Si svolgerà presso l’Escola Superior de Música e Artes do Espetáculo di Porto tra il 22 e il 24 marzo prossimi l’edizione 2018 dell’European Platform for Artistic Research in Music (EPARM).

Il relativo gruppo di lavoro è formato da:

Peter Dejans – Presidente (Orpheus Institute Ghent)
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen – Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Leonella Grasso Caprioli (Conservatorio “A. Pedrollo” di Vicenza)
Stephen Broad (Royal Conservatoire of Scotland, Glasgow)
Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre, Vilnius)
Matthias Hermann (Musikhochschule Stuttgart)

 

Questo il programma dettagliato delle tre giornate:

 

“Playing” as a common ground for artistic research and teaching arts – reflection, knowledge and knowledge transfer
 

Giovedì 22 marzo

14:30 – 16.00 REGISTRATION

Informal Networking – Coffee available

16.00 – 16.30 Opening Event

Musical Introduction
Official Welcome by:
Marco Conceição, vice-president of ESMAE Porto and the Head of Research
Stefan Gies, CEO of the AEC
Peter Dejans, EPARM Chair

16.30 – 17.30 Plenary Session I – First Keynote

Prof. Dr. Ursula Brandstätter  – Head of University in Linz, Austria

17:30 – 19:00 Reception

19:00 Concert

 

Venerdì 23 marzo

09.30 – 10.00 Informal Networking with Refreshments

10.00 – 11.15 Plenary Session II – Second Keynote

Musical Introduction
“Improving musical play through research – academic and non-academic approaches”, keynote speech by Gustavo Costa , Sonoscopia, Portugal

Round table discussion moderatedy by  Mário Azevedo, ESMAE, Porto
– Gustavo Costa
– Rui Penha,  FEUP
– Jorge Salgado Correia, INET-md
– Rui Costa  and  Binaural Nodar, Binauralmedia TBC
– ESMAE performer/researcher TBC

11.30 – 12.00 PARALLEL SESSIONS I

PARALLEL SESSIONS I A
Artistic Research and ‘Play’ in Jazz Education: Influential Precursors and Current Institutional Perspectives, Michael Kahr, University of Music and Performing Arts, Graz, Austria

PARALLEL SESSIONS I B
Improvisation as a teaching-researching pathway in violin lessons, Anna Maria Freschi and Marco Gallenga, Conservatorio di Musica “Luigi Cherubini”, Florence, Italy

PARALLEL SESSIONS I C
Song and Lullabies: From commissioning to recording to teaching studio, Robert Irvine, Royal Conservatoire of Scotland, Glasgow, Scotland

12.00 – 12.30 Informal Networking with Refreshments

12.30 – 13.00 PARALLEL SESSIONS II

PARALLEL SESSIONS II A
The Importance of Rhythm in Jazz Phrasing and Improvisation, Anka Koziel, The Royal Conservatory The Hague, The Netherlands

PARALLEL SESSIONS II B
Play and have people play: “Practice-inquiry”, a new concept of musical practical research in Cefedem Auvergne Rhône-Alpes, Sandrine Desmurs, Cefedem Auvergne Rhône-Alpes, Lyon, France

PARALLEL SESSIONS II C
When is research artistic research?, Jorge Salgado Correia et al., University of Aveiro, INET-md, Aveiro, Portugal

13.00 – 13.30 PARALLEL SESSIONS III

PARALLEL SESSIONS III A
Playing and Composing: Tuning the Gestures by Psychophysical Insight into Music, Giorgio Tedde, Conservatorio Giuseppe Verdi, Milan, Italy –  Universität der Künste, Berlin, Germany

PARALLEL SESSIONS III B
How to help composers’ ideas survive, Matthias Hermann, HMDK Stuttgart, Stuttgart, Germany
Continuation of When is research artistic research?, Jorge Salgado Correia et al., University of Aveiro, INET-md, Aveiro, Portugal

13.30 – 15.00 Lunch

15.00 – 15.45 Flash Information Forum

16.00 – 16.30 PARALLEL SESSIONS IV

PARALLEL SESSIONS IV A
Mapping the Impossible: Incongruent Transposition as a Method of Playing, Katt Hernandez, Lund University, Music School, Malmö, Sweden

PARALLEL SESSIONS IV B
The hidden Language – an ongoing artistic research project involving students at RDAM, Eva Hess Thaysen, The Royal Danish Academy of Music, Copenhagen, Denmark

PARALLEL SESSIONS IV C
Just listen! (Or can I also look at my chamber music partners?), Sarah Vandemoortele, LUCA School of Arts, Leuven, Belgium

16.30 – 17.00 Informal Networking with Refreshments

17.00 – 17.30 PARALLEL SESSIONS V

PARALLEL SESSIONS V A
Trickle down and grow – implanting research issues onto student practices, Oeyvind Brandtsegg and Trond Engum , Norwegian University of Science and Technology, Trondheim, Norway

PARALLEL SESSIONS V B
Symphonies Reframed-Exploring and developing the artistic and educational potential of mid-sized chamber groups, Sigstein Folgero and Gjertrud Pedersen, Norwegian Academy of Music, Oslo, Norway

PARALLEL SESSIONS V C
Graphic scores as tools for learning and playing through some form of artistic research, Jean-Charles Francois, PaaLabRes collective, Lyon, France

17.30 – 18.00 PARALLEL SESSIONS VI

PARALLEL SESSIONS VI A
The MPEi project. Designing an artistic research and teaching ecosystem around the latest digital musical instruments in the context of the new Université Côte d’Azur, Navard Gael and Jean Francois Trubert, Université Côte d’Azur, Nice, France

PARALLEL SESSIONS VI B
New brass playing – New sound for composing, Raffaele Marsicano, Conservatorio Giuseppe Verdi, Milan, Italy
PARALLEL SESSIONS VI C
From Potential to Performance  – An innovative way to share musical knowledge in conservatoires, Gabriela Mayer,  CIT Cork School of Music, Ireland

20.15 Dinner

 

Sabato 24 marzo

09.00 – 9.30 Informal Networking with Refreshments

09.30 – 11.00 Plenary Session IV

The Learning and Teaching Platform – Discussing about the link between education and research
Presentation of good practices by
– DAPHME Project
– CEMPE, Oslo, Norway
– From the Sound to the Sign, from the Sign to the Sound. The musical composition as an interactive tool in the music education and as an impulse for an “alternative” teaching-method, Irene Malizia, JAM MUSIC LAB Private University for Jazz and Popular Music and JAM MUSIC LAB Conservatory, Vienna, Austria
– Pop 4: Developing Songwriting Teaching and Learning Activities as Collaborative Research, Andrew West, Leeds College of Music, Leeds, United Kingdom

11.00 – 11.30 Informal Networking with Refreshments

11.30 – 12.00 PARALLEL SESSIONS VII

PARALLEL SESSIONS VII A
Playing with History, the intrinsic motivation to explore, Johannes Boer, Royal Conservatoire The Hague, The Netherlands

PARALLEL SESSIONS VII B
Critical thinking through music: artistic research methods in the creation of bachelor and masters theses, Stefan Ostersjo, Malmö Academy of Music, Malmö, Sweden

PARALLEL SESSIONS VII C
Teaching – Playing – Researching: No Boundaries, Andrew Bain, Royal Birmingham Conservatoire, Birmingham, England

12.00 – 12.30 PARALLEL SESSIONS VIII

PARALLEL SESSIONS VIII A
Teaching and playing contemporary harpsichord music. How do students accept new music and how do they overcome it’s difficulties, Imbi Tarum, Estonian Academy of Music and Theatre, Tallinn, Estonia

PARALLEL SESSIONS VIII B
Living Scores Live: It’s the score, stupid!?, Vincent Caers, LUCA School of Arts, Leuven, Belgium

PARALLEL SESSIONS VIII C
Overcoming Challenge Through Creativity, Oliver Searle, Royal Conservatoire of Scotland, Glasgow, Scotland

12.30 – 13.00 Closing Session By Eirik Birkeland, AEC President

13.00 Free Lunch arrangements

 

Per partecipare bisogna registrarsi qui entro il 12 marzo

https://www.docenticonservatorio.org/wp-content/uploads/2018/03/esmae-1024x582.jpghttps://www.docenticonservatorio.org/wp-content/uploads/2018/03/esmae-150x150.jpgRedazionericercaSi svolgerà presso l'Escola Superior de Música e Artes do Espetáculo di Porto tra il 22 e il 24 marzo prossimi l'edizione 2018 dell'European Platform for Artistic Research in Music (EPARM). Il relativo gruppo di lavoro è formato da: Peter Dejans - Presidente (Orpheus Institute Ghent) Kevin Voets (Artesis Plantijn Hogeschool Antwerpen...