The AEC European Platform for Artistic Research in Music (EPARM) Conference 2020 that was supposed to take place at the Royal Academy of Music in London on 16th – 18th April 2020 has been postponed to 18-20 March 2021 happened online.

The EPARM preparatory Working group is in charge of organizing the AEC Annual EPARM meeting .  The Working Group is formed by 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:
Stephen Broad (Royal Conservatoire of Scotland, Glasgow) – Chairman
Sara Primiterra (AEC Office) – Coordinator
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen – Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Leonella Grasso Caprioli (Conservatorio di Brescia)
Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre, Vilnius)
Matthias Hermann (Musikhochschule Stuttgart)
Wei-Ya Lin (University of Music and Performing Arts Vienna)

 

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The AEC European Platform for Artistic Research in Music

EPARM Online Conference 2021

18th – 20th March

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 eighth EPARM conference welcomes music researchers, educators, performers and composers to a three-day exploration of artistic research in music. This edition was supposed to take place last year at the Royal Academy of Music in London, but it was postponed to 2021 during the pandemic. Unfortunately, the plans had to change again due to the resurgence of the pandemic in late 2020 and the programme arranged for the 8thedition of the EPARM Conference has been adapted to an online setting. Hopefully, our next physical gathering will take place in London in Spring 2022 with a brand new programme.

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. Presentations at EPARM will include performance or the presentation of original work.

The Eighth EPARM conference is presented in collaboration with the AEC’s Strengthening Music in Society project, co-funded by Creative Europe to recognise and support the role of Higher Music Education Institutions to safeguard, develop and promote European cultural heritage and diversity, to facilitate access to cultural offerings and cultural education for all, and to contribute to economic growth through the creation of new jobs and new business models in the creative sector.  A special panel session, convened to consider the issue of artistic research in society, will include contributors from different disciplinary perspectives, including fine arts and architecture. These contributors, which represent some of the signatories of the Vienna Declaration on Artistic Research, will address the role of artistic research in society. This theme will also be addressed by the invited keynote speaker Sandeep Bhagwati from the Faculty of Fine Arts of the Concordia University in Montreal and board member of the German Society for Artistic Research, and by the representatives of the working group Music in Society of the SMS project.

To reflect the centrality of performance in artistic research, in addition to one keynote speech and nineteen presentations selected from the Call for Proposals, the event will feature a special evening programme of online performance and discussion. The short performances presented are themselves the outcomes of artistic research. Seven such performances have been selected for an evening programme called L8nite Performances, with performers contributing to a moderated audience discussion following immediately on the performances.


The AEC European Platform for Artistic Research in Music EPARM 2021

Online, March 18-20, 2021

 

All links to the live sessions, videos, abstracts and materials are available on the Online event platform Whova. Only registered participants have access to the platform (log in with the email address you used to register for the event)

 

Indicated timesin the programme below are considered as CET (Central European Time)

 

Thursday March 18

 

10:00 – 12:00   Artistic Research-based Music Education
A Pre-Conference Workshop organised by the AEC SMS Learning & Teaching Working Group (open to all AEC members and free of charge – see detailed programme and link HERE)
15:00 – 15:20
Opening Event
Official Welcome by:
  • Stefan Gies , CEO of the AEC
  • Stephen Broad , EPARM Chair
15:20 – 16:00
Keynote

Sounding the Climate We Live In
on ways and means of Artistic Research in music and sound

 by Sandeep Bhagwati , Faculty of Fine Arts of the Concordia University in Montreal and board member of the German Society for Artistic Research

Q&A moderated by Wei-Ya Lin , EPARM working group member
16:00 – 17:00 Breakout Groups Discussion
17:00 – 18:30 Evening Break
18:30 – 19:00 L8 NITE Performance I

Ghost Trance Solo’s: a solo interpretation of Anthony Braxton’s Ghost Trance Music , Kobe Van Cauwenberghe, Royal Conservatoire, Antwerp, Belgium

19:00 – 19:30
L8 NITE Performance II
Fantasía quasi Sonata: an “in-version” of Beethoven’s Op. 27 no. 2, Luca Chiantore , ESMUC – Escola Superior de Música de Catalunya), Barcelona, ​​Spain
19:30 – 20:00
L8 NITE Performances III
LEMUR: Collective Artistic Research within an Ensemble, Francis Michael Duch , NTNU – Norwegian University of Science and Technology, Trondheim, Norway
20:00 – 20:30 L8 NITE Performances IV

Love at first sound: engaging with Western classical concert audiences through improvisation, Pauliina Haustein , Guildhall School of Music & Drama, London, UK

20:30 – 21:00 Break / Wine Chat
21:00 – 21:30
L8 NITE Performances V
Bach-Mugham , Gunel Mirzayeva , Guildhall School of Music & Drama, London, UK
21:30 – 22:00
L8 NITE Performances VI
“Droning Falsities (for one’s self)”, a collaborative exploration into the use of voice and double bass clarinet , Jason Alder , Royal Northern College of Music, Manchester, United Kingdom
22:00 – 22:30
L8 NITE Performances VII
Ensemble 1604 presents … shadows that in darkness dwell…, Timothy Cooper , Royal Conservatoire of Scotland, Glasgow, United Kingdom

 

Friday March 19

10.00 – 10.30 Parallel Sessions IA

Collective creation in Music and Linked verse composition , Carla Rebora , Conservatory “A. Boito ”, Parma, Italy with Marco Pedrazzi , Rosita Piritore and Monica Rossetti

Parallel Sessions IB

Rethinking the Gesamtkunstwerk: creating new dramaturgical codes , Lies Colman, Gaea Schoeters, Annelies Van Parys , Royal Conservatoire Antwerp, Belgium

Parallel Sessions IC

From sign to sound: survey on instrumental musical reading , Alberto Odone , Conservatory Giuseppe Verdi, Milano, Italy, Anna Maria Bordin , Conservatory Niccolò Paganini, Genova, Italy

10:30 – 11:00 Break / Coffee Chat
11:00 – 11:30 Parallel Sessions II A

Performing Precarity (PP) , Ellen Ugelvik , Norwegian Academy of Music, Oslo, Norway

Parallel Sessions II B

Exploring nineteenth-century tuba-composer relationships , Jack Adler-McKean , Royal Northern College of Music, Manchester, UK

Parallel Sessions II C

Gendering the [piano] performing body , Helena Marinho, University of Aveiro, Aveiro, Portugal

11:30 – 12:00 Break / Coffee Chat
12:00 – 12:30 Parallel Sessions III A

The Pianist as a Duo Partner: Understanding the role of the pianist in the rehearsal process when working with singers and instrumentalists , Christine Zerafa , Royal Academy of Music, London, United Kingdom

Parallel Sessions III B

FOLK SONG LAB – deconstruction, improvisation and flow , Susanne Rosenberg, Royal College of Music, Stockholm, Sweden

Parallel Sessions III C

Owning the Choral Sound: Utilising Real Time Spectrographic Data to Improve Choral Blend , James Lee Slimings , Royal Conservatoire of Scotland, Glasgow, UK

12:30 – 13:00 Break / Coffee Chat
13:00 – 13:30 Parallel Session IV A

Artful Participation – Doing Artistic Research with Symphonic Music Audiences , Peter Peters , Maastricht University / MCICM, Maastricht, the Netherlands

Parallel Sessions IV B

‘We can do it too!’ Small-group improvisation in classical music , Lindsey Fillingham , Guildhall School of Music and Drama, London, UK

Parallel Sessions IV C

First steps into Creative (mis) understandings , Wei-Ya Lin and Johannes Kretz , University of Music and Performing Arts Vienna, Vienna, Austria

13:30 – 14:30 Lunch Break
14:30 – 15:30 Round Table on the Role of Artistic Research in Society

Moderated by Eirik Birkeland , AEC President, with:
  • Oya Atalay Franck, European Association for Architectural Education – EAAE, President
  • Johan Haarberg – Society for Artistic Research – SAR Executive Officer, former ELIA President
  • Stephen Broad, EPARM chairman
  • Jorn Mortensen, European League of Institute of Arts –  ELIA Vice President and chair of the ELIA Artistic Research working group
  • Johnny Golding, Professor of Philosophy & Fine Art, Royal College of Art, London
15:30 – 16:00
AEC – Strengthening Music in Society (SMS)

  “The Researching Artist”

by Henrik Sveidahl, Henrik Sveidahl, Rhythmic Music Conservatory Copenhagen, Denmark and Jon Helge Sætre – CEMPE, Norwegian Academy of Music Oslo, members of the Working Groups 1 (Music in Society) and 5 (Learning & Teaching) of the AEC Strengthening Music in Society (SMS) project

16:00 – 16:30 Break / Coffee Chat
16:30 – 17:00 Information Gallery

Q&A with the speakers based on pre-recorded presentations
RappLab
AReMus
Harma+

and others

Saturday 20 March

09.30 – 10.00 Parallel Sessions V A

Dimensions of experiencing empathy in a music ensemble using the example of a digital and interactive education project, Evelyn Buyken, Musikhochschule Köln, Germany

Parallel Session V B

“Method of Vienna” (“MoV”): a novel performative communication format, Susanne Abed-Navandi, Music and Arts University of the City of Vienna, Vienna, Austria

Parallel Session V C

Stylistic Feature Mapping for Music Performance, Sven Ahlbäck, Royal College of Music, Stockholm, Sweden

10:00 – 10:30 Break / Coffee chat
10:30 – 11:00 Parallel Session VI A

Interpreting John Ireland’s Ballade, Julian Hellaby, Coventry University, Coventry, UK

Parallel Session VI B

Incorporating an historically inspired modernistic approach to Brahms’ orchestral music into the curriculum of the Conservatory of Amsterdam, Johannes Leertouwer, Conservatory of Amsterdam, Amsterdam, Netherlands

11:00 – 11:30 Break / Coffee chat
11:30 – 12:00 Parallel Session VII A

Recomposition: a practical approach, Gabriele Ceccarelli,Saint Louis College of Music, Rome, Italy

Parallel Sessions VII B

A revision of Sigfrid Karg-Elert’s Op. 153 for saxophone solo; “The saxophone’s Cello Suites”, and a conversation with the composer, Raaf Hekkema, Royal Conservatoire, The Hague, Netherlands

12:00 – 12:30 Break / Coffee chat
12:30 – 13:00 Closing Session

News from the AEC by Stefan Gies, AEC Chief Executive
Announcement of EPARM 2022
Closing remarks by Stephen Broad, EPARM Chairman

 


Artistic Research-based Music Education

A Pre-Conference Workshop organised by the AEC SMS Learning & Teaching Working Group

Thursday 18th March, 10:00-12:00 CET

The AEC is glad to invite all its members to Artistic Research-based Music Education, a pre-conference online workshop organised by the AEC SMS Learning & Teaching Working Group at EPARM 2021 on Thursday 18 March, 10h-12h CET.

The workshop is free of charge and open to both EPARM participants and other interested teachers, students and researchers in AEC member institutions not joining the EPARM conference. Registration to this workshop is not required.

ZOOM link

Meeting ID: 661 8465 9214
Passcode: 941881

Programme

 OPENING
  10:00 – 10:15 Welcome words Stephen Broad, EPARM chair & Stefan Gies, AEC Plenary
 Learning&Teaching working group: SMS project, Latimpe, CEMPE Lars Brinck, RMC Copenhagen Plenary
 3 PROJECTS EXAMPLES
 10:15 – 10:35 What is ‘artistic research-based’ music education? Ingfrid Breie Nyhus, NMH / CEMPE Oslo Plenary
 10:35 – 10:55 On Progression in artistic research based creative music education Jacob Anderskov, RMC Copenhagen Plenary
 10:55- 11:15 Inquiry into an unknown musical practice Karine Hahn, CNSMD Lyon Plenary
 3 BREAKOUT ROOMS connected to each project
 11:15 – 11:35 Group A Group B Group C Group work
 WRAP UP & OUTLOOK
 11:35 -11:40 Reporting back from the Breakout groups Breakout moderators Plenary
 11:40 – 12:00 How can AR inform Learning & Teaching?
Panel moderated by Lars Brinck & Stefan Gies with Q&A
Learning and Teaching and EPARM working group members Panel

 

Description

The platform for Learning and Teaching in Music Performance Education (Latimpe) is a collaboration between AEC (represented by the Learning and Teaching working group) and and CEMPE at the Norwegian Academy of Music in Oslo and part of the ongoing AEC –Strengthening Music in Society (SMS)  project funded by the European Union under its Creative Europe program. One of the core tasks of Latimpe is to gather information on and investigate learning and teaching practices in music performance education. In addition, the project has set itself the goal of stimulating the development of new projects in this area.

The concept behind Latimpe counts on the student as reflective artist and as driving force of his or her own learning process. Part of this process are regular encounters with a variety of methods, other disciplines and multifaceted ways of knowledge acquisition. These also include artistic research and artistic development work. Adding this workshop to the EPARM pre-conference program is thus also contributing to widen the scope of artistic research and should be understood as an encouragement to deepen the dialogue between educational and artistic research.

Using three selected examples, this workshop on Artistic Research based music education depicts the range of possible approaches to the topic, progressing from general to concrete. Part of the three inputs is also the presentation of concepts from the Nordic countries, in which aspects of a structured interaction between Artistic Research and Learning & Teaching are already quite advanced. Breakout groups will allow in-depth discussion on the inputs more in depth.

In a concluding discussion involving the EPARM working group, basic aspects of the relationship between AR and music education will be discussed, including those which are seen more critically by some.


Amount of the Registration Fees

Registration Final Deadline: 10th March 

Early Bird Fee Deadline: 28th February

 

IMPORTANT: One payment covers 5 participants from the same institution but EACH participant needs to fill in the Registration Form INDIVIDUALLY by the deadline (10th March). Individual fees are reserved to independent researcher only.

 

Category For Registration and Payment
made by 28th February
For Registration and Payment
made after 28th February
AEC  member institution – up to 5 participants
(staff and students – all participants need to register individually by the deadline but the institution makes only one payment per 5- participants package)
130 euro 170 euro
non-AEC  member institution up to 5 participants
(staff and students – all participants need to register individually by the deadline but the institution makes only one payment per 5- participants package)
430 euro 470 euro
Independent researcher
(non- affiliated to an AEC member institution)
50  euro 70 euro

If institutions want to register more than 5 participants they can pay for a second 5-participants package

The registration opening will be notified via email on 15th January to AEC members and selected presenters.

 


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