European Platform for Artistic Research in Music - EPARM 2022

Getting Started with Artistic Research: Strategies for Developing a Research Identity through Artistic Research

Musical Introduction

Official Welcome by:

– Jonathan Freeman-Attwood, Principal of the Royal Academy of Music

– Stefan Gies, AEC Chief Executive

–  Stephen Broad, EPARM Chair

Moderated by David Gorton

Toke Møldrup and Christian Westergaard

Royal Danish Academy of Music, Copenhagen (Denmark)

From specialisation to general practice – HIP in modern performance practice

Alessandro Cazzato and Sharon Tomaselli

Conservatory of Music ‘Nino Rota’, Monopoli (Italy)

“Rewriting” as an Inter-Textual Approach to Contemporary Composition. Three Sketches for Two Violins by Paolo Geminiani

Sanae Zanane

Orpheus Institute, Leuven (Belgium)

The Late-Eighteenth-century Ballroom at One’s Fingertips: Contredanse and Beethoven’s “Tempest” Sonata

Stephanie Lamprea

Royal Conservatoire of Scotland, Glasgow

An Imagist Perspective in the Modern Classical Voice: Performance of Aida Shirazi’s A Girl, and James May’s Sea Gods

Beatriz Galán Méndez

Prins Claus Conservatorium, Groningen (The Netherlands)

Classics meet Jazz: Jazz influences in classical piano repertoire from mid-twentieth century to nowadays

Bella Tang

Royal Academy of Music, London (UK)

Making a legendary artist into a teacher: Using the pianistic art of Dinu Lipatti (1917-1950) to find my own voice

Robert Sholl et al

Royal Academy of Music, London (UK)

‘In the Torture Chamber’: Improvisation, recording, production and the collective imagination in artistic research

Marie Heinrich

Queensland Conservatorium of Music, Griffith University (Australia)

Navigating Interculturalism Through Sound: The Pursuit of a Culturally Informed Performance of the Flute Music of Reza Vali

XinRu Chen

Royal Academy of Music, London (UK)

Exploring Performers’ Doppelgängers: Reprogramming Schumann and Contemporary Piano Cycles

Lüneburg, Barbara

Anton Bruckner Private University, Linz (Austria)

Embodying Expression and Charisma – Breaking Boundaries of Classical Instrumental Practice

Hellaby, Julian

Independent Researcher

Bartók and the Topic of Drunkenness

Peres Da Costa, Neal

Sydney Conservatorium of Music (Australia)

The Shock of the Old: Rediscovering the Sounds of Bel Canto 1700-1900

Chiantore, Luca

Escola Superior de Musica de Cataluyna, Barcelona (Spain)

Dethroning the Emperor: An artistic adventure within Beethoven’s Piano Concerto No. 5.

See, Ning Hui

Royal College of Music, London (UK)

From Theory to Action: Concert Programming Strategies for Clara Wieck-Schumann’s Piano Sonata in G minor (1841-42)

Sclafani, Salvatore

Conservatoire Royal de Bruxelles (Belgium)

From folk culture to piano performance: a performance-oriented analysis of the influence of Argentinian folk dances in Alberto Ginastera’s
Suite de danzas criollas, op. 15

Biró, Dániel Péter

Grieg Academy, University of Bergen (Norway)

Translating Spirit into Sound: on the Methodology used in the Composition Cycle Ethica (2017-2021)

Craenen, Paul

Royal Conservatoire The Hague (The Netherlands)

Balancing proximity and distance in musical artistic research

De Ridder, Khalida

Independent Researcher

Bow Distribution and its Analysis in Professional Violin Performance

Tassie, Benjamin

Royal Birmingham Conservatoire (UK)

Noticing a Landscape: Historical Instruments, Ecology, and Digital Media

Mattos, Fabricio

Royal Academy of Music, London (UK)

New Stages: Aesthetic Possibilities and Challenges of Music Performance on Video

Arias Cuellar, Camilo

Royal Conservatory The Hague (The Netherlands)

Mestizajes: Cross-fertilizations between folk and baroque genres of the Fandango-Complex

Stefan Gies (AEC Chief Executive)

Johan A Haarberg (Executive Officer Society for Artistic Research)

Stephen Broad (EPARM WG Chair)

Jørn Mortensen (Dean School of Arts, Design and Media, Høyskolen Kristiania)

Chaired by Eirik Birkeland, AEC President

Introduction by Stephen Broad, EPARM working group chair

Tchirkov, Sergej

Grieg Academy, University of Bergen (Norway)

Deconstructive Virtuosity

Sikk, Jaak

Estonian Academy of Music and Theatre, Tallinn (Estonia)

Influence of Stimulus Induced Imagery on the Process of Improvising Freely

del Peón Pacheco, María Fernanda

Universidade de Aveiro/INET (Portugal)

With Tiger Claw: rethinking piano playing through endemic performance of Baja California Sur

Ribeiro, Claudio

Royal Conservatory The Hague (The Netherlands)

Adding notes to the left-hand in the performance of late Baroque Italian music for solo keyboard

Bain, Andrew

Royal Birmingham Conservatoire (UK)

Empathic Interaction: A Study of Jazz Ensemble Performance

Jolly, Amy

Royal Academy of Music, London (UK)

Orchestration for One Instrument

Baldassari, Maria Luisa

Conservatorio ‘G.B. Martini’, Bologna (Italy)

Learning from pictures – Keyboard performance practice in  Renaissance and Early Baroque paintings

Pare, Arabella

Hochsule für Musik Karlsruhe (Germany)

Franz Liszt’s Variations on “Weinen Klagen” – Grief, Virtuosity and Historicity

Caruso, Giusy and Eldem, Umut

Royal Conservatory of Antwerp (Belgium)

In-Tensions

News from the AEC by Stefan Gies, AEC Chief Executive

Announcement of EPARM 2023

Closing remarks by Eirik Birkeland, AEC President