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Nova Contemporary Music Meeting 2021 Musical Performance As Creation 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
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