3.–5. aprillini võõrustab Eesti Muusika- ja Teatriakadeemia (EMTA) rahvusvahelist loovuurijate kogukonda: toimub Euroopa Loovuurimuse Platvormi Muusikas (European Platform for Artistic Research in Music ehk EPARM) konverents, kuhu on oodata ligi 200 osalejat. EPARM on üks Euroopa Muusikakõrgkoolide Assotsiatsiooni (AEC) allorganisatsioone, mis edendab loovuurimust just kõrghariduse astmel.

Seekordse konverentsi põhiteemad on eri muusikavaldkondade uus suhestumine (näiteks elektronmuusika ja varajane muusika), uuringute eetiline külg, publiku kaasamine jms.

Konverentsil esinevad ka EMTA loovuurijad nii ettekannetega kui ka 3. aprilli õhtul kell 19.00 toimuval kontserdil.

Ajakava

3. aprill
12.00 Registration – informal networking
12:30 – 13:00 Pre-conference introductory session to the EPARM and its work
13:00 – 14:00 Presentation Projects from EAMT
14:00 – 14:30 Opening event
14:30 – 15:30 Keynote speech – Valorising Artistic Research: Whose Responsibility Is It? – Heloisa Amaral
15:30 – 15:50 Coffee break
15:50 – 16:20 Research presentations I
A – Exploring immersive sound spaces through artistic research – Seeking innovative museological experiences through music – Marinho, Helena et al. | D501
B – The Cabinet – Transforming Early Music’s Sound Library into Live Electronics – Forment, Bruno | Blackbox
C – Making a Sonic Portrait of an Innovative Piano. Drawing inspiration from 19th-century performance practices, how can one design a recital that highlights the properties of Paulello’s 102-key piano? – Vacher, Johann | C405
16:30 – 17:00 Research presentations II
A – Sound City. How to integrate artistic research with societal entrepreneurship – Schopman, Esther | D501
B – Creativity through analysis. New music for old instruments – Adler-McKean, Jack | Blackbox
C – Development of a piece specific notation as a compositional method for the live performance of electronic music – Västrik, Ekke | C405
17:00 – 18:30 Open Space – Themed discussion chaired by Stephen Broad (EPARM WG) | Chamber Hall (Room C405)
19:00 – 20:00 Concert
20:00 – 21:00 Reception

4. aprill

09:30- 10:30 Information Forum
10:30 – 11:00 Coffee Break + Information Market
11:00 – 12:30 Round Table
12:30 – 14:00 Lunch
14:00 – 14:40 Research performances I
A – Microtonal Cornett & Live Electronics. Expanding the Historical Performance Practice of the Cornett in Glass Coloured – Tassie, Benjamin and Savan, Jamie | D511
B – Assume calibration pose: this breath isn’t mine. A haptic feedback performance exploring sound, body and technology – Tort Pujol, Cèlia and Bokelmann, Myrthe | Blackbox
C – A great learning: how to find balance in the presence of a tiger. Experimental music-making as pathway to sustainable artistic practice – Laitinen, Juho | Chamber Hall (C405)
14:50 – 15:20 Research presentations III
A – Performance as a Creative Medium in the Post-Digital Era. Works for saxophone and electronics by Rúben Borges and Nádia Carvalho – Sousa, Jorge and Portovedo, Henrique | D511
B – Interconnections Between a Composer and the Community: How can artistic agency be shared through the development of co-creative compositional processes in diverse participatory settings? – Perivolaris, Electra | Chamber Hall (C405)
C – Playgrounds. Gamified Audience Participation through Embodied Interaction in Multimedia Composition for Western Art Music Ensembles – González, Pedro | D501
15:20 – 15:40 Coffee break
15:40 – 16:20 Research performances II
A – The Odd Couple. Real-time improvisation between a human pianist and an AI-inspired system – Ben-Tal, Oded and Dolan, David | D511
B – Painted in Words. Concert-sound installation based on the aesthetics of surreal sound art – Šiurys, Andrius | Blackbox
C – Forgotten Songs: Aspects of the Piano Part. The relationship between the evolution of the early piano and the development of the Lied genre – Punytė-Svigarienė, Jonė | C405
16:30 – 17:10 Research presentations IV
A – Coming Up for Air in [LOCATION] An art-research initiative exploring the critical effects of Indoor Air Quality (IAQ) – Ma, Bofan | D511
B – “Telling stories” with sounds – Exploring the relationship between narrative structures and electroacoustic composition – Giaccio, Marina | D501
C – Third Cycle Artistic Research Methods Informing Second Cycle Thesis: Embodying a Repertoire of Gestures in Orchestral Conducting – Westblad, Aron | C405
17:20 – 18:00 Research performances III
A – Implementing Imagination for Evoking Teleodynamic Systems Which Create Constraints to Constitute Improvised Musical Pieces – Sikk, Jaak | D511
B – Silent Spring: how sound can connects us to nature – Using music to share our climate concerns with the audience – Rojas Huertas, Francisco | Blackbox
C – The Pianist in Contemporary Music: An Investigation with and through her Gesture – Parisi, Liliana | C405
18:00 – 18:30 Guided tour of the academy
19.00 – 21.00 Dinner

5. aprill

09:10 – 09:40 Research presentations V
A – Positioning the accordion(ist) within an improvisational ecology. Questioning distance and proximity within instrument- and performer’s based AR- Cornelissen, Rik | D511
B – “Good composers borrow; great ones steal”. Ownership, advocacy, and ethics in compositional artistic research – Batty, James and Gorton, David | Room D501
C – The Mutual Permeation of Rap Music and Contemporary Art Music – Tian, Fu | C405
09:50 – 10:20 Research presentations VI
A – Modernised Salon: Broadening Performers’ Perspectives on Public Presentation- Ecclesia, Vittoria and Kapten, Kristi | D511
B – Composing for Intercultural Instrumentation: Liminality and Idiomatic Resources – Politano, Marcelo | D501
C – The Idea of Form and Possible Principles of Structurization In Improvisation Theoretical and practical implications of the model for improvisation “Ensemble as Synthesizer” – Samulionis, Matas | C405
10:30 – 11:10 Research performances IV
A – Your tonality is not my tonality – meetings between the performer, the composer and the (micro)tonality. An exploration into using different tonalities from a performer’s perspective – Løvlid, Unni and Baudouin Lie, Marianne | D511
B – phædrus – Ecological actions of resonance through uncharted music – Biagi, Ettore and Masui, Aya | Blackbox
C – How Does the Setting of a Piece of Music Affect the Way We Hear It? New Artistic Perspectives: Bridging the Prevailing Performance Cannons and Contemporary Research -Based Practices – Palšauskaitė, Monika | C405
11:10 – 11:30 Coffee break
11:30 – 12:00 Research presentations VII
A – Chamber Music as Social Utopia? On Ethics and Social Responsibility of Musical Practice – Kaiser, Jessica | Blackbox
B – Moving Sound: A Choreography-Inspired Approach to Spatial Electroacoustic Composition – Iivari, Otto | D501
C – Sculpting music performances: About Choreomania and the process of shaping a performance – de Teresa, Silvia | C405
11:30 – 12:30 Safe Space | Quiet Room
12:30 – 13:30 Closing Session | Great Hall

Lisainfo siit.

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