she was granted with the Brazilian Ministry of Culture Program for Exchange and Cultural Difusion, through which she presented a research about brazilian female contemporary composers and played a solo recital at the 12th Feminist Theory and Music Conference at Hamilton College, New York. In addition to that, she teaches cello for children and adults and is specially interested in contemporary and experimental

100 music. Today, she studies at University’s of São Paulo Masters program and conducts an academic research under the guidance of Prof. Dr. Silvio Ferraz on the image-sound interface. //

Guilherme Ribeiro Guilherme Ribeiro, 1994, is a Brazilian composer and a master student at the University of São Paulo. His compositions have been presented in places such as Sala Cecília Meireles, Theatro São Pedro, CCSP, USP, Unesp, and have won awards such as: USP "Programa Nascente", "III Festival Música Estranha", "XXVIII Panorama da Música Brasileira Atual" of UFRJ, "XXII Bienal de Música Brasileira Contemporânea" of FUNARTE and "Atemporánea Festival" in Argentina. Since 2016, Guilherme has been a FAPESP fellow and, under the guidance of Silvio Ferraz, develops his research about extended techniques and published an article in Vórtex magazine about "Guero", by Helmut Lachenmann, and held a research exchange at the Universidade Nova de Lisboa (Portugal), where had a presentation at the III International Symposium CESEM and was mentored by the composer and teacher Isabel Pires. Currently, his master's research investigates the cultural hybridization in contemporary music based on extended instrumental techniques. //

Haize Lizarazu Pianist, performer and improviser focused on contemporary and experimental music. Her career has many different ways and interests: musical creation through performance, free improvisation, artistic research or interdisciplinary collaborations. She is member and co-director of Container Ensemble and has also been developing some scenic-performance works such as KEY CLICK- a [no] piano concert, performed in countries such as Switzerland, Spain, Brazil and Germany, or MANUAL- Hands as Instruments. She has performed in many festivals and venues: Lauenburg Kunstlerhaus (Germany), Gare du Nord, Klang Basel (Basel, Switzerland), Basel Stadt Casino o Bern Dampfzentrale, WIM Zürich, EMA Festival (Madrid), FIME Festival (Sao Paulo, Brazil), Festival Cervantino (Mexico), Generate Festival (Germany), Festival Vang (Madrid), Festival Mixtur (Barcelona), Festival Ensems (Valencia), Cafe OTO (London), MACBA-Sonar+D (Barcelona), among others. //

Helena Marinho Helena Marinho is Associated Professor at the Department of Communication and Art of the University of Aveiro (Portugal) and integrated researcher at the Institute of Ethnomusicology - Centre of Studies in Music and Dance. Her main research interests include performance research, and 20th/21st Portuguese music history and musical practice. Helena’s publications include book chapters published by Colibri, Caminho, Imperial College Press, Brepols, Editions Hispaniques, and articles for Musica Hodie, Opus, E-Cadernos CES, Psychology of Music, Studies in Musical Theatre. She is regularly invited to present her research at national and international conferences. She has led three multiannual research projects financed by the Portuguese Government Foundation for Science and Technology, and European funds: “Images from Land and Sea: Frederico de Freitas and music in twentieth-century Portuguese culture” (2012-15), “Euterpe unveiled: Women in Portuguese musical creation and interpretation during the 20th and 21st centuries”, and “Xperimus: Experimentation in music in Portuguese culture: History, contexts and practices in the 20th and 21st centuries” (ongoing). She was panel member for the evaluation of projects for the European Commission Culture Programme, and jury member for the research scholarships of the Foundation for Science and

101 Technology. She is consultant for the Portuguese Agency for Assessment and Accreditation of Higher Education (A3ES). As a pianist, Helena Marinho has presented solo and chamber concerts in the main venues and festivals in Portugal, as well as abroad; she has played in the U.S.A., Brazil, Ireland, UK, France, Spain, Italy, Greece, Sweden, Norway, Ethiopia, India. Her performing activities include projects with modern piano and fortepiano, as she has recorded (or participated in) 12 CDs, playing Classical to contemporary (acoustic and mixed) repertoire on both on instruments. Several of the artistic projects she conceived and performed have been selected for funding by the Portuguese Culture Ministry. //

Helena Rodrigues Helena Rodrigues is an Assistant Professor at FCSH, NOVA University of Lisbon and the founder of the Laboratory for Music and Communication in Infancy of the CESEM research center. She is also one of the founders of Companhia de Música Teatral (CMT). She was a Researcher Fellow at the Royal Flemish Academy of Belgium for Science and the Arts. She has studied with Edwin Gordon for almost twenty years and has completed her PhD under his supervision. She disseminates his music learning theory since 1994. Aiming to improve practices for infants, she has been developing an innovative approach to training that she defines as “opening the gates on communicative musicality”, inspired by Colwyn Trevarthen. She coordinated Opus Tutti, a project that aimed to create and implement good practices in community for infancy and early childhood. She was the coordinator of GermInArte project. She publishes regularly and is often invited to lecture and give workshops all over the world. //

Henrique Portovedo Henrique Portovedo has found his place in contemporary music working with composers such as R. Barret, P. Ferreira Lopes, C. Barlow, C. Roads, P. Ablinger, M. Edwards, S. Carvalho, L. Carvalho, R. Ribeiro, M. Azguime, among many others. Portovedo has premiered more than 40 works dedicated to him. He recorded for several editors such as Naxos, Universal, PadRecords, R’RootsProductions etc. He was awarded with the António Pascoal Foundation’s Merit Award, Eng. António de Almeida Foundation’s Merit Award, 1st Prize of the International Youth Soloist Contest Purmerend, has received many Trinity Music Awards in London, was awarded with Young Creators Award by the Portuguese Institute of Arts and Ideas, the Award from the National Center of Culture in the area of music, among other distinctions. He has been artist in residence at ZKM Karlsruhe, Edinburgh University, Folkwang University and Fulbright Visiting Researcher at MAT University California Santa Barbara. As a researcher in the field of Augmented Performance at CITAR, he received research fundings from FCT and Fulbright. Currently, Portovedo is professor of Electronic Music at the University of Aveiro and visiting professor at Real Conservatorio Superior de Musica de Madrid. //

Isotta Trastevere Composer. Graduated in electroacoustic composition from the Pierre Barbizet Conservatory in Marseille. She is interested in music composed with a certain economy of materials, such as minimalist music, and focused on the silence. Her acousmatic pieces are performed in France (Festival Futura) and abroad (MusLab). With a collective of artists, she has founded Radio Nunc, an independent web radio for sound creation. //

102 Jean-François Jégo Jean-François Jégo, living and working in Paris, is associate professor at the Arts & Technologies de l’Image Department of the Faculty of Arts at the Université Paris 8 in France. He is also artist- researcher at the INREV Virtual Reality Laboratory where he creates immersive and interactive experiences, art installations and digital performances hybridizing Virtual and Augmented Reality. His research topics question human perception and the aesthetics of interaction, exploring embodied cognition and interaction, focusing on the expressivity of human and virtual gestures in digital art. His artworks and performances have been exhibited internationally in France, Taiwan and in many venues including Ars Electronica (Austria), Cyberfest (Russia), IEEE VR and ACM Multimedia conferences (USA). As a curator, in 2016 Jean-François presented the artworks of forty artists at the third international symposium on Movement and Computing MOCO’16 in Greece. He is co-founder of the international Think-Tank GAIIA Gesture & Artificial Intelligence in Industry and Arts and of the artistic collective VRAC. //

Jessica Gubert Jessica Gubert Silva is a brazilian clarinetist, master degree of musical performance in clarinet at the São Paulo University (USP) and has a degree in music and bachelor in clarinet by the Federal University in Mato Grosso (UFMT). Winner of the Nascente-USP contests in the Erudite Music category in 2019 and the 1st Soloist of Mato Grosso Contest in 2017. She's currently Director of Institutional Development at the Ciranda Institute - Music and Citizenship, a social project that teaches orchestra instruments to children and teenagers in the state of Mato Grosso. She has been approved in the PhD program of Musical Performance in Clarinet at the São Paulo University (USP) under Professor Luís Afonso Montanha orientation. //

João Fernandes João Fernandes holds a PhD degree in Aesthetics, Science and Technology of the Arts – Music by Paris 8 University under the supervision of Makis Solomos. At the same university he obtained his master's degree in Musicology, Creation, Music and Society under the supervision of Horacio Vaggione. His research focuses on musical improvisation and new technologies. His academic training also includes a Masters degree from Escola Superior de Musica de Catalunya, a degree in musical composition from Escola Superior de Música de Lisboa. He is a licentiate graduate in IT from the Instituto Superior Técnico. Parallel to his university research activities, he’s interested in the practice of improvised electroacoustic music. In this area he’s been performing regularly in Europe with the collective Unmapped since 2009, with the duo Electrologues since 2010 and with Le Grand 8 since 2016. //

João Ricardo João Ricardo (1993) finished his master’s degree in Artes Musicais [Musical Arts] at Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa (FCSH/UNL) in 2019. His second chamber opera – Eco/Arquipélago – premiered in August at OPERAFEST 2020 in Lisbon. He studies music composition and analysis under Luís Soldado and participated in masterclasses and workshops with the composers and scholars Jaime Reis, Vincent Debut, Ake Parmerud, Hans Tutschku, João Pedro Oliveira, Carlos Caires, Dimitris Andrikopoulos and António Sousa Dias. Apart

103 from his works as a composer and music editor, he is a researcher affiliated with Centro de Estudos de Sociologia e Estética Musical (CESEM FCSH/UNL) since September 2019, within the groups Opera Studies Research Cluster and Contemporary Music Research Group, and since March 2020 he holds a research grant at University of Évora (CESEM UÉvora), integrating the project PASEV: Patrimonialization of Évora's Soundscape (1540-1910). //

Joevan de Mattos Caitano Joevan de Mattos Caitano is a Brazilian musicologist, pianist, composer and music educator based in Germany since 2013. His academic background includes a technical course in musical arrangements at Escola Villa-Lobos, a bachelor's degree in Sacred Music at Faculdade Batista in Rio de Janeiro, undergraduate degree in Licenciatura em Música (Music education), Master in Musicology at the Federal University of Rio de Janeiro and PhD in musicology at the Hochschule für Musik Carl Maria von Weber in Dresden. His research interests include Brazilian popular music, International Summer Courses for New Music in Darmstadt and dialogues with other continents, Japanese Contemporary Music in Japan and America. //

Jonathan Heilbron Jonathan Heilbron is an Australia double bassist, composer, and researcher currently based in Berlin. He is active in the fields of contemporary, improvised and experimental music. As an interpreter of contemporary music, Jonathan has performed as a soloist and with ensembles across Australia, Europe, North and South America, Asia and the Middle East, collaborating closely with many of contemporary music’s most respected composers and performers. Jonathan’s compositions have been performed across Australia and in Germany, Norway, Italy, Portugal and the USA. Critically acclaimed recordings of Jonathan’s compositions have been released by renowned labels for exploratory music in the United Kingdom, Switzerland, Russia and Slovenia. In 2019, Jonathan was a finalist for the prestigious Freedman Fellowship. Jonathan is currently a PhD candidate at the Sir Zelman Cowen School of Music at Monash University, where he is researching approaches to interpretation and performance in the solo double bass music of Fernando Grillo. //

Jorge Graça Jorge Graça is currently a Musical Sciences PhD student at NOVA FCSH. His research is focused on Community Music. He obtained his master’s degree in Music Teaching (Saxophone) at the University of Aveiro (2016). He taught Saxophone, Chamber Music and Electronic Music at the David de Sousa’s Music Conservatorium in Figueira da Foz from 2014 until 2020. In the area of Ethnomusicology, he collaborated with the process of registering Cantar os Reis of Ovar in the national intangible heritage matrix, in tandem with other researchers from INET-md (University of Aveiro). He’s a saxophonist and composer. Currently he focuses on solo electronic music projects and technology-mediated performance. He’s working on the first album of his project Fauxclore. He has been collaborating with Companhia de Música Teatral in artistic and educational projects as Poemário, ZygZag&Zoom, Pianoscópio e O Céu por Cima de Cá. //

104 José de Mattos Neto José de Mattos Neto (1988) is from Brazil, at São Paulo province. He researches voice and body as a compositional impulse. He concluded his Mastering in Music – Sonology at University of São Paulo, entitled "With many voices: composition as encounter", oriented by Silvio Ferraz (with scholarship from FAPESP); and also his bachelor degree in Music -- Composition at the same institution. He has been approved in the PhD program in Music – Sonology, at the same institution and advisor. He organized and participated in an artistic residence with practices and ideas from Roy Hart Voice Work, with Drs. Paula Molinari and Paulo Rios, from Federal University of Maranhão. He made musical direction, composition, and vocal coaching in different theater works from 2015 to the present, performing (as scenic musician) and premiering his compositions in places throughout Brazil. //

José Júlio Lopes José Júlio Lopes composer born in Lisbon in 1957, composer José Júlio Lopes started his professional career writing stage music. Today his catalogue includes music for chamber orchestra, instrumental, vocal and choral, ensemble with voices, electro-acoustic, symphonic and large orchestra and opera. He studied music and piano at AAM (Lisbon), and composition with Fernando Lopes-Graça, Christopher Bochmann, Carlos Caires and António Pinho Vargas. He also attended composition master classes and seminars with Emmanuel Nunes (Lisbon) and Franco Donatoni at the Royal Academy of Music (London). Aside his musical career José Júlio Lopes also completed a master’s degree on Communication Sciences; presently he finished a PhD dissertation under the theme «music, drama, new technologies: the opera of the future» and works as a researcher at the CESEM (Lisbon New University), and also as a teacher. In 2001 he created ORCHESTRUTOPICA OU, a Portuguese new music ensemble based in Lisbon, for which he has worked as Artistic Director. Following up his initial work for the stage he felt attracted to opera and music-theatre projects, and this also influenced his conviction that «contemporary music is essentially dramatic». In 1986 he presented «Averroes», a multimedia music-theatre work, based on a novel by Argentinean writer Jorge Luis Borges. After that experience, in 2000, he created «Nefertiti – opera- theatre» (with his own libretto and stage direction; a co-production with the National Theatre and Trindade Theatre). His last opera «W», about the live and death of German Philosopher Walter Benjamin (who died on his way to Lisbon trying to escape the Nazism) was staged in CULTURGEST GA, Lisbon, and presented in December 2007 (OU, Tapio Tuomela). His music is regularly performed by artists, groups and ensembles in various venues and festivals in Portugal and abroad. Among many others, recent performances of his works have included «Magma» - for chamber orchestra (OU, Cesário Costa; Casa da Música, Porto, April 05); and «SpaceCtrl» - for chamber orchestra (OU, Cesário Costa, Dresden Musikfestspiel, Germany, and Faro, Portugal, May 05); «X-Act – large orchestra and performer» (CCB GA, 2009, OML, São José Lapa, Pierre André Valade); «Undo» (Teatre Talia, Festival ENSEMS, Valencia, Espanha, OU, Cesário Costa, 2010); «Utos – orquestra» (OU, Cesário Costa, 2011), «Dark Times Quintet» (2013, Grup Instrumental de Valencia, Joan Cerveró, CdM, Porto), «Verbingung [Ligações]» (2015, Vilamoura, Solistas da OU, Cesário Costa). His piece «Corpus – for piano and orchestra» was a commission from Gulbenkian Foundation, for the GO, with Artur Pizarro (piano), and Michal Nesterowicz (conductor), April 2016). Future projects include a new piece «Vages Tagen», for large spatialized orchestra and performer (after a text by José Júlio Lopes and Michael Lothar Putzmann) for OML under conductor António Sá Dantas, and «Lumen» for double mixed Choir to be premiered in Krakov, next May 2021. //

105 Joshua Rosner An active composer, arranger, and guitarist, Joshua Rosner is currently pursuing a PhD in Music Theory at the Schulich School of Music at McGill University. His research is primarily concerned with how listeners structure sound over time and the role that attention plays in grouping and segmentation. More specifically, his research as a music theorist focuses on how listeners hear form in contemporary chamber music that focuses on non-default instrumental playing techniques. He is also the founder and former executive director of the contemporary music organization, The Syndicate for the New Arts based in Cleveland, OH. //

Justine Maillard Justine Maillard began her studies at the Conservatoire de musique de Montréal in clarinet interpretation where she received many prestigious prizes and scholarships, including first prize in the Conservatoire de musique de Montréal Orchestra's concerto competition. Justine then went on to complete a Bachelor's degree in Cognitive Neuroscience with a specialization in Neurocognition of Music at the Université de Montréal where she was able to work in several research laboratories, including BRAMS (International Laboratory for Brain, Music and Sound Research). Recipient of the OICRM (Observatoire Interdisciplinaire de Création et de Recherche en Musique) Master's Excellence Scholarship, Justine is currently pursuing her Master's degree in musicology at the Université de Montréal under the direction of Caroline Traube. Justine is currently a member of the ACTOR (Analysis, Creation and Teaching of Orchestration) and CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology) partnership. //

Karolina Dąbek Karolina Dąbek - music theorist and reviewer, she obtained her Master degree in 2018 at the Academy of Music in Krakow and began PhD studies at the same place. In her research she has focused mainly on the 20th and 21th-century avant-garde music. Currently, the spatiality in music and the problem of music perception stands in the centre of her interest. She is a laureate of the Editor- in-chief of The Polish Music Publishing House Prize and Award in the category Debutant in the Polish Music Critics Competition “Kropka 2015”, and the Main Award in the Polish Music Critics Competition “Kropka 2017”. //

Keith Hamel Keith Hamel is a composer and software designer. His music consists of orchestral, chamber, solo, and vocal music, often focussing on live electronics and interactivity between acoustic instruments and the computer. He has been awarded many prizes in acoustic and electroacoustic media. He is an Associate Researcher at the Institute for Computing, Information and Cognitive Systems, a Researcher at the Media Graphics Interdisciplinary Centre, and Director of the UBC Computer Music Studio. His works have been commissioned and performed by many of the finest soloists and ensembles in Canada and abroad. Some recent compositions focus on interaction between live performers and computer-controlled electronics. Hamel is recognized as one of the foremost authorities on music notation software. He is author of the NoteAbilityPro software program which is used around the world for professional music engraving and publishing, and he has developed interactive environments for live performer and computer interaction. //

106 Késia Decoté Rodrigues Késia Decoté Rodrigues is a Brazilian pianist and toy pianist with a career focusing in contemporary music and interdisciplinary piano performance. Késia holds a PhD in Arts & Music (CNPq - Brazil Scholarship) and MA (Distinction) from Oxford Brookes University, MMus and BA (Cum laude) in Piano from Universidade Federal do Rio de Janeiro. Késia’s research explores the integration of concepts from theatre, dance and visual arts in piano performances, and it has been published as a book chapter, articles, conference proceedings and documented performances. Késia’s debut solo album with London-based label Nonclassical features piano and toy piano works dedicated to her by emerging UK-based composers. Késia has also released an album of improvisations with cellist Bruno Guastalla. Késia’s newest album presents a collection of piano miniatures written by composer Charlotte Botterill reflecting on her experience of the first lockdown due to the pandemic crisis in 2020. //

Laiana Oliveira Laiana Oliveira, is a Brazilian singer and composer. She holds a degree in Musical Composition from Goiás Federal University - UFG (2010), Master’s degree (2014) and PhD (2018) in Musical Composition from University of Campinas - Unicamp, having Prof. Denise Garcia as advisor. She was one of the winners of the 15th Brazilian Singing Contest Maria Callas and sang with the Coral Paulistano Mário de Andrade between 2016-2017. His repertoire includes premieres of works by Brazilian composers, and works by Arnold Schoenberg, Luciano Berio, Stravinsky, John Cage, Lukas Foss, and Kate Soper. Since 2017, she has dedicated herself to the creation and teaching of the “Solfejo sem Medo” (Sight singing without fear) method for singers. She is currently a researcher in the group “Auralidade e Visualidade nas Artes” - AV: A at São Paulo State University (UNESP), and has been dedicated to the study and performance of Unaccompanied Vocal Music. //

Lucas Quinamo Lucas Quinamo was born in Vitoria, Brazil, where he studied saxophone and played in jazz bands. He played as second tenor saxophone for 3 years at Pop&Jazz Orchestra, under direction of maestro Celio Paula. In 2015 moved to Campinas, in the state of São Paulo, to study Music teaching at University of Campinas - Unicamp. The following year he entered the composition bachelor graduation, where he studied with composers Jônatas Manzolli, Denise Garcia, José Augusto Mannis, José Henrique Padovani and guest professor and composer Mikhail Malt. In 2018 Lucas was a finalist at II Festival MCB Edino Krieger composition contest with his string quartet “\ respire”. He also received two scholarships by Fundação de Amparo a Pesquisa de São Paulo (FAPESP), the first in 2017 to study two of composer Edino Kriegers piano pieces and the second in 2020, to study Khorwa-Myalwa, for bass flute and electronics, by composer Mikhail Malt. //

Lucas Torrez Toledo Lucas Torrez Toledo (1996) started his studies in Music in 2010, taking viola lessons in a social project orchestra in Osasco, SP. That experience led him to apply for the Escola Municipal de Música de São Paulo in 2013, a traditional public conservatory in the city of São Paulo, in which he got accepted. In Escola Municipal, Lucas Torrez Toledo started playing in the Orquestra Sinfônica Jovem Municipal de São Paulo in 2016, where he later became the first chair violist, until 2018. In

107 2017, Toledo started his undergoing Bachelor’s Degree in Composition in the University of São Paulo. Lucas Torrez Toledo’s current interests are Computer Assisted Composition, Electroacoustic Music, Live Electronics and Visual Programming. In November 2020, he was selected to participate in Musitec2 (2nd Music and Technology Congress. //

Lucia Nogueira Esteves Lucia Nogueira Esteves (b. 1991) undergraduate student in Music at University of São Paulo-Brazil. She holds a degree in History from the same university. She works as a research in the areas of musical composition, sound studies and audiovisual. Actually, develops scientific initiation research, with FAPESP scholarship, based on the work of the composer Steve Reich and experimental music. Researcher at NuSom - Research Center on Sonology. She integrates the Sonora network - Music and Feminisms. //

Luis Afonso Montanha Luis A. E. Afonso Montanha was the first clarinet player for over 20 years on Orquestra Sinfônica Municipal of São Paulo and lecturer at São Paulo University and Doctor in Musicology (UNICAMP University). Montanha plays clarinet and bass clarinet (clarone) in several chamber music ensembles, among them: Quinteto de Clarinetes Sujeito a Guincho, Duo Clarones (with Henri Bok – Holland), ClarinEtc and Opus Brasil. He completed a master degree for clarinet and bass clarinet at the Rotterdam Conservatoire (Holland), achieving the highest score, having Walter Boeykens and Henri Bok as his teachers. Since 1992 he has been Professor at the Music Department at University of São Paulo. Montanha is regularly invited as a guest teacher in festivals in Brazil and abroad, as well as a soloist and chamber musician in concerts in Brazil, Europe and the United States, playing important premieres within the clarinet and bass clarinet repertoire. Luís Afonso Montanha plays Selmer instruments. //

Luís Bittencourt Luís Bittencourt is percussionist, composer, artist-researcher and music producer. He is considered “a master of sound experimentation” (Vision Magazine) and his performances “a torrent of originality” (Casa da Música), presenting works by international composers and his own compositions. Bittencourt has performed and collaborated with Lee Ranaldo and Leah Singer (Sonic Youth), Jeffrey Ziegler (ex-Kronos Quartet), Phill Niblock, Found Sound Nation, Gabriel Prokofiev, David Cossin (Bang on a Can), Jon Rose, among others. Besides his activities as solo performer, Bittencourt is full-time artist-researcher in the project “Xperimus: Experimentation in Music in Portuguese Culture: History, Contexts and Practices in the 20th and 21st centuries” and integrated researcher at INET-md. //

Luís Neto da Costa Luís Neto da Costa was born in Freamunde. He began his studies in clarinet and graduated in Composition at Escola Superior de Música e Artes do Espectáculo in 2016, having worked with Pedro Santos, Dimitris Andrikopoulos, Filipe Vieira and Eugénio Amorim, among others. His interests extend to fields like music programming, electroacoustic music, improvisation and exploration of new instruments. In the scope of music direction, he has worked with some

108 conductors from the Portuguese music scene. He has written pieces for orchestra, ensemble and various chamber music formations. As a commission for the Young Musicians Award (Antena 2/ RTP), he wrote the obligatory piece for the oboe category (medium level). In 2015 he won the Menção Honrosa do Prémio de Composição SPA/ Antena 2 (Honorable Mention of the Composition Award SPA/Antena 2) with a piece for orchestra and the Menção Honrosa do Prémio de Composição Casa da Música/ESMAE (Honorable Mention of the Composition Award Casa da Música/ESMAE) on World Music Day 2015 with a piece for 50 saxophones, 50 clarinets and soloist flute. //

Luís Paixão Luís Gustavo Pinto Paixão, born in Câmara de Lobos, Madeira, started his music studies at age 6 at GCEA, Funchal. In 2019, Gustavo graduated from ESELx and ESML with a bachelor’s degree in Community Music. During university, Gustavo took part in several music related workshops, such as: “DABO DOMO” (2017) and “Jardim Interior” (2019). In 2018, Gustavo participated in the ISU – International Summer Universities project in Fulda, Germany studying Music Therapy. In 2019, with the international Erasmus+ program, Gustavo studied Music Education at Charles University in Prague. Currently, Gustavo is working on a master’s degree in Music Arts at FCSH, NOVA University in Lisbon. Parallel to that, Gustavo is taking a four year course in Waldorf Pedagogy. He conducts an elderly choir in Centro Cultural de Oeiras, Lisboa and rehearses Tuna Académica de Lisboa. Since 2020, Gustavo has collaborated with CMT – Companhia de Música Teatral in a variety of different projects. //

Makis Solomos Makis Solomos note Born in Greece and living in France, Makis Solomos is Professor of musicology at the University Paris 8 and director of the research team MUSIDANSE. He has published many articles and books about new music. His main fields of research are the focus on sound, the notion of musical space, new musical technics and technologies, the mutations of listening… He is also one of the main international Xenakis’ specialists, to whom he devoted many publications and symposiums. He is co-founder of the review Filigrane. Musique, esthétique, sciences, société. His last book deals with an important mutation of today’s music: From Music to Sound. The Emergence of Sound in 20th- and 21st-Century Music (Routledge, 2020). His recent researches focuse on sound ecology and on performing Xenakis’ music (both instrumental and electroacoustic). He is preparing a book on sound ecology and co-directs the project Arts, ecologies, transitions. Building a common reference, and he is also preparing a book on Xenakis’ music. //

Marcin Strzelecki Music theorist and composer, instrumentalists and digital multimedia artist. Works at Academy of Music in Kraków, Poland, teaching musical analysis, and contemporary composition techniques (specifically, computer aided composition). Cooperates with Krakow Academy of Fine Arts, teaching "soundart" and sound installations. As theorist, run empirically oriented researches on music from perspective of perception, timbral and harmonic analysis, with use of advanced information processing techniques, music stylometry, and empirical foundations of musical creativity (cognitive and acoustic constraints), as well as artificial intelligence techniques applied to music composition. //

109 Maria da Silva Maria Inês Dias Costa Rodrigues da Silva, born in Vila Nova de Famalicão, started her music studies at age 10 at CCM. In 2016, she achieved 8th grade of piano and three years later graduated in Community Music (bachelor’s degree) from ESELx and ESML. Throughout her studies, Inês took part in a large variety of activities. Contemporary dance, vocal improvisation, body and voice workshops, singing, vocal technique, theater and movement lessons. It is worth mentioning the workshops “DABO DOMO - Formação Imersiva em Arte para a Infância” and “Formação Imersiva em Arte para a Infância - Jardim Interior”. Furthermore, Inês got involved in a wide range of projects with CMT with performances in Portugal, Denmark, Finland, France and Norway. In addition to that, she participated in RESEO Spring Conference 2018, in Bern, Switzerland. Inês is currently a master's student in Performing Arts at Escola Superior de Teatro e Cinema. //

Maria de Fátima Lambert Maria de Fátima Lambert [Alexandrino Alves de Sá Monteiro]. Born in Porto (Portugal). Graduation in Philosophy - Faculdade de Filosofia de Braga / Universidade Católica Portuguesa (1982); Master of Philosophy - Faculdade de Filosofia de Braga / Universidade Católica Portuguesa (1986); PHD in Philosophy / Aesthetics - Faculdade de Filosofia de Braga / Universidade Católica Portuguesa (1998); Coordinator Professor - Aesthetics and Education - - Escola Superior Educação / Politécnico do Porto Coordinator of Department - Cultural and Social Studies - Escola Superior Educação / Politécnico do Porto Member of Scientific Board of InEd - Research Center of Escola Superior Educação / Politécnico do Porto Director of InEd - Research Center of Escola Superior Educação / Politécnico do Porto (2014/2016) Member of Scientific Board of IHA - Faculdade de Ciências Sociais e Humanas - Universidade Nova de Lisboa Director of Heritage Managment Degree - Escola Superior Educação / Politécnico do Porto Director of Master of Philosophy - "Heritage, Arts and Cultural Tourism" Coordinator of Research Projects in: "Educação Estética e Formação de Públicos para a Arte Contemporânea"; "Cartografia do Pensamento no Porto do séc. XX"; "Práticas Culturais em Contextos Profissionais"; "Novos Caminhos de Santiago – trajetos na contemporaneidade"; "Cerâmica: memórias, matérias e modos – património material e imaterial" - inED | ESEPolitécnico do Porto Participation: "Bases Conceptuais da Investigação em Pintura" - FBAUP Art Curator; Art Critic - member of AICA (Paris) Comitee Advisory of DARDO Magazine (Santiago de Compostela / ES). //

Maria Inês Pires Maria Inês Pires is a PhD student of Historical Musical Studies at Nova University of Lisbon She finished her bachelor’s degree in Saxophone and her master’s degree in Music Pedagogy in ESART (Castelo Branco). She studied at the PESMD Bordeaux Nouvelle-Aquitaine, in the saxophone and contemporary chamber music class of Marie-Bernadette Charrier. She won the Best Performer Award in the CRCB Internal Competition (2014), the 2nd Prize in the Cabral National Clarinet and Saxophone Competition (2014) and she was finalist in the Vitor Santos International Saxophone Competition (2014). She participated in the 17th and 18th World Saxophone Congress in Strasbourg and Zagreb. She premiered pieces by young Portuguese composers at the Monaco Electroacoustique Festival (2017 and 2019). She attended masterclasses with Jean-Marie Londeix, Claude Delangle, Vincent David, Lars Mlekusch, Marcus Weiss, Andrés Gomis, among others. Currently, she is part of Festival DME and Lisboa Incomum’s production team. //

110 Mariachiara Grilli Mariachiara Grilli is particularly dedicated to the study and the interpretation of the contemporary piano repertoire. She has an active working life as a soloist in Italy and abroad, and within the Orchestra di Padova e del Veneto, with which she also took part in recordings for Decca and Stradivarius and in television broadcasts for national channels such as Rai5 and Radio3Rai. She works as a pianist/conductor, répétiteur, arranger and teacher at the Teatro Lirico Sperimentale in Spoleto, Italy. Her essays have been published by EUM-Edizioni Università di Macerata. She has previously been a speaker at: VIII Convegno di analisi e teoria musicale, Rimini, Italy-2010; Simpósio Internacional de Música Nova, Curítiba, Brasil-2016, XVI Convegno di analisi e teoria musicale, Rimini, Italy-2019; IV Encontro Internacional de Piano Contemporâneo, Porto, Portugal- 2019. She will be a speaker at the 10th European Music Analysis Conference (EuroMAC-10) in Moscow, September 2021. //

Mariana Miguel Mariana Miguel is a pianist, percussionist and multidisciplinary artist. She graduated in Music (Piano), in Universidade de Évora, where she currently attends the master’s degree in Performance (Piano), with professor Ana Telles. She has developed and presented work where the piano takes a central role, in an experimental and improvisational language and in dialogue with other arts. She’s part of the creative percussion group CRASSH (WeTumTum) and takes an interest in interaction and collaboration with people, artists and audiences. She collaborates with Companhia de Música Teatral in the artistic-educative constellations Anatomia do Piano (Pianoscópio), Gamelão de Porcelana e Cristal and Metamorfose, taking roles as a facilitator, performer and creative. She’s a collaborator at LAMCI-CESEM in NOVA FCSH, at Escola de Artes da Bairrada, and teaches at MUSA (Escola de Música de Aveiro). //

Mariana Vences Mariana Vences has completed a Music and New Technologies course at the Escola Profissional de Imagem, a Flute Master’s Degree at the Lisbon Superior School of Music and the Master’s degree in Music Education in Basic Education at the Faculty of Social Sciences and Humanities of NOVA (FCSH/NOVA). She has worked in several music schools as a Flute and Choir teacher. She also worked as a teacher and coordinator of the Music Education discipline. As a flutist she has collaborated with orchestras, chamber groups and participates in shows and music sessions for babies. She has participated in several initiatives of the GermInArte Project. She is a Fellow of the CESEM of FCSH/NOVA, in the Laboratory of Music and Communication in Childhood (LAMCI), collaborating in projects related to the impact of artistic creation for babies. Regularly collaborates with Companhia de Música Teatral. //

Martin Laliberté Composer and Tenured Professor University Gustave-Eiffel was born in Quebec in 1963. Following musical studies since childhood, he studied musical composition and computer music in Quebec, California and France, 1980-1990. After working freelance as a composer in Hollywood and in Quebec, he moved to Paris in 1988 where he finished a Ph.D. at IRCAM in 1994. He was appointed Professor at the Music Department of the University of Burgundy in 1995 and at University Gustave-

111 Eiffel in 2002, where he teaches composition and electroacoustic music. His research centers on the esthetics and practice of contemporary music and the emergence of electronic and computer musical instruments. He has written chamber music and interactive computer music, as well as lyrical or orchestral pieces. His piece les abandons de nos miroirs has received the SACEM award at the international orchestral music contest of Besançon. His third electroacoustic chamber opera, Mes mains écartent le jour was premiered in 2018. //

Matilde Meireles Matilde Meireles is a recordist, sound artist, and researcher who makes use of field recordings to compose site-oriented projects. Her projects often have a multi-sensorial approach to ‘site’ which draws from her studies and experience in areas such as field-recording, site-specific visual arts and design. She is currently a Postdoctoral researcher at University of Oxford. She holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast, where she has also been appointed as a Research Fellow. Matilde is part of the research groups Recomposing the City (Queen’s University Belfast, University of Oxford), Translating Improvisation (Queen’s University Belfast), Street Space (Queen’s University Belfast); Sounds of Tourism (Faculdade de Ciências Sociais e Humanas – FCSH/NOVA). //

Michał Garnowski Michał "Gary" Garnowski – Masters of Fine Arts degree from the Academy of Fine Arts in Gdańsk at the Faculty of Painting, who previously studied also Architecture and Urban Planning at Gdańsk University of Technology. He is a visual artist particularly interested in video- and filmmaking, including animation and motion design. Although he has participated in exhibitions organized by many of the most important galleries in Gdańsk, such as: National Museum in Gdańsk, Centre for Contemporary Art Łaźnia, City Culture Institute or Gdańsk City Gallery, his main artistic avtivity is 3d mapping creation and video live performing for concerts as a VJ. He has performed at stages of many festivals, e.g.: Open'er Festival, Vilnius Mama Jazz Festival, Jazz nad Odrą Festival or Soundrive Festival. Owing to his broad interests, he explores various fields of video art, starting from plain motion design, through found footage remix editing, ending with generative 3d abstract animations. //

Miguel Ferraz Miguel Ferraz finished his bachelors degree in Equipment Design by the ESAD Matosinhos in 1997, and his master’s degree in Industrial Design by the Engineering Faculty of Porto in 2004. He currently lives and works in Porto. He worked 12 years as an assistant in the University of Aveiro’s Department of Communication and Art. In 2016 he started working in the College of Media Arts and Design, Porto Polytechnic, Pole II, Vila do Conde. At the same time he works in design projects in many different fields, such as robotics, music, automobiles, set design, quick prototyping, furnishing, molding. He has collaborated with the Casa da Música Foundation, Companhia de Música Teatral, Ordem do O, Sonoscopia and also in Sustainable Design projects in Alentejo. Of special note in his collaboration with Comapnhia de Música Teatral are the ZYG project in CCB, the Jardim Interior in the Calouste Gulbenkian Gardens, Babelim in the S. Luís Theatre in Lisbon, Dabo Domo also in the Calouste Gulbenkian Foundation and NOAH, in Casa das Artes of Famalicão. His technological

112 abilities have permitted him work as a consultant and give support in several design projects, who manifest themselves in specialized support Workshops in different companies. //

Mohamed Abd Elhamid Rashed Mohamed Abd Elhamid Rashed (1973), Egyptian, is Vice-Dean of the Faculty of Specific Education for Environmental Affairs and Head of Music Education Department, Faculty of Specific Education, Aswan University. Qualification: Assistant Professor and PhD in Arabic Music 2. //

Mónica Chambel Mónica Chambel is a PhD student in Music, Analysis and Music Theory, at the University of Aveiro. She has developed research on topics such as Portuguese music from the 20th and 21st centuries, experimentation in music and inter-artistic relations, and the study and recreation of Cosntança's Capdeville music-theatre works. She was researcher in the project “Euterpe unveiled: Women in Portuguese musical creation and interpretation during the 20th and 21st centuries” and producer of the artistic research project “Capdeville XXI”, financed by DGArtes. She is a member of the Post-ip Group (INET-md / UA). //

Monika Karwaszewska Monika Karwaszewska, PhD hab., music theoretician. She is a graduate of the Stanisław Moniuszko Academy of Music in Gdańsk with a degree in Music Theory. Since 2006 she has been working at her alma mater in the position of an assistant professor. She is the editor-inchief of the Academy's Publishing House. In 2013 she was granted the doctoral degree in musical arts (a supervised research project of the Minister of Research and Higher Education funded by the National Research Centre) at the Academy of Music in Krakow. She is a member of the Musicologists’ Section of the Polish Composers’ Union and the author of the monograph Andrzej Dobrowolski. The Music of Pure Form. Her scientific interest focuses on the theory of music of the twentieth and twenty-first centuries, accounting for intermedial and intertextual methodologies. Decorated with the Bronze Cross of Merit by the President of the Republic of Poland for services to Polish culture. //

Nicola Bizzo Nicola Bizzo gained his degree in History of Music at Università degli Studi di Torino (Italy) in 2003, and has collaborated since then with the “Istituto per i beni musicali in Piemonte” among other national and international institutions. A composer of music, his studies vary from classical iconographical fonts to contemporary popular music, including many new ways of communication such as video clip and album covers; his last articles are focused on organology in the production of the output of Queen. Meanwhile he is preparing a book from his doctoral dissertation entitled "Forms and structures in Queen’s first production (1973-1980): analysis of musical dramaturgy in album and live shows." He has published several articles in international magazines such as “Music in Art,” and he is member of several study groups such as IASPM (International Association Study Of Popular Music), AISS (Associazione Italiana Studi di Semiotica), and ICTM (International Council for Traditional Music). He has collaborated in many conferences around the world, as an expert on Queen, and is now part of the Iconography Study Group at the University of Lisbon (CESEM), where he is a researcher. In addition he assists on the collection of LP and singles vinyl covers on the site

113 www.queenvinyls.com, with an iconographic approach, which includes several articles available online. //

Nuno Aroso Teacher, researcher and percussion soloist with intense concert activity, Nuno Aroso develops his career focused on the innovation of literature for his instrumental area. He performs live on contemporary music stages all over the world. Nuno Aroso graduated from the Escola Superior de Música do Porto with the highest classification and went on to study in Strasbourg and Paris. He holds a doctorate from the Portuguese Catholic University, where he defended the thesis The Gesture's Narrative - Contemporary Music for Percussion. He is a researcher at INET, where he is developing a post-doctoral program on Percussive Gesture. He teaches at the Music Department of the University of Minho and at the Escuela Superior de Música de Extremadura - Musikex. He extends his activity to other prestigious universities, conservatories and music festivals in all continents. //

Nuno Fonseca Nuno Fonseca (b. 1974) is currently an integrated researcher at the Ifilnova and an associate researcher at CESEM. He investigates various topics of Aesthetics and Philosophy of Art, focusing particularly on sonic experience both in the context of contemporary music and sound art and everyday urban experience. At FCSH-UNL, he has taught in the course of Communication Sciences, in the Masters in Aesthetics, and several short courses on the Philosophy of Sound Art and Music (2015-2018) Graduated in Law (1998) and in Philosophy (2004) from the University of Coimbra, he completed his PhD in Philosophy (Epistemology and Theory of Knowledge) at FCSH-UNL in 2012, working on issues of representation and perception. Since the 90’s, he has been dealing with sound and sound experience, namely, through the conception and direction of radio shows at Rádio Universidade de Coimbra and, more recently, Antena 2, but also being involved in sound design for theatre and performance shows. //

Nuno Torres In the fields of improved and experimental music I focus on a continuous research that explores a wide scope of sound material through the use of extended techniques over the alto saxophone. In recent years I have been also collaborating in several different projects at the intersection, in particular, of the performative areas of the visual arts and dance. The radio has been a regular presence in my activity, working in several experimental and community radio projects. Member of the Contemporary Music Research Group of the Sociology and Musical Aesthetics Study Center. Master in Musical Arts at the Faculty of Social and Human Sciences, Universidade Nova de Lisboa. Co-founding member of OSSO Associação Cultural and STRESS.FM. Co-programmed ECOS (Escuta e Lugar / 2013-14) and EIRA (radio platform for artistic residencies / 2020). A discography of more than 25 titles, with several collaborations, edited mainly at Creative Sources Records. //

Paula Freire Paula Freire (V.N. Cerveira, 1962) is currently a master’s student in Aesthetics and Artistic Studies (specialization in Musical Arts and Musicology), at FCSH – UNL –Universidade Nova de Lisboa. She

114 graduated in Modern Languages and Literature at the Faculdade de Letras da Universidade de Lisboa. Her professional career began in 1980, in market and opinion research. In 1986, she founded her own company, specialized in qualitative market research, being its CEO. She has coordinated projects for some of the largest national and international companies. Since 2013, she continues working in the field, as an independent consultant. She lectured on market and opinion research at INDEG/ISCTE – Instituto Universitário de Lisboa, at UAL- Universidade Autónoma de Lisboa, and, since 2009, at FCSH-UNL. //

Paulo Ferreira-Lopes Between 1995 and 1997 Paulo Ferreira-Lopes studied composition in Paris with Emmanuel Nunes, Antoine Bonnet and Computer Music with Curtis Roads. In 1996 he received a Master in Composition at the University of Paris VIII under the advice of Horacio Vaggione. In 1996 further studies in composition with Karlheinz Stockhausen at the "Internationale Ferienkurse für Neue Musik", Darmstadt. Also in 1996, distinguished as Researcher with a scholarship of the French Government by the "Ministere de la Recherche" at the "Departement d’Esthétique et Technologies des Arts" of University of Paris VIII. Founder and Director (between 1992/95) of the Electronic Music Studio C.C.I.M. Founder and Director (2000) of the Summer Workshops - olhAres de Outono at Portuguese Catholic University. Since 1998, artist in residence and researcher at ZKM - Zentrum für Kunst und Medientechnologie - Karlsruhe Germany. Since 2002, member from the European Parliament of Culture. In 2004 he received the Doctor degree from the University of Paris VIII. Founder and Director from the Research Centre for Science and Technology in Art CITAR (2004/07) and Professor at Portuguese Catholic University. Since 2007 invited Professor at Karlsruhe Music University - Music Informatic Departement. //

Paulo Maria Rodrigues Paulo Maria Rodrigues did a PhD in applied genetics at UEA, studied opera at the Royal Academy of Music and composition with Rolf Gehlhaar in London. He taught at the School of Arts in the Catholic University of Oporto, coordinated the Education Service of the Casa da Música, collaborated with the Planetary Collegium and is currently Associate Professor at the Department of Communication and Art at the University of Aveiro. He has developed many artistic and educational projects, and cofounded the Companhia de Música Teatral, being its resident creator. His artistic projects have been presented in Portugal, Spain, Belgium, Poland, Finland, Germany, Austria, Canada, Denmark, Brazil and China, experiences upon which he has reflected in academic publications, discussing the question of art as an instrument of human development. //

Pavlos Antoniadis Pavlos Antoniadis (PhD in musicology, University of Strasbourg-IRCAM; MA in piano performance, University of California, San Diego; MA in musicology, University of Athens) is a pianist, musicologist and technologist from Korydallos, Athens, Greece, currently based in France. He performs complex contemporary and experimental music, studies embodied cognition and develops tools for technology-enhanced learning and performance. He is postdoctoral researcher at EUR ArTeC, Paris 8, and following up at the Berlin Institute of Technology (TU-Audiokommunikation) as a Humboldt Stiftung scholar. //

115 Philip Auslander Philip Auslander is a Professor of Performance Studies and Popular Musicology in the School of Literature, Media, and Communication of the Georgia Institute of Technology (Atlanta, Georgia, USA). He is the author of numerous scholarly articles and seven books, including Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance (University of Michigan Press, 1992), From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997), Liveness: Performance in a Mediatized Culture (Routledge, 1999; 2nd edition 2008), Performing Glam Rock: Gender and Theatricality in Popular Music (University of Michigan Press, 2006), Reactivations: Essays on Performance and Its Documentation (University of Michigan Press, 2018), and In Concert: Performing Musical Persona (University of Michigan Press, 2021). In addition to his scholarly work on performance and music, Prof. Auslander has written art criticism for ArtForum and other publications and regularly contributes essays to exhibition catalogs for museums in Europe and North America, including Tate Modern, The Whitney Museum of American Art, the Migros Museum, and the Walker Art Center. He is the Editor of The Art Section: An Online Journal of Art and Cultural Commentary, and also a screen actor and writer. “Dr. Blues,” a short film Auslander wrote, produced, and acted in, premiered at the Peachtree Village International Film Festival in Atlanta in October of 2019. //

Rachel Becker Rachel Becker (PhD) is Assistant Professor of Musicology and Oboe at Boise State University. She previously taught at the University of Cambridge in the UK, where she also received her PhD. Rachel’s research focuses on issues of genre, virtuosity, gender, popularity, and the development of woodwind instruments. She explores social and cultural influences on woodwind opera fantasias, including their reception history and the (positive and negative) emotional responses they have evoked contemporaneously and today, as well as the ways in which the composerperformers manipulated the operas they used. Future research plans include investigating the original performance spaces of these pieces, as well as the specific mechanics of instruction and performance of these works at the time in which they were composed. Rachel remains active as a performing oboist. She has played with the Portland Opera, with the King’s College and St John’s College, Cambridge choirs and with the Philharmonia Orchestra. //

Robert Hasegawa Music theorist and composer Robert Hasegawa joined the faculty of the Schulich School of Music of McGill University in 2012. His research interests include spectral music, microtonality, psychoacoustics, and the history of music theory. Recent projects include studies of music by Gérard Grisey and Tristan Murail, an article on atonal theory for the New Grove Dictionary of Music and Musicians, a chapter on extended just intonation for the volume Théories de la composition musicale au XXe siècle, and applications of transformational theory to the analysis of microtonal music by Hans Zender and Georg Friedrich Haas. //

Robert Jędrzejewski Robert Jędrzejewski holds degrees in performance, improvisation, composition, and pedagogy from the Krzysztof Penderecki Academy of Music in Kraków (MA), and from the Fryderyk Chopin

116 University of Music in Warsaw (PhD), and is a former Fellow of the Polish Ministry of Culture. His diverse projects and compositions are regularly performed all over Europe, in Canada, in Singapore, and in the USA. His goal is to determine to what extent the truly free and pure improvisation can become the basic creative method in music, which itself is part of an extremely dynamic performative sphere of the modern world. He would like to test which elements constitute the main engines of this kind of practice and how people behave under these kind of conditions, and if an act of ostension based on improvisation can become the basic source of experiencing truth for the artist and researcher in the 21st Century. He is co-founder of SALULU - duo of improvising composers, organiser of MUSIC IN A NEW KEY – Conference - Festival in Warsaw, Poland, and member of ISIM - International Society for Improvised Music and Ring für Gruppenimprovisation. //

Roger Reynolds Roger Reynolds is known for his integration of diverse ideas and resources, and for seamlessly blending traditional musical sounds and those now enabled by technology. At UC San Diego, Reynolds helped establish its Music Department as a destination program. He won early recognition with Fulbright, Guggenheim, and National Institute of Arts and Letters Awards, as well as grants from the Rockefeller Foundation, and a Fellowship from the Institute for Current World Affairs. In 1989, he won the Pulitzer Prize in Music for the string orchestra composition, Whispers Out of Time. He is author of books and articles, some resulting from collaborations with American, Canadian, and French scientists. Reynolds was the first artist to be appointed University Professor in the University of California. The Library of Congress established a Special Collection of his work, and his scores and correspondence are in the Paul Sacher Collection in Basel. //

Ryan J. Lambe Ryan J. Lambe is a PhD Candidate studying cross-cultural musicology at the University of California, Santa Cruz. His dissertation is an ethnographic study of performance and emotion in US queer open mics examined through queer and critical race lenses. Ryan earned his Bachelor of Music Education at Idaho State University before teaching music to underserved populations in New Jersey public schools. His M.A. in Music from the UC Santa Cruz examined queer musical hermeneutics and mid- century US opera. In his free time, Ryan enjoys cooperative games, cartoons, and playing early music. He teaches music history, theory, and world music using active and inclusive pedagogies derived from queer open mic practices. His forthcoming article in American Music examines how queer open mics use emotional labor in performance. Ryan’s research interests include amateur and community musics, critical race studies, gender and sexuality, critical pedagogy, and popular music. //

Sara Belo Sara Belo is an actress, singer, voice teacher and vocal experimentalist, PhD in Arts from the University of Lisbon. Also graduated in Theater (actors) by the Escola Superior de Teatro e Cinema where she has been a voice teacher since 2004. She attended the Singing course at the National Conservatory and finished her Masters in Theater Studies at the FL-UL. Actress and singer of various types of music (opera, jazz, pop) studied with the directors João Brites (Bando), João Mota (Comuna), João Lourenço (Aberto), Carlos Pessoa (Garagem), Cláudio Hochman and with the composers / conductors Eurico Carrapatoso, João Paulo Santos, Carlos Marecos. She has had a

117 frequent collaboration with composers Jorge Salgueiro, having participated in several of his works and with Daniel Schvetz. As a vocal experimentalist she performed several works. Her first creation in 2014 - MAGMA, solo vocal - at Teatro Meridional and Teatro O Bando (2017). //

Serge Lacasse Serge Lacasse is Professor of Musicology, specializing in popular music, at the Faculty of Music, Université Laval in Quebec City, Canada. He leads the Laboratoire audionumérique de recherche et de création (larc.oicrm.org). Favouring an interdisciplinary approach, his research and research- creation projects mostly deal with the study and practice of recorded popular music and the singing voice. In addition to multiple chapters, articles and conference papers, he co-authored (with Sophie Stévance) Research-Creation in Music and the Arts: Towards a Collaborative Interdiscipline (Routledge, 2018) and Les enjeux de la recherche-création en musique (PUL, 2013); he also co- edited Quand la musique prend corps (PUM, 2014) with Monique Desroches and Sophie Stévance, as well as Rewriting the Rules of Record Production (Routledge, forthcoming) with Simon Zagorski- Thomas, Katia Isakoff and Sophie Stévance. He is also active as a record producer, musician and songwriter. His Prof. Lacasse project has cumulated close to 1,000,000 streams since 2019. //

Silvio Ferraz Silvio Ferraz is composer, Full-Professor of musical composition at University of São Paulo (USP); Doctor in Semiotics by the Catholic University of São Paulo (PUC/SP); researcher of FAPESP and CNPQ. Autor of Musica e Repetição: a questão da diferença na música contemporânea, Livro das Sonoridades and several articles focused on Deleuze thought about art, mainly music. Among his principal papers are those firectly concerned with Deleuzean thought as “La formule de la Ritournele” (in: Deleuze: la pensée Musique - CDMC-Paris), “Music and Comunication: what music want to communicate?” (Organized Sound), “Musique et Modulation: vers une poètique du vent” (In Agencer les multiplicités avec Deleuze - Cerisy-Hermann). He studied composition with Brian Ferneyhough, Willy Correa de Oliveira and Gérard Grisey. His music has been performed by ensembles as Arditti String Quartet, Nash Ensemble, Smith Quartet, Iktus, Taller Musica Nova de Chile, New York New Music Ensemble. //

Simonetta Sargenti Simonetta Sargenti was born in Milano. Graduated in violin, composition and electronic music she’s active as performer, composer and teacher. As composer she’s interested to application of technologies and interactives tools to music composition. As performer she realised XX and XXI century’s works. She is teacher of Music Analisys and History of Music and she’s active as researcher in Music Theory and Music Analisys. Partner of GATM (Gruppo Analisi e Teoria Musicale) she obtained the Master’s degree in Analisys and Music Theory in which now she’s teaching Analisys of Electroacoustic Music. She held Masterclasses in Music Analisys in different institutions (Univeritade Catholica Portuguesa, Porto, University of Tecnology , Kaunas, Conservatorio Superior de Musica, Malaga) Actually she’s teacher at the Conservatorio Guido Cantelli (Novara, Italy) and coordinator of Department of Composition Music History and Didactics. //

118 Sophie Stévance Titulaire de la Chaire de recherche du Canada en recherche-création, Sophie Stévance s’intéresse à la nature fondamentalement interdisciplinaire et collaborative de la recherche-création dans le cadre de projets réunissant chercheurs et praticiens en art, tant du milieu universitaire que professionnel. Sa programmation de recherche s’articule autour de quatre axes: Mieux définir la recherche-création et ses variations; cultiver, analyser et déterminer les différents modes d’interaction entres les agents; favoriser les créations théoriques et artéfactuelles; soutenir la formation avancée dans le domaine. Sophie Stévance est l’auteure d’une dizaine de livres, incluant Research-Creation in Music and the Arts: Towards a Collaborative Interdiscipline (Prix de l’IASPM 2018, avec S. Lacasse, 2018), Les enjeux de la recherche-création en musique (avec S. Lacasse, 2013) ou Pour une éthique partagée de la recherche-création (avec S. Lacasse, 2019). Elle a reçu deux prix de l’Académie Charles-Cros (2006, 2010), était finaliste pour le Prix Opus 2014 et 2015, et est récipiendaire de nombreuses subventions de recherche (CRSH, FRQ, FCI). En plus d’analyses musicologiques sur les musiques expérimentales, notamment la pratique contemporaine du chant de gorge par l’artiste inuit Tanya Tagaq, Stévance poursuit des activités de création dans le domaine opératique, de la réalisation phonographique, et des relations entre musique et sport dans le cadre de son projet Hits for HIIT. //

Stephen McAdams Stephen McAdams is a major figure in timbre research and the first to bring psychoacoustics and cognitive psychology to bear on the complex issue of orchestration analysis with the long-term aim of developing a theory of orchestration in collaboration with composers, theorists, and acousticians. He has a long track record of leading large research teams on collaborative team grants in Canada. He is the Director of the Music Perception and Cognition Lab and the ACTOR Partnership. His theoretical contributions emphasize the study of real-world music listening in ecologically valid contexts, including a theory of form-bearing dimensions in music. His empirical work has focused on auditory scene analysis, timbre perception, the perception of formal functions in music, and the cognitive dynamics of music listening. McAdams’s research teams have made significant contributions at an international level to the literature on musical timbre perception and auditory grouping and their application to orchestration perception. //

Teresinha Prada Teresinha Prada (Brazilian researcher and classical guitarist) Bachelor of Music in Performance: Classical Guitar, São Paulo State University (UNESP); Master Degree in Communication and Culture, Latin American Integration Program, University of São Paulo (PROLAM / USP); PhD in Social History, Faculty of Philosophy, Letters and Human Sciences, University of São Paulo (FFLCH / USP); Associate Professor, the Faculty of Communication and Arts, Federal University of Mato Grosso (FCA/UFMT); Classical Guitar Professor at FCA/UFMT and Doctoral Advisor in the Postgraduate Program in Studies of Contemporary Culture (UFMT); Member of the Caravelas Research Group, CESEM / UNL; author of the books “Guitar: from Villa-Lobos to Leo Brouwer” (2008) and “Gilberto Mendes: avant-garde and utopia in the southern seas” (2010). //

119 Tiago Sousa Tiago Morais Ribeiro De Sousa is currently working on his PhD in the Philosophy of Music at the University of Minho, Portugal, where he also lectures in Aesthetics and Philosophy of Art. Has published articles in this area, evidencing an article of 2017 published in The British Journal of Aesthetics, entitled "Was Hanslick a Closet Schopenhauerian?". Additionally, he has a BSc and MSc in Electrical and Telecomunications Engineering from the University of Oporto, a BMus in Classical Guitar and an MA in Music, both from University of Minho. He regularly works as a teacher of classical guitar and occasionally performs as a classical guitarist. //

Yuval Adler Yuval Adler is a researcher and composer currently completing his PhD studies at McGill University’s Music Perception and Cognition Laboratory. His main research focuses on the perception and cognition of timbre and orchestration in contemporary musical practice, focusing on the ways composers use extended instrumental and notational techniques to achieve blended ensemble sonorities. He actively maintains his development as a composer in parallel to his research. He was composer in residence at the Jerusalem Film Workshop in 2018, and participated in the Atlantic Music Festival and Domain Forget new music composition workshops in 2019. //

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