Final Program

Wednesday, 09 October



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)

Coffee Break

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



Parallel Sessions

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

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

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

Coffee Break

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

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

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


Parallel Sessions

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.


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


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


Coffee Break

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

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

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)



Parallel Sessions

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

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)

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

Coffee Break

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

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

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


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

Coffee Break

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


Travel to Mafra


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)

Guided tour in the National Palace of Mafra
(Royal Rooms, Nursery & Library)
(With the support of the National Palace of Mafra)

Concert of the Six Organs at the Basilic of the National Palace of Mafra
(With the support of the City Council of Mafra)

Gala Dinner in the South Cloisters of the National Palace of Mafra

(With the support of the City Council of Mafra)