Final Program
Wednesday, 09 October
Morning
9:00
Registration
10:00
Opening Session : Auditorium
Institutional Presentation
NOVA School for Social Sciences and Humanities (FCSH): New University of Lisbon
CESEM: Centre for the Study of Sociology and Aesthetics of Music,r
INET-md : Institute of Ethnomusicology – Centre for Studies in Music and Dance,
NOVA School for Social Sciences and Humanities (FCSH): Department of Musical Sciences
Conference presentation
Nicolas Donin (IRCAM, CNRS)
Isabel Pires (CESEM, FCSH)
Maria de São José Côrte-Real (INET-mf, FCSH)
10:30
Coffee Break
11:00-12:30
Panel 1: Auditorium CGD (A14)
Moderated by Michael Clark (Huddersfield University, UK)
Margaret Barrett
Learning collaborative creativity in Chamber Music: perspectives from eminent and emerging chamber musicians
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
Inja Stanovic
The Creative Processes in (Re)construction of Early Recordings
12:30
Lunch
Afternoon
Parallel Sessions
13:30-15:30
Panel 2: Room CAN 209
Moderated by Ivan Moody
Sarah Lucas
A “Haunting Blend of Sensibility and Violence”: Fritz Reiner’s Interpretations of Béla Bartók’s The Miraculous Mandarin
Mark Ferraguto
Beethoven’s Coriolan and its Creative “Moment”
Lucy Turner
Beyond Sketch Studies: The Autograph Manuscripts of Beethoven’s Opp. 74 and 127 as Records of Stylistic Innovation
Cláudio de Pina
Convolution and convoluted acoustic spaces
13:30-15:30
Panel 3: Room CAN 217
Moderated by Robert Hasegawa
Guillaume Boutard
Data reuse and creative processes
Emmanuelle Olivier
Profession arranger: emerging figure in musical creation and digital audio knowledge production in Mali
Amandine Pras
Improvising vocals, samples and VST plugins in a loop – The production process of a Reggae Mandingue track
Adam Patrick Bell
Comparing DIY Music Production Methods in New York City and Bamako
13:30-15:30
Panel 4: Room CAN 219
Moderated by Laura Zattra
Michelle Ziegler
Not Just For Safekeeping – Composers’ Sketchbooks As Working Tools
Elena Minetti
Visual and Operative Strategies in Compositional Processes around 1960
Carolin Ratzinger
Breathing and writing in 20th century flute music
Filipa Magalhães
“Rewriting” Constança Capdeville’s works through documentation production
15:30
Coffee Break
16:00-17:30
Panel 5: Room CAN 209
Moderated by Joël Bensoam
Amy Mallett
A mixed method approach to auto-ethnographic study of the compositional process
Sara Carvalho
Spinning Yarns: Gesture and indeterminacy in collaborative composition
Monika Karwaszewska, Piotr Rojek
Krzysztof Knittel’s chamber opera and Agnieszka Stulgińska’s music theatre – examples of new syncretistic medium in contemporary Polish music
16:00-17:30
Panel 6: Room CAN 217
Moderated by Robert Hasegawa
Zubin Kanga
WIKI-PIANO: Realising an internet-composed solo piano work by Alexander Schubert
Anton Pyvovarov
Artistic Inspiration – a state of effortless creativity as An effect of being connected to the own Self
Amanda Bayley, Michael Clarke
Interactive Software as a Means of Researching the Creative Process in Free Improvisation
16:00-17:30
Panel 7: Room CAN 219
Moderated by Vicent Debut
Julie Mansion-Vaquié
Shaka Ponk on stage: stakes of multiple creative processes
Mark E. Perry
From Disco to Rave: DJ Set as Improvisation
Thursday, 10 October
Morning
Parallel Sessions
08:30-10:00
Panel 8: Room CAN SE3
Moderated by Rui Pereira Jorge
Katarzyna Bartos
Are creative processes reflecting the personality of an artist? Examining Grażyna Pstrokońska-Nawratil’s music and personality
Natalia Copeland
Illumination in a form of musical imagery – new cognitive concept
Sofia Serra-Dawa
The involvement between musician and music score: an analysis of musical skill acquisition process in accordance to Adult Attachment Theory.
08:30-10:00
Panel 9: Room CAN 217
Moderated by Isabel Pires
Laura Emmery
Gender, Identity, and Gesture in Jonathan Harvey’s String Quartet No. 2
François-Xavier Féron
Le son d’une voix (1964) by François-Bernard Mâche: the introduction of the Sona-Graph in the composer’s workshop
Maureen Carr
Climbing the Tower of Additive Construction: The Final Movement of Stravinsky’s Symphony in Three Movements
08:30-10:00
Panel 10: Room CAN 219
Moderated by Filipa Magalhães
Lauro Pecktor
The study of creative processes as a method for composing
Carlo Diaz
Historical Imaginaries: Composing The Past
Robert Hasegawa
Compositional constraints and creative process in solo works by George Benjamin
10:00
Coffee Break
10:30-12:30
Panel 11: Room CAN SE3
Moderated by Rui Pereira Jorge
João Fernandes
Creative processes in electroacoustic musical improvisation – The duos in the Unmapped collective
Jacob Hart
The creative process as instrument making: a case study of four electronic musicians
Manuel Neyssensas
The using of electronic devices in industrial metal and the consequences on its sound aesthetic
Danilo Rossetti, Jônatas Manzolli, Pedro S. Bittencourt
Analyzing Shifting Mirrors: Emergence in a Collaborative Network between Composer and Performer
10:30-12:30
Panel 12: Room CAN 217
Moderated by Riccardo Wanke
Shigeru Fujita
Matrix and choice: A consideration of Henri Dutilleux’s working practices
Olena Dyachkova
“Playing with sound…”: features of the Ukrainian Free Jazz in the 1990’s” (the creative practice of Oleksandr Nesterov)
Alexandre Damasceno
Instrumental Adaptations of Brazilian Rhythms: A Reflection About the Possibilities of Adaptation of Brazilian Popular Percussion to the Drums
Sander van Maas
Capturing Contingency: Anecdote in Jazz Creativity Research
10:30-12:30
Panel 13: Room CAN 219
Moderated by Filipa Magalhães
Nena Beretin
Tracking the Creative Process in Music: Luciano Berio’s use of gesture to enhance the reception of his Sequenza series
Caitlyn Trevor, David Huron, Johanna Devaney
Analyses of the Musical Motivations Behind Expressive Left-hand Performance Practices of Classical String Players
Maryam Farshadfar
An overview of the creativity process in the practice of Persian piano
Celso Loureiro Chaves
Translating Invented Signs Into Music. The Compositional Processes In A Point To The South (2011)
12:30
Lunch
Afternoon
Parallel Sessions
13:30-15:30
Panel 14: Room CAN SE3
Moderated by Luisa Cymbron
Aggeliki Kordellou
Euripide’s Electra from MikisTheodorakis’ perspective: an approach to philosophical, esthetic and compositional sources of the opera
Diogo Alvim
Composing with real world programmes
Martin Knust
Transferring Speech and Gesture into Music: Historical Examples
Maria Birbili
Tracking Multimediality in the Creative Process in French grand opéra: The Cases of Meyerbeer and Verdi
13:30-15:30
Panel 15: Room CAN 217
Moderated by Isabel Campelo
Adam Fairhall
Jazz Thinking’ in the Accompaniment of Silent Comedy Film: Reflections on Practice-as-Research
José Dias
Stubborn Pencils: composing music for animation film and television through an improviser’s perspective
Petter Frost Fadnes
Improvising the Deluge: Live film scoring and improvisational practices
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)
13:30-15:30
Panel 16: Room CAN 219
Moderated by José Luis Besada Riccardo Wanke
Rita Torres
Echos from Granada: Setting to music Lorca guitar-related poetry by revisiting Falla’s Homenaje
Stephanie Jordan
Re-making Chopin through Dance: The Collaborative Process of Richard Alston
Agata Kubiak
Creativity – a problematic definition
Christian Benvenuti
Toxic Masculinity, Death, and Becoming: An autoethnographic account on grief and creativity
15:30
Coffee Break
16:00-17:30
Panel 17: Room CAN SE3
Moderated by Marco Freitas
Scott Mc Laughlin
‘Enrolling Forces’: Non-Hylomorphic strategies for Composition
Elder Oliveira, Filipe Lopes, Sara Carvalho
Composing A Sound Installation To A Specific Outdoor Place Employing Soundwalking As A Methodology
16:00-17:30
Panel 18: Room CAN 217
Moderated by João Pedro Cachopo
Ewa Schreiber
Memory and autobiography in György Ligeti’s notes on his works
Ana Cristina Bernardo
Performative creativity in 21st century piano music: Ombres as a case study
José Oliveira Martins, Paulo Soares
The creation-action process in the Portuguese guitar music of Carlos Paredes: oral tradition, performance style, and interpretative transcriptions
16:00-17:30
Panel 19: Room CAN 219
Moderated by Riccardo Wanke
Jose Luis Besada
NewMusic #composer_performer: The influence of social media and virtual reality in Óscar Escudero’s creative practices
Floris Schuiling
Braille music and spoken scores: inscribing musical abilities for blind musicians
Friday, 11 October
Morning
08:30-10:00
Panel 20: Room CAN 217
Moderated by Bart Vanspauwen
Nathan Fleshner
Analysis as Creative Process: A Psychoanalytic Perspective
Rafael Barbosa
Theoretical grounds for creative music analysis
Iryna Paliy
Intertype interaction as a new paradigm in the principles of musicological terms
10:30
Coffee Break
10:30-12:30
Panel 21: Room CAN 217
Moderated by Ernesto Donoso
Yuriko Takakura
Analysis of the Compositional Processes in Toshiro Mayuzumi’s Nirvana Symphony (1958) and Mandala Symphony (1960) using the Campanology Documents
Małgorzata A. Szyszkowska
Following the Process of Improvisation in Music Performance: the example of Gabriela Montero
Clément Canonne
Compositional processes, improvisatory explorations and instrument-making in the creation of Spat’ Sonore
12:30
Lunch
14:30
Travel to Mafra
Afternoon Mafra
15:00
Round Table:
‘Unmovable’ instruments and the creative processus
Table moderator: Nicolas Donin (Ircam, CNRS, France)
Invited speaker:
Ingrid Pustijanac (University of Pavia, Italy)
“Sound-based Composition and Organ in the late 20th Century Music: Elective Affinities?”
With the participation of:
Clément Canonne (STMS : CNRS-IRCAM-Sorbonne Université)
Carlos Marecoa (Lisbon School of Music, Polytechnic of Lisbon)
16:00
Guided tour in the National Palace of Mafra (Royal Rooms, Nursery & Library)
(With the support of the National Palace of Mafra)
19:30
Concert of the Six Organs at the Basilic of the National Palace of Mafra
(With the support of the City Council of Mafra)
20:30
Gala Dinner in the South Cloisters of the National Palace of Mafra
(With the support of the City Council of Mafra)