The AEC European Platform for Artistic Research in Music (EPARM) Conference 2019 took place at the Gheorghe Dima Music Academy in Cluj Napoca, Romania, on 28-30 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)
AEC European Platform for Artistic Research in Music
Call for Proposals
EPARM Conference 2019
28-30 March, Cluj-Napoca
Deadline: 14th January 2019
submission to be sent to events@aec-music.eu
Call for Proposals
The European Platform for Artistic Research in Music (EPARM) is an initiative of the European Association of Conservatoires (AEC), acting as a resource for artistic research in the specific context of Higher Music Education: sharing knowledge, insights and outputs; promoting and developing the discourse around artistic research; incubating new ideas and developments; and offering support and inspiration to AEC members.
The seventh EPARM conference welcomes music researchers, educators and/or performers to a three-day exploration of artistic research in music at the “Gheorghe Dima” Music Academy in Cluj‑Napoca, Romania.
Presentations relating to any aspect of artistic research in music are welcomed.
EPARM recognises that there is no one way to pursue artistic research in music. Nonetheless, at the core of all such research is the artistic practice itself, which functions not only as an object of study, but as a source of significant questions and a means of pursuing original insights. It is an expectation that presentations at EPARM will include performance or the presentation of original work.
To reflect the centrality of performance in artistic research, the seventh EPARM conference will include a special evening programme of performance and discussion. Proposals are welcomed for short performances of a maximum of 30 minutes, which are themselves the outcomes of artistic research. Six such performances will be selected for an evening programme called L8nite Performances, with performers contributing to a moderated audience discussion following immediately on the performances. Proposal for these L8nite Performances should see the specific requirements below.
Proposals for main parallel sessions
Proposals for a twenty minutes presentation (including any performance or examples) with ten minutes discussion should address a clear question or questions that are rooted in practice.
Proposals should be sent in Word format (please find the compulsory template for the main parallel sessions submissions in the Photo’s and Documents section at www.aec-music.eu/eparm2019 ) and should include the following:
- Name of the presenter/s
- Institution
- 150-word biography
- Title that effectively summarises the presentation for a general audience
- 350-word description of the presentation (abstract), including:
- A clearly articulated research question, issue or problem, relevant to artistic practice in music
- A clearly articulated and appropriately documented relationship between the artistic practice and the research
- Evidence of a critical approach to methodRelevant additional audio or video materials are welcome where appropriate.
Proposals for L8nite Performances
Proposals for a 30 minute performance followed by a facilitated audience discussion should clearly address the relationship between the proposed performance and the artistic research of which it is an outcome.
Proposals should be sent in Word format ((please find the compulsory template for the L8nite Performances submissions in the Photo’s and Documents section at www.aec-music.eu/eparm2019 )) and should include the following:
- Name of the performer/s
- Institution
- 150-word biography
- Title that effectively summarises the performance for a general audience
- A one-page note on the performance, which will be the basis of the peer-review process and written in a form suitable for distribution to the audience at the L8Nite Performances. In addition to introducing the performance, this note will:
- Clearly articulate the relationship between the performance and the artistic research of which it is an outcome
- Indicate the key questions with which the performance engagesAll proposals for performances should include a relevant recording (audio or video) of the proposed performer/s.
For both submissions, please use the template provided (you can find it in the Photo’s and Documents section at www.aec-music.eu/eparm2019)
Peer Review
A peer review panel composed of the EPARM working group members will select those submissions that will be featured in the EPARM conference. The panel will seek additional expert input when necessary.
Timetable
The timetable for this process is as follows:
20 November 2018: Circulation of call
14 January 2019: Deadline for submissions
25 January 2019: Results communicated to the applicants
31 January 2019: Publication of the final programme of EPARM 2019 and Registration opening
28th March 2019: Start of EPARM 2019
Completed submissions to be sent to AEC Events Manager Sara Primiterra at the following email address: events@aec-music.eu
Any submissions that do not follow the guidelines above will not be considered.
European Platform for Artistic Research in Music
EPARM Conference
Gheorghe Dima National Music Academy, Cluj-Napoca
28-30 March 2019
CONFERENCE PROGRAMME
Thursday, 28th March
13:30 Registration opens in the Artistic Management Laboratory, Ground floor
Informal Networking – Coffee available in the Foyer of the Concert Studio
14:30 – 15:30 Guided Tour of the Academy and of the Old City Centre
Registration required. Meeting Point: Foyer of the Concert Studio
15:45 – 16:30 Opening Event – Concert Studio
Musical introduction: Transylvanian Quartet
Official Welcome by:
- Vasile Jucan, Rector of the Gheorghe Dima Music Academy
- Alin Tișe, President of Cluj County Council
- Stefan Gies, AEC Chief Executive
- Peter Dejans, EPARM Chair
16:30 – 17:30 Plenary Session I – Keynote Speech – Concert Studio
Artistic Research Process: an overview, keynote speech by Dan Dediu, National University of Music Bucharest
Moderated by Adrian Pop, Gheorghe Dima National Music Academy
17:30 –17:50 Networking with Refreshment
walking together to Auditorium Maximum
18:00 – 19:00 Auditorium Maximum
Concert by the Gheorghe Dima Music Academy Orchestra and Cappella Transylvanica Choir
19:00 – 20:15 Romanian Traditional Reception – Foyer Auditorium Maximum
walking back to the Academy
20:30 – 21:00 L8 NITE Performances – Sessions 1
L8 NITE Performance I A – Concert Studio
Blowdruk: the transition from multimodal score interpretation to improvised audio-visual electro-acoustic chamber music, Vincent Caers, LUCA School of the Arts, Leuven, Belgium
L8 NITE Performance I B – Organ Studio
From Aristotle to Newton – philosophy of time and the music of baroque, Saale Fischer, Estonian Academy of Music and Theatre, Tallinn, Estonia
L8 NITE Performance I C – Room 44
The creative value of multitasking – simultaneous violin and vocal performance, Agata Kubiak, London College of Music, London, UK
21:00 – 21:30 L8 NITE Performances – Sessions 2
L8 NITE Performance II A – Concert Studio
The solving of the virtuosity passages in the Traviata opera by combining the old Italian school with contemporary vocal element, Diana Tugui, Music Academy Gheorghe Dima, Cluj-Napoca, Romania
L8 NITE Performance II B – Organ Studio
Austro-Hungarian Music Culture in Transylvania between 1800-1850, Erich Tuerk, Music Academy Gheorghe Dima, Cluj-Napoca, Romania
L8 NITE Performance II C – Room 44
Broadening the Artistic Palette of (Composing) Performers in Jazz, Dick De Graaf, Codarts University of the Arts, Rotterdam, Netherlands
21:30 – 22:00 L8 NITE Performances – Sessions 3
L8 NITE Performance III A – Concert Studio
A Musical ‘We’? with Deniz Peters and Simon Rose, University of Music and Performing Arts, Graz, Austria
L8 NITE Performance III B – Organ Studio
Speed in Music, Brain and Body, Ned McGowan, HKU Utrechts Conservatorium, Leiden University and DocARTES/Orpheus Institute, Leiden, Netherlands
L8 NITE Performance III C – Room 44
How to build improvisational language through the study of speech, Hue Blanes, Koninklijk Conservatorium, The Hague, Netherlands
Friday 29th March
09:30 – 10:00 Informal Networking with Refreshments
10:00 – 10:30 Parallel Sessions I – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions I A – Concert Studio
Purposes and Necessity of Length in the First Movements of Franz Schubert’s Last Three Piano Sonatas, Marie-Charline Foccroulle, Royal Irish Academy of Music, Dublin, Ireland
Parallel Sessions I B – Room 16
Historical Imaginaries: Composing the Past, Carlo Diaz, Leiden University + Orpheus Institute, Leiden, Netherlands
Parallel Sessions I C – Room 44
Reading in the Dark: A Performer’s Encounter with Emily Dickinson and her American Musical Interpreters, Nicole Panizza, Coventry University, Coventry, UK
10:40 – 11:10 Parallel Sessions II – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions II A – Concert Studio
Recreating Duke Ellington: Historically Informed Performance in Jazz and Popular Music, Matthias Heyman, Royal Conservatoire Antwerp, Antwerp, Belgium
Parallel Sessions II B – Room 16
Out of Timing: Investigating the Open Pedal Register in Beethoven’s “Moonlight” Sonata, Sanae Zanane, Orpheus Institute, Ghent, Belgium
Parallel Sessions II C – Room 44
Mid-Twentieth-Century English Pianism – Classicism, Werktreue and Empiricism, Julian Hellaby, Coventry University, Coventry, UK
11:20 – 11:50 Parallel Sessions III – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions III A – Concert Studio
The Sicilian Song: a forgotten urban genre, Consuelo Giglio and Ugo Guagliardo, Conservatorio “A. Scontrino”, Trapani
Parallel Sessions III B – Room 16
‘Controlled accidents’-Why performer/composer discourse is essential in artistic research, Lorelei Dowling, University of Music and Dramatic Arts Graz, Austria
Parallel Sessions III C – Room 44
Correlation of duration of string vibration on harp and individual artistic expression, Milena Stanisic, Faculty of Music, University of Arts, Belgrade, Serbia
11:50 –12:30 Networking with Refreshment – Foyer
12:30 – 13:00 Parallel Session IV – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions II A – Concert Studio
The High Notes, how do they do it? From Elvis to Pavarotti, Marius Budoiu, Music Academy Gheorghe Dima, Cluj-Napoca, Romania
Parallel Sessions II B – Room 16
Isolator or connector? On the role of research as an integrative force between practice, theory and experience, Paul Craenen, Koninklijk Conservatorium, The Hague, Netherlands
Parallel Sessions II C – Room 44
Performers’ attentional processes and strategies: Implications for music pedagogy, Laszlo Stacho, Liszt Academy of Music, Budapest, Hungary
13:00 – 14:30 Lunch – University Restaurant “Casa Universitarilor”
14:30 – 15:45 Round Table – Developing Artistic Research in higher education: A collaborative decision–making system – Aula Magna
- Ionel Haiduc, Professor Emeritus – President of the Romanian Academy between 2006
- Ioan Stefan Groza, Ministry of Education
- Nicolae Burnete, Ministry of Research, 2018
- Mara Ratiu, Vice-Rector of the Academy of Arts and Design, Cluj Napoca and ELIA board member
Moderated by Valentina Sandu-Dediu, Rector of the New Europe College Bucharest, Music University of Bucharest, CNATDCU
16:00 – 18:00 Open Space – discussion groups on topics proposed by participants in the registration form – Concert Studio
18:30 – 20:00 Opera Performance – Romanian Opera House
20:00 buses to the restaurant
20:30 – 23:00 Dinner at Leonardo da Vinci Restaurant (buses back at 23:00)
Saturday, 30th March
09:00 – 09:30 Informal Networking with Refreshments – Concert Studio
09:30 – 10:00 Parallel Sessions V – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions V A – Concert Studio
Espelho meu (Mirror, my mirror), Bruno Pereira, ESMAE Porto, Portugal
Parallel Sessions V B – Room 16
Free Improvisation: Researching the Acoustic Space, Theodore Parker, Estonian Academy of Music and Theatre, Tallinn, Estonia
Parallel Sessions V C – Room 44
The development an operatic character: the musical and psychological factors influencing the interpretation of the Governess in Britten’s opera The Turn of the Screw, Sofia Serra Dawa, School of Arts – Portuguese Catholic University, Porto, Portugal
10:10 – 11:00 Information Forum – short presentations by participants on artistic research initiatives – Concert Studio
11:15 – 11:45 Parallel Session VI – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions VI A – Concert Studio
InterdisciplinariInterdisciplinarity and practice of improvisation in ensemble, Angelo Tatone and Irene Malizia, JAM MUSIC LAB Private University & Conservatory
ty and practice of improvisation in ensemble, Angelo Tatone and Irene Malizia, JAM MUSIC LAB Private University & Conservatory
Parallel Sessions VI B – Room 16
The Sound/Colour Relationship in Artistic Practice: Visualising Synaesthetic Principles, Umut Eldem, Conservatoire of Antwerp, Antwerp, Belgium
Parallel Sessions VI C – Room 44
Rearranging Janáček’s quartets as trios, Stephen Emmerson, Conservatorium Griffith University, Brisbane, Australia
12:00 – 12:30 Parallel Sessions VII – 3 sessions taking place at the same time in 3 different rooms
Parallel Sessions VII A – Concert Studio
Interveawing words and music in art song repertoire: Theory, practice, multidisciplinarity, Bartolo Musil, Mozarteum, Salzburg, Austria
Parallel Sessions VII B – Room 16
The Digital Audio Workstation as a virtual performance space, Arnold Marinissen, Conservatorium van Amsterdam, Amsterdam, Netherlands
Parallel Sessions VII C – Room 44
Transcription as Interpretation: Changing the score NOT allowed! with Roxanne Dykstra & Katharina Neges, University of Music and Performing Arts Graz, Austria
12:45 – 13:15 Concert – Concert Studio
Concert by the Icoane Ensemble
13:15 – 13:45 Closing Session – Concert Studio
-
News from the AEC by Stefan Gies
-
Announcement of EPARM 2020
-
Closing remarks by Georg Schulz
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 events@aec-music.eu
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 Cluj)
- Manual Payment (by Credit Card in Cluj)
Amount of the Registration Fee (per person)
| Category | For Registration and Payment made by 28th February | For Registration and Payment made after 28th 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
members institutions
• Coffee Breaks
• One organized Reception
• One organized Dinner
• One organized Lunch
• Concerts
• Assistance by the AEC Office Staff
The participation fee will not be reimbursed for cancellations notified after March 13th
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
or
• the code of the event (EPARM 2019) and
• the last name of the participant
• the name of your institution (if fitting)
Example: EPARM2019, Smith, Gotham Conservatory
Documents
Practical information
hotels and restaurants suggestions eparm 2019 cluj.pdf
Programme and Reader
final programme eparm 2019 26 march
final reader 2019 eparm cluj napoca.pdf
Slides
aec slides eparm 2019 cluj napoca published april 1.pdf
Round Table mara ratiueparm 2019.pdf
theodor parker free improvisation researching the acoustic space.pdf
keynote dan dediu a model of musical research and creation.pdf
julien helleby presentation.pdf
huel blanes how can musicans build improvisational musical language through the study of speech.pdf
the soundcolour relationship in artistic practice visualising synaesthetic principles.pdf
Invitation Letters
eparm invitation letter 2019 cluj.pdf
Travel Bursaries
Templates
template for submission l8nite performances eparm 2019.docx
template for submission main parallel sessions eparm 2019.docx
Call for Proposals
call for proposals eparm 2019 cluj napoca.pdf
Speakers Abstracts and Bios
l8nite caers vincent and tange sigrid.pdf
l8nite peters deniz and rose simon.pdf
main session dykstra roxanne and neges katharina.pdf
main session budoiu marius vlad.pdf
main session emmerson stephen.pdf
main session marinissen arnold.pdf
main session musil bartolo.pdf
main session hellaby julian.pdf
main session panizza nicole.pdf
main session heyman mathias.pdf
main session dowling lorelei.pdf
main session parker theodore.pdf
main session serra dawa sofia.pdf
main session foccroulle marie charline.pdf
main session pereira bruno.pdf
main session stanisic milena.pdf
main session stacho laszlo.pdf
biography of keynote and round table speakers.pdf
transportation and currency in cluj.pdf
