Ingrid Pustijanac
(keynote speaker)
Sound-based Composition and Organ in the late 20th Century Music: Elective Affinities?

Adam Fairhall
Jazz Thinking’ in the Accompaniment of Silent Comedy Film: Reflections on Practice-as-Research

Adam Patrick Bell
Comparing DIY Music Production Methods in New York City and Bamako

Agata Kubiak
Creativity – a problematic definition

Aggeliki Kordellou
Euripide’s Electra from Mikis Theodorakis’ perspective: an approach to philosophical, esthetic and compositional sources of the opera

Alexandre Damasceno
Instrumental Adaptations of Brazilian Rhythms: A Reflection About the Possibilities of Adaptation of Brazilian Popular Percussion to the Drums

Amanda Bayley, Michael Clarke
Interactive Software as a Means of Researching the Creative Process in Free Improvisation

Amandine Pras
Improvising vocals, samples and VST plugins in a loop – The production process of a Reggae Mandingue track

Amy Mallett
A mixed method approach to auto-ethnographic study of the compositional process

Ana Cristina Bernardo
Performative creativity in 21st century piano music: Ombres as a case study

Anton Pyvovarov
Artistic Inspiration – a state of effortless creativity as An effect of being connected to the own Self

Caitlyn Trevor, David Huron, Johanna Devaney
Analyses of the Musical Motivations Behind Expressive Left-hand Performance Practices of Classical String Players

Carlo Diaz
Historical Imaginaries: Composing the past

Carolin Ratzinger
Breathing and writing in 20th century flute music

Celso Loureiro Chaves
Translating Invented Sings into de Music. The compositional processs in a point to the south (2011)

Chloé Huvet
Collaborative Creative Process in Film Music Editing at the Digital Age: Kenneth Wannberg and John Williams’ Scores for Star Wars Second Trilogy (1999-2005)

Christian Benvenuti
Toxic Masculinity, Death, and Becoming: An autoethnographic account on grief and creativity

Cláudio de Pina
Convolution and convoluted acoustic spaces

Clément Canonne
Compositional processes, improvisatory explorations and instrument-making in the creation of Spat’ Sonore

Danilo Rossetti, Jônatas Manzolli, Pedro S. Bittencourt
Analyzing Shifting Mirrors: Emergence in a Collaborative Network between Composer and Performer

Diogo Alvim
Composing with real world programmes

Elder Oliveira, Filipe Lopes, Sara Carvalho
Composing a sound installation to a specific outdoor place employing soundwalking as a methodology

Elena Minetti
Visual and Operative Strategies in Compositional Processes around 1960

Emmanuelle Olivier
Profession arranger: emerging figure in musical creation and digital audio knowledge production in Mali

Ewa Schreiber
Memory and autobiography in György Ligeti’s notes on his works

Filipa Magalhães
“Rewriting” Constança Capdeville’s works through documentation production

Floris Schuiling
Braille music and spoken scores: inscribing musical abilities for blind musicians

François-Xavier Féron
Le son d’une voix (1964) by François-Bernard Mâche: the introduction of the Sona-Graph in the composer’s workshop

Guillaume Boutard
Data reuse and creative processes

Inja Stanovic
The Creative Processes in (Re)construction of Early Recordings

Iryna Paliy
Intertype interaction as a new paradigm in the principles of musicological terms.

Jacob Hart
The creative process as instrument making: a case study of four electronic musicians.

João Fernandes
Creative processes in electroacoustic musical improvisation – The duos in the Unmapped collective

José Dias
Stubborn Pencils: composing music for animation film and television through an improviser’s perspective

José Luis Besada
@NewMusic #composer_performer: The influence of social media and virtual reality in Óscar Escudero’s creative practices

José Oliveira Martins, Paulo Soares
 The creation-action process in the Portuguese guitar music of Carlos Paredes: oral tradition, performance style, and interpretative transcriptions

Julie Mansion-Vaquié
Shaka Ponk on stage: stakes of multiple creative processes

Katarzyna Bartos
Are creative processes reflecting the personality of an artist? Examining Grażyna Pstrokońska-Nawratil’s music and personality

Laura Emmery
Gender, Identity, and Gesture in Jonathan Harvey’s String Quartet No. 2 

Laura Zattra, Nicolas Misdariis, Frank Pecquet, Nicolas Donin, David Fierro
How do they work? An analysis of the creative process in Sound Design obtained through an online questionnaire

Lauro Pecktor
The study of creative processes as a method for composing

Lucy Turner
Beyond Sketch Studies: The Autograph Manuscripts of Beethoven’s Opp. 74 and 127 as Records of Stylistic Innovation

Małgorzata A. Szyszkowska
Following the Process of Improvisation in Music Performance: the example of Gabriela Montero

Manuel Neyssensas
The using of electronic devices in industrial metal and the consequences on its sound aesthetic

Margaret Barrett
Learning collaborative creativity in Chamber Music: perspectives from eminent and emerging chamber musicians

Maria Birbili
Tracking Multimediality in the Creative Process in French grand opéra: The Cases of Meyerbeer and Verdi

Mark E. Perry
From Disco to Rave: DJ Set as Improvisation

Mark Ferraguto
Beethoven’s Coriolan and its Creative “Moment”

Martin Knust
Transferring Speech and Gesture into Music: Historical Examples

Maryam Farshadfar
An overview of the creativity process in the practice of Persian piano

Maureen Carr
Climbing the Tower of Additive Construction: The Final Movement of Stravinsky’ Symphony in Three Movements

Michelle Ziegler
Not Just For Safekeeping – Composers’ Sketchbooks As Working Tools

Monika Karwaszewska, Piotr Rojek
Krzysztof Knittel’s chamber opera and Agnieszka Stulgińska’s music theatre – examples of new syncretistic medium in contemporary Polish music

Natalia Copeland
Epiphany in a form of musical imagery – a new psychological concept

Nathan Fleshner
Analysis as Creative Process: A Psychoanalytic Perspective

Nena Beretin
Tracking the Creative Process in Music: Luciano Berio’s use of gesture to enhance the reception of his Sequenza series

Olena Dyachkova
“Playing with sound…”: features of the Ukrainian Free Jazz in the 1990’s” (the creative practice of Oleksandr Nesterov)

Petter Frost Fadnes
Improvising the Deluge: Live film scoring and improvisational practices

Rafael Barbosa
Theoretical grounds for creative music analysis

Rita Torres
Echos from Granada: Setting to music Lorca guitar-related poetry by revisiting Falla’s Homenaje

Robert Hasegawa
Compositional constraints and creative process in solo works by George Benjamin

Sander van Maas
Capturing Contingency: Anecdote in Jazz Creativity Research

Sara Carvalho
Spinning Yarns: Gesture and indeterminacy in collaborative composition

Sarah Lucas
A “Haunting Blend of Sensibility and Violence”: Fritz Reiner’s Interpretations of Béla Bartók’s The Miraculous Mandarin

Scott Mc Laughlin
‘Enrolling Forces’: Non-Hylomorphic strategies for Composition

Shigeru Fujita
Matrix and choice: A consideration of Henri Dutilleux’s working practices

Sofia Serra-Dawa
The involvement between musician and music score: an analysis of musical skill acquisition process in accordance to Adult Attachment Theory.

Stephanie Jordan
Re-making Chopin through Dance: The Collaborative Process of Richard Alston

Yuriko Takakura
Analysis of the Compositional Processes in Toshiro Mayuzumi’s Nirvana Symphony (1958) and Mandala Symphony (1960) using the Campanology Documents

Zubin Kanga
WIKI-PIANO: Realising an internet-composed solo piano work by Alexander Schubert