The AEC European Platform for Artistic Research in Music (EPARM) Conference 2018 will take place in ESMAE, Porto, on 22-24 March.
The EPARM preparatory Working group is in charge of organizing the AEC Annual EPARM meeting (Forum and Conference). The Working Group is 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 group, who should ideally recreate the diversity of AEC members institutions.
Working Group Members:
Peter Dejans – Chair (Orpheus Institute Ghent)
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen – Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Leonella Grasso Caprioli (Conservatorio “A. Pedrollo” di Vicenza)
Stephen Broad (Royal Conservatoire of Scotland, Glasgow)
Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre, Vilnius)
Matthias Hermann (Musikhochschule Stuttgart)
European Platform for Artistic Research in Music EPARM Conference
22nd – 24th March 2018
“Playing” as a common ground for artistic research and teaching arts – reflection, knowledge and knowledge transfer
Please note that the AEC EPARM 2018 is organized in combination with the HARMOS Festival (Porto, 20th – 24th March ) and ICMuC 2018: International Chamber Music Conference 2018 organized by NIMAE – I2ADS and ESMAE in Porto right before EPARM, from 21st March (afternoon) to 22nd March (morning).
The aim of ICMuC is to stimulate discussion and reflection on Chamber music. Educationally, chamber music is a curricular unit which is widely spread in every level of music education, but with a surprisingly scarce body of research.ICMuC aims at sharing a broader view on chamber music, gaining insight on aspects such as creating the ensembles, group dynamics and leadership, assessment and repertoire, as well as composition practices for chamber music or the development of innovative teaching methods, programming, among others.
Link to the Porto Chamber Music Conference Registration: https://www.esmae.ipp.pt/investigacao/open-calls/icmuc-2018-international-chamber-music-conference-2018-porto
Thursday 22nd March
Informal Networking – Coffee available
Entrance Hall, Rua de Alegria 503
16.00 – 16.30 Opening Event – [Concert Hall (Helena Sá e Costa Theatre)]
Clarinet & Electronics – Diogo Taveira
Official Welcome by:
Marco Conceição, vice-president of ESMAE Porto and the Head of Research
Stefan Gies, CEO of the AEC
Peter Dejans, EPARM Chair
16.30 – 17.30 Plenary Session I – First Keynote – [Concert Hall]
“Knowledge in motion. On aesthetic and other ways of thinking”, keynote speech by Prof. Dr. Ursula Brandstätter – Head of University in Linz, Austria
17:30 – 19:00 Reception [Café-Concerto Francisco Beja]
19:00 Concert – [Concert Hall]
Friday 23rd March
Information desk at entrance rua da Escola Normal 39
09.30 – 10.00 Informal Networking with Refreshments – [Café-concerto Francisco Beja]
10.00 – 11.15 Plenary Session II – Second Keynote – [Concert Hall]
“Improving musical play through research – academic and non-academic approaches”, keynote speech by Gustavo Costa , Sonoscopia, Portugal
Round table discussion moderatedy by Mário Azevedo , ESMAE Porto
– Gustavo Costa, Sonoscopia
– Rui Penha, FEUP
– Jorge Salgado Correia, INET-md
– Luis Costa, Binaural Nodar
– Nuno Pinto, ESMAE
11.30 – 12.00 PARALLEL SESSIONS I
PARALLEL SESSIONS I A – [Concert Hall]
Artistic Research and ‘Play’ in Jazz Education: Influential Precursors and Current Institutional Perspectives, Michael Kahr, University of Music and Performing Arts, Graz, Austria
PARALLEL SESSIONS I B – [Pavilhão 1]
Improvisation as a teaching-researching pathway in violin lessons, Anna Maria Freschi and Marco Gallenga, Conservatorio di Musica “Luigi Cherubini”, Florence, Italy
PARALLEL SESSIONS I C – [Pavilhão 2]
Song and Lullabies: From commissioning to recording to teaching studio, Robert Irvine, Royal Conservatoire of Scotland, Glasgow, Scotland
12.00 – 12.30 Informal Networking with Refreshments – [Café-concerto Francisco Beja]
12.30 – 13.00 PARALLEL SESSIONS II
PARALLEL SESSIONS II A – [Concert Hall]
The Importance of Rhythm in Jazz Phrasing and Improvisation, Anka Koziel, The Royal Conservatory The Hague, The Netherlands
PARALLEL SESSIONS II B – [Pavilhão 1]
Play and have people play: “Practice-inquiry”, a new concept of musical practical research in Cefedem Auvergne Rhône-Alpes, Sandrine Desmurs, Cefedem Auvergne Rhône-Alpes, Lyon, France
PARALLEL SESSIONS II C – [Pavilhão 2]
When is research artistic research?, Jorge Salgado Correia et al., University of Aveiro, INET-md, Aveiro, Portugal
13.00 – 13.30 PARALLEL SESSIONS III
PARALLEL SESSIONS III A – [Concert Hall]
Playing and Composing: Tuning the Gestures by Psychophysical Insight into Music, Giorgio Tedde, Conservatorio Giuseppe Verdi, Milan, Italy – Universität der Künste, Berlin, Germany
PARALLEL SESSIONS III B – [Pavilhão 1]
How to help composers’ ideas survive, Matthias Hermann, HMDK Stuttgart, Stuttgart, Germany
Continuation of When is research artistic research?, Jorge Salgado Correia et al., University of Aveiro, INET-md, Aveiro, Portugal
13.30 – 15.00 Lunch – [Room 210]
15.00 – 15.45 Flash Information Forum – [Concert Hall]
16.00 – 16.30 PARALLEL SESSIONS IV
PARALLEL SESSIONS IV A – [Concert Hall]
Mapping the Impossible: Incongruent Transposition as a Method of Playing, Katt Hernandez, Lund University, Music School, Malmö, Sweden
PARALLEL SESSIONS IV B – [Pavilhão 1]
The hidden Language – an ongoing artistic research project involving students at RDAM, Eva Hess Thaysen, The Royal Danish Academy of Music, Copenhagen, Denmark
PARALLEL SESSIONS IV C – [Pavilhão 2]
Just listen! (Or can I also look at my chamber music partners?), Sarah Vandemoortele, LUCA School of Arts, Leuven, Belgium
16.30 – 17.00 Informal Networking with Refreshments – [Café Concerto Francisco Beja]
17.00 – 17.30 PARALLEL SESSIONS V
PARALLEL SESSIONS V A – [Concert Hall]
Symphonies Reframed-Exploring and developing the artistic and educational potential of mid-sized chamber groups, Sigstein Folgero and Gjertrud Pedersen, Norwegian Academy of Music, Oslo, Norway
PARALLEL SESSIONS V B – [Pavilhão 1]
Trickle down and grow – implanting research issues onto student practices, Oeyvind Brandtsegg and Trond Engum , Norwegian University of Science and Technology, Trondheim, Norway
PARALLEL SESSIONS V C – [Pavilhão 2]
Graphic scores as tools for learning and playing through some form of artistic research, Jean-Charles Francois, PaaLabRes collective, Lyon, France
17.30 – 18.00 PARALLEL SESSIONS VI
PARALLEL SESSIONS VI A – [Concert Hall]
The MPEi project. Designing an artistic research and teaching ecosystem around the latest digital musical instruments in the context of the new Université Côte d’Azur, Navard Gael and Jean Francois Trubert, Université Côte d’Azur, Nice, France
PARALLEL SESSIONS VI B – [Pavilhão 1]
New brass playing – New sound for composing, Raffaele Marsicano, Conservatorio Giuseppe Verdi, Milan, Italy
PARALLEL SESSIONS VI C – [Pavilhão 2]
From Potential to Performance – An innovative way to share musical knowledge in conservatoires, Gabriela Mayer, CIT Cork School of Music, Ireland
20.15 Dinner – [Grande Hotel do Porto, Rua Santa Caterina 179]
Saturday 24th March
09.00 – 9.30 Informal Networking with Refreshments – [Café concerto Francisco Beja]
09.30 – 11.00 Plenary Session IV – [Concert Hall]
The Learning and Teaching Platform – Discussing about the link between education and research
Presentation of good practices by
– Discourses of Academization and the Music Profession in Higher Music Education (DAPHME)
– Research-Based Higher Music Education: Exploring different approaches (CEMPE), Oslo, Norway
– From the Sound to the Sign, from the Sign to the Sound. The musical composition as an interactive tool in the music education and as an impulse for an “alternative” teaching-method, Irene Malizia, JAM MUSIC LAB Private University for Jazz and Popular Music and JAM MUSIC LAB Conservatory, Vienna, Austria
– Pop 4: Developing Songwriting Teaching and Learning Activities as Collaborative Research, Andrew West, Leeds College of Music, Leeds, United Kingdom
11.00 – 11.30 Informal Networking with Refreshments – [Café-concerto Francisco Beja]
11.30 – 12.00 PARALLEL SESSIONS VII
PARALLEL SESSIONS VII A – [Concert Hall]
Playing with History, the intrinsic motivation to explore, Johannes Boer, Royal Conservatoire The Hague, The Netherlands
PARALLEL SESSIONS VII B – [Pavilhão 1]
Critical thinking through music: artistic research methods in the creation of bachelor and masters theses, Stefan Ostersjo, Malmö Academy of Music, Malmö, Sweden
PARALLEL SESSIONS VII C – [Pavilhão 2]
Teaching – Playing – Researching: No Boundaries, Andrew Bain, Royal Birmingham Conservatoire, Birmingham, England
12.00 – 12.30 PARALLEL SESSIONS VIII
PARALLEL SESSIONS VIII A – [Concert Hall]
Teaching and playing contemporary harpsichord music. How do students accept new music and how do they overcome it’s difficulties, Imbi Tarum, Estonian Academy of Music and Theatre, Tallinn, Estonia
PARALLEL SESSIONS VIII B – [Pavilhão 1]
Living Scores Live: It’s the score, stupid!?, Vincent Caers, LUCA School of Arts, Leuven, Belgium
PARALLEL SESSIONS VIII C – [Pavilhão 2]
Overcoming Challenge Through Creativity, Oliver Searle, Royal Conservatoire of Scotland, Glasgow, Scotland
12.30 – 13.00 Closing Session By Eirik Birkeland, AEC President – [Concert Hall]
13.00 Free Lunch arrangements
Information on Fee Payment
Please note that before paying and/or asking for an invoice you must submit your registration form
To receive an invoice please mail firstname.lastname@example.org
Participation fees can be paid the following ways:
Manual Payment by Bank Transfer before the event (please quote your name or invoice number)
Ideal, Credit Card, Bankcontact Systems Online (in the registration form)
Manual Payment (cash on the spot in Porto)
Manual Payment (by Credit Card in Porto
Amount of the Registration Fee (per person)
|Category||For Registration and Payment made by 24th February||For Registration and Payment made after 24th February|
|Representative of an AEC member institution||130 euro||170 euro|
|Representative of a non-AEC member institution||430 euro||470 euro|
|Student from an AEC member institution||90 euro||110 euro|
The participation fee includes:
• Conference documents
• Participation to all plenary and parallel session
• Participation to the networking moments
• Possibility to display information brochures posters and materials about AEC
• Coffee Breaks
• One organized Reception
• One organized Dinner
• One organized Lunch
• Assistance by the AEC Office Staff
The participation fee will not be reimbursed for cancellations notified after February 24th
Bank details for payments by bank transfer
Bank: BNP Paribas Fortis
Account Holder: AEC-Music
IBAN: BE47 0016 8894 2980
SWIFT/BIC Code: GEBABEBB
When making the transfer, please clearly quote:
• Invoice number
• the code of the event (EPARM 2018) and
• the last name of the participant
• the name of your institution (if fitting)
Example: EPARM2018, Smith, Gotham Conservatory
Call for Proposals
AEC European Platform for Artistic Research in Music
EPARM Conference 2018
22-24 March, Porto
A Common Ground for Artistic
Research and Teaching the Arts
The sixth EPARM conference welcomes music researchers, educators and/or performers to a three day exploration of the bonds between artistic research and higher music education.
As the field of artistic research in music is beginning to mature, the manifold possibilities of this particular research practice is beginning to surface. Last year’s EPARM approached the question of the relation between the academy and the field of music production. This year we turn our gaze towards the academy and one of its core activities: the teaching of music.
On a general level it is clear that research and teaching should benefit from each other, intimately connected. However, as may be observed also in other disciplines this is not always self evident: research is sometimes more of a satellite orbiting the institution rather than informing it with knowledge from within. In music we have the benefit of a common ground between teaching and research: the playing of music is at the centre of attention for both and may be seen as a common ground.
The obvious benefit of looking at playing as common ground for research and teaching is that it puts artistic practice at the centre of the activity. The topic may be approached from many angles and questions may relate both to the ways in which artistic research results can be used in teaching, and how pedagogical practice can be incorporated in artistic research. Following are further questions that may be explored within the frame of EPARM 2018
Submissions for EPARM 2018 may relate any of the following questions (In the questions below teaching refers to teaching in HME):
- How can playing serve as a method for (artistic) research?
- How can playing serve as a method for teaching?
- In what ways may the practice of teaching be incorporated in the practice of artistic research?
- How can the output of artistic research be used as input in teaching activities?
- Can we have HME without artistic research?
- Can teaching and learning activities be developed as collaborative research activities?
- How can artistic research improve higher music education?
- To play in the context of artistic research can be seen as a synonym for both experimentation and artistic practice. What may be the role of teaching in this context?
- How may methodologies of artistic research inform the practice of teaching?
- To what extent may students be involved in artistic research practices, and to what purposes?
- Teaching the art of music making is not possible without playing. Conducting artistic research is not possible without playing. How do these concepts of playing relate to each other?
EPARM 2018 will consider cases in which there is a manifest relation between artistic research and higher music education – in particular examples where such a relation is not only present but is properly documented and shared as good practice.
Submissions are invited in written, audio or video format or any combination of these. Proposals for a fifteen minutes presentation with ten minutes discussion should address one or more of the questions posed above.
Proposals should be sent in Word format and should include the following:
- Name of the presenter/s
- 150 words biography
- 350 words description of the content
- 150 words text describing link with the questions listed above
For the submission please use the template provided in the Documents section
We strongly welcome presentations including artistic contributions.
A peer-review team composed by the EPARM working group members will select those submissions that will be featured in the EPARM conference.
The material submitted for these will be posted on the events page for EPARM 2018 one month before it takes place.
The timetable for this process is as follows:
- 17th November: Circulation of call
- 10th January: Deadline for submissions
- 23rd January: Results communicated to the applicants / publication of the final programme of EPARM 2018 and launch of registrations
- 22nd March: Start of EPARM 2018
Completed submissions to be sent to AEC Events Manager Sara Primiterra at the following email address: email@example.com. Submission not following the guidelines here above will not be considered.