This year the EPARM Meeting took place in Lyon, France at the Conservatoire National Supérieur de Musique er Danse de Lyon from 18 to 20 April 2013.

Artistic Research is one of the newest concepts, and currently one of the most vigorous areas of development, in European Higher Music Education. Still controversial in some quarters, it has been eagerly seized upon in others and many institutions are now offering ‘Artistic Doctorates’ and establishing frameworks through which their teachers may be encouraged to develop their artistic practice within a research-oriented context. Precise definitions of artistic research in music are hard to come by. This is perhaps to be welcomed as the field establishes itself in a diverse and dynamic way through a proliferation of new outputs that describe themselves in these terms. However, the very diversity and growth of this activity makes it important for the ever-expanding pool of knowledge to be shared, ideas to be exchanged and consensus and collaboration to emerge. The Platform is open to all AEC members interested in artistic research:
– Institutions that have implemented artistic research at Bachelor, Master, and/or (Post) Doctoral level, or are planning on starting these programmes,
– Institutions and individuals wanting to learn more about artistic research, and/or European level developments,
– Students, teachers and staff engaged in artistic research.
The language used during the meetings is English.

The EPARM Preparatory Working Group:
Peter Dejans (Orpheus Instituut, Gent) – Chair
Darla Crispin (Orpheus Instituut, Gent)
Kevin Voets (Artesis Hogeschool Antwerpen, Antwerp)
Henrik Frisk (Royal College of Music, Stockholm)
Mirjam Boggasch (University of Music, Karlsruhe)
Magnus Andersson (Norwegian Academy of Music, Oslo)
Philippe Brandeis (CNSMD Paris)

The AEC preparatory working groups members work on the preparation of AEC events on voluntary basis. The AEC Preparatory Working Groups are all formed by coopting active individuals in the relevant field of specialization within AEC member institutions. Proactivity, as well as geographical and gender balances are the applied criteria to guarantee the diverse and dynamic character of the groups, who should ideally recreate the diversity of AEC members institutions.
Working group members are financially supported by their home institutions, which cover their travel and accommodation expenses to the working group meetings and to the actual event.

Third Meeting of the European Platform for Artistic Research in Music (EPARM)

Conservatoire Supèrieur de Musique et Dance de Lyon, 18-20 April 2013

Creativity and research share many characteristics – for example, they both deal with how ideas can be presented with novel variations and in new combinations. However, they reflect these shared characteristics in ways that that are shaped differently by their respective natures; so, for example, the creative impulse in research generally manifests itself in a more consciously rigorous and systematic way than the originality that expresses itself in the creativity of the artist.

Artistic research has yet to achieve a comparable stability in terms of method to the well-established norms of more traditional research. This may be something that will develop with time, but it may also reflect the special character of a research approach that is specifically rooted in the artistic sensibility and in artistic working practices. Artistic research is therefore a particularly interesting locus within which to explore the relationship between creativity and research.

With this in mind, the third edition of EPARM aimed to explore the rich but ambiguous territory that exists between the ‘madness’ of artistic creation and the ‘method’ of research. In doing so, it recognises the importance of method in most artistic creation, and of inspiration – the ‘Eureka’ moment – in the trajectory of much research. Most importantly, it hoped to pinpoint areas in this territory where the growing range of activities that go under the name of artistic research might be located and better understood – both in relation to each other and in comparison with pure artistic practice and pure ‘scientific’ research.

EPARM 2013 followed on immediately from the International Colloquium on Music & Dance being mounted by the Conservatoire National Supérieur de Musique et Danse de Lyon.

Thursday, 18th April

13:00 Registration opens – coffee available

Library Tour 14:30 – 15:00

13:30 – 16:00 Option to attend Final Session of the Colloquium

“Open Mind” une musique de chambre improvisée… Par le collectif d’improvisation du CNSMD de Lyon. Accompagnement artistique Jean-Marc Foltz et Henri-Charles Caget.

  • Gaëlle Lombard « Moments transgressifs : la danse improvisée dans le film non-musical »
  • Emmanuel Ducreux « L’écriture du geste et du mouvement dans les œuvres de Karlheinz Stockhausen des années 70 et 80 (Inori, Harlekin, Kathinkas Gesang) »
  • Philippe Roger « Physique et métaphysique chorégraphique dans le cinéma musical de Max Ophuls »
  • Clôture du colloque

16:00 – 17:00 Informal Networking – Coffee available

Library Tour 16:30 – 17:00
Guided tour of the conservatoire (in French) 16:15 – 17:00

17:00 – 18:00 Opening Event (Salle Darrasse)

Musical Introduction

Official Welcome by:

  • Ministry of Culture and Communication (to be confirmed)
  • Representative from the University of Lyon (to be confirmed)
  • Géry Moutier, CNSMD
  • Alain Poirier, CNSMD
  • Peter Dejans, Chair EPARM WG
  • Jeremy Cox, AEC Chief Executive

18:00 – 19:00 Information Forum (Salle Darrasse)

19:15 – 20:30 Cocktail Buffet (Bar Varése)

21:00 Light Music by Thierry De Mey performed by J. Geoffroy (Salle Varése)

Friday, 19th April

09:30 – 10:00 Informal Networking with Refreshments – Bar Varése

Library Tour 9:00 – 9:30

10:00 – 11.00 Plenary Session I – Salle Varése

Musical Introduction

“Madness meets method”, presentation by Valentin Gloor, singer and doctoral student at the Kunst Universität Graz and a doctoral researcher at the Orpheus Institute Gent

Q & A

11:00 – 11:45 Parallel Session I
A – Salle Varése

“Subjectivity and the Research Question: Quantitative and Qualitative Methodologies in the Context of Artistic Research” by Joanna Marsden, Royal Conservatoire, The Hague

B – Salle d’Ensemble

“Creative Dimensions of Opera Improvisation” by Sara Wilen, Malmö Academy of Music

11:45 – 12:15 Informal Networking with Refreshments – Bar Varése

Library Tour 11:00 – 11:30

12:15 – 13:30 Parallel Sessions II
A – Salle Varése

Presentation by Edoardo Milani, Conservatorio di Musica “G.Tartini”, Trieste (TBC)

“Neurological Activation of Creative Thinking in Students of Composition: Creates’Brainset Model Application” by Yónatan Sánchez Santianes, Music Conservatory of the Canary Islands

B – Salle D’Ensemble

“Bach Reflections in Modern Jazz” by Dick de Graaf, CODARTS Rotterdam

“Improvising Organization: the Jazz Metaphor” by Jari Perkiömäki, Sibelius Academy, Helsinki

13:30- 15:00 Lunch – Cantine

Library Tour 14:30– 15:00

15:00 – 16:45 Parallel Sessions III
A – Salle Verése

“The Spiral of Knowledge – When Does Artistic Research Make Sense?” by Anne-May Krüger, Musikhochschule Basel

“Recontructing the lost art of the voce faringea: an artistic research project” by Alexander Mayr, University of the Arts, Graz

“Fleeting Glimpses – Capturing Exploratory Music Processes” by Jan Schacher, Orpheus Institute, Ghent

B – Salle D’Ensemble

“Improvisation and Reproduction: A modest plea for methodical madness” by Nuno Atalaia, Royal Conservatoire, The Hague

“W. A. Mozart K 475 Fantasia c-moll: in search for a perfect performance” by Jonas Jurkūnas, Lithuanian Academy of Music and Theatre, Vilnius

“Music <-> Text. A dilemma (exemplified in the French mélodie of the fin de siècle)” by Bartolo Musil, University of the Arts, Graz

16:45 – 17:15 Informal Networking with Refreshments – Bar Varése

with music performance
Library Tour 16:45 – 17:15

17:15 – 18:30 Parallel Session IV
A – Salle Varése

“Water percussion: a research on a new musical matter” Luís Alberto Bittencourt, Universidade de Aveiro

“Spiritual Concepts in the Music of Johann Sebastian Bach” by Emily Dupere, Royal Conservatoire, The Hague

B – Salle D’Ensemble

“The Architecture of Time and Space in the Live Electronic Music of Luigi Nono: A creative point of departure” by Juan Parra, Orpheus Institute, Ghent

“Representations of the Creative Process of Music Composition” by Hans Roels, Royal Conservatory, School of Arts, Ghent

18:45 – 19:30 Guided tour of the Conservatoire (in English)

20:00 Dinner at Restaurant Quai des Arts

Saturday, 20th April

09:00 – 10:00 Plenary Session II – Salle Varése

Musical Introduction

“The creativity process in scientific research and in the art of interpretation” by Agnes Sulem, Professor of Chamber Music, CNSMD Lyon and Directeur de Recherche, INRIA (National Research Institute in Computational Sciences)

Q & A

10:00 – 11:15 Parallel Sessions V
A – Salle Varése

“What can studies in psychology tell about artistic development among singers and instrumentalists?” by Maria Sandgren, Södertörn University, Huddinge, Sweden

“A hermeneutical journey through a musical region of indeterminacies: preliminary reflections upon experiences with the sign language Soundpainting from the perspective of a classically trained musician” by Bruno Faria, Lund University, Malmoe

B – Salle D’Ensemble

“The creativity in Artistic Research Method” by Adilia Yip, Royal Conservatoire, Antwerp

Presentation by Milan Miladinovic, Academy of Arts in Novi Sad (TBC)

11:15 – 11:45 Informal Networking with Refreshments – Bar Varèse

11:45 – 13:30 Parallel Sessions VI
A – Salle Varése

“From Knowledge to Performance: Studies on the Accordion Contemporary Music Repertoire in Europe” by Vincent Lhermet, CNSMD Paris

“The principle of artistic deviation (madness) and the search for “truth” (method)” by Sergei Istomin, Royal Conservatory, School of Arts, Ghent

“Helmut Lachenmann Pression. 1969-2010 : Beauty as a rejection of habit, 40 years of reflection on musical notation and performance practice” by Séverine Ballon, CNSMD Lyon

B – Salle D’Ensemble

“Sourcing Madness in a 17th Century Operatic Mad Scene: A Performing Method Exhibiting a Cabinet of Vocal Wonders.” by Elisabeth Belgrano, Academy of Music and Drama, University of Gothenburg

“Composing Sonic Art Theatre” by Kent Olofsson, Royal College of Music, Stockholm (TBC)

13:30 – 14:00 Closing session, thanks and farewells – Salle Varèse

14:00 – 15:30 Free Lunch arrangements

15:30 Guided Tour of the city centre of Lyon by Isabelle Replumaz and Lyon students Meeting point in front of the Conservatory

Information fee payment AEC EPARM 2013
Amount of the registration fee

The date of payment is considered to be the date when the payment was authorised by the participant or his/her institution, as confirmed on the order of payment.
The actual conference fee depends on your date of registration (online) and payment:

Category Payment and Registration
by April 5
Payment and Registration
after April 5
Representative of an AEC member institution (staff) 120 euro 150 euro
Representative of a non-member institution 420 euro 450 euro
Student 80 euro 110 euro

The participation fee will not be reimbursed for cancellations notified after April 5

Bank details for payments

BNP Paribas Fortis
Kantoor Sint-Amandsberg, Antwerpsesteenweg 242
9040 Sint-Amandsberg, Belgium
Account Holder AEC-Music
IBAN: BE47 0016 8894 2980
VAT number/ N° TVA/ USt-IdNr. BE 503 980 425

When making the transfer, please clearly quote:
 the code of the event (EPARM 2013)
 the last name of the participant
 the name of your institution (if fitting)
Example:, EPARM2013, Smith, Gotham Conservatory

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Quarter Results
First Quarter € 10.000
Second Quarter € 14.000
Third Quarter € 8.000
Fourth Quarter € 12.000

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information forum design as an inspirational paradigm for artistic research pietro polotti conservatorio in trieste.pdf

improvisation and reproduction nuno atalaia royal conservatoire the hague.pdf

from knowledge to performance vincent lhermet cnsmd paris.pdf

implementation of different methods into artistic research milan miladinovic academy of arts in novi sad.pdf

a hermeneutical journey through a musical region of indeterminacies by bruno faria lund university malmoe.pdf

creative dimensions of opera improvisation by sara wilen malmouml academy of music.pdf

madness meets method valentin gloor kug graz.pdf

information forum research programme at cappella musicale sistina ettore borri.pdf

the principle of artistic deviation madness and the search for truth method by sergei istomin royal conservatory school of arts ghent.pdf

the creativity in artistic research method by adilia yip orpheus institute ghent.pdf

music text a dilemma exemplified in the french meacutelodie of the fin de siegravecle by bartolo musil university of the arts graz.pdf

subjectivity and the research question joanna marsden royal conservatoire the hague.pdf

slide show recontructing the lost art of the voce faringea an artistic research project by alexander mayr university of the arts graz.pdf

what can studies in psychology tell about artistic develpment among singers maria sandgren sweden.pdf

the spiral of knowledge when does artistic research make sense by anne may kruumlger musikhochschule basel.pdf

water percussion a research on a new musical matter luis alberto bittencourt universidade de aveiro update2.pdf

Programme and Reader

information forum cremona mondomusica ettore borri.pdf

information forum orcim research festival 2013 juan parra orpheus institute ghent.pdf


speech recontructing the lost art of the voce faringea an artistic research project by alexander mayr university of the arts graz.pdf