European Platform for Artistic Research in Music (EPARM) 2025

Introduction – Margus Pärtlas (Vice-Rector for Academic Affairs and Research EAMT)

How to share the ardor? Conveying complex musical structures to unprepared listener through the animated score on the example of Eduard Tubin’s first symphony – Mihhail Gerts

The goal of our artistic research project is to create an animation of the first movement of Eduard Tubin’s Symphony No. 1, in which the visualisation of musical elements would support the understanding of the unfolding musical structure in real-time by a recipient without prior musical knowledge. Having started this project in November 2024 we have by now developed the method of visualising the main thematic aspects of the composition and are currently working on precise timing of the series of drawings according to the formal development of the composition. In my presentation I will introduce our methods, current state of the research and our final goal, which is a new concert format, combining a live orchestral performance with the animation depicting the construction of the musical form in real time.

Historical Intruder in Performance. The Use of Accordion Technology in Harpsichord Repertoire –Momir Novakovic

Although it is considered by study curricula and repertoire practices as a keyboard instrument, accordion is first of all an aerophone instrument. This characteristic makes the interpretation of harpsichord repertoire very different, and requires further understanding of the period as well as some paradigm shifts. The goal of my research is to investigate and exploit the technological complexity of accordion, and by consequence its characteristic techniques in performance, in the historically informed interpretation of baroque music for harpsichord.

A reflection on paralysis, pressure, and the unfinished in artistic research – Heloisa Amaral

Moderated by Paul Craenen (EPARM WG)

What does it mean to valorise artistic research in music, and who carries that responsibility? As an artist researcher, music festival director, teacher and listener, I find myself navigating different expectations across these roles. There is a common assumption that artistic research must open up, step out of the confines of the academic world, reach broader audiences, demonstrate relevance. But is it always the responsibility of artist-researchers to make that move? I will reflect on how different forms of value are negotiated in artistic research, and how the needs and expectations of artists, academia, presenting institutions, audiences and funders meet, shift or come into tension with one another.

Heloisa Amaral is a Brazilian pianist, curator, and researcher known for her work at the intersection of performance, contemporary music, and artistic research. She lectures in curatorial practices at the Royal Conservatoire The Hague and holds a doctorate in artistic research from the Orpheus Institute and Leiden University. As a performer, Amaral plays solo and with Ensemble neoN and Duo Hellqvist/Amaral. Since 2023, she has been the director of Ultima Oslo Contemporary Music Festival.