Event News
The Russian pianist,Sofya Gulyak is our affiliated artist for 2012/13. She became the first woman to win the Leeds International Piano Competion in 2010.
Details of how to submit an abstract and relevant dates
Submissions detailing original research are invited from all performance disciplines, offering new perspectives from across the arts and sciences on the embodiment of the performer, We intend to offer both on-site and electronic presentation options, although the former will depend on possible restrictions on public meetings and international travel in place at the time of the event. Abstracts should consist of 250-300 words. They will be published on the website and should be submitted in Word, with the following specifications: Alignment: Justified; Font: Calabri; Spacing, 1.5. Pont size, 12.They should be submitted electronically by the 15th July 2025. June 1st...
Read MoreAPPRECIATION of the Symposium at the Royal Academy of Music 2018
Prof. Elaine Chew writes: Cristine MacKie [Director of the London International Piano Symposium] ‘does it again …[by pulling] off the third annual London International Piano Symposium, this time back at the Royal Academy of Music (2018). The conference brought together pianists, pedagogues, and researchers from around the world. I immensely enjoyed the great company—all the laughter, good food, beautiful music—and carefully curated single-track series of interesting talks on all aspects of piano performance. Thank you, Cristine!
Read MoreDetails for submission of abstracts and dates
Submissions detailing original research are invited from all performance disciplines, offering new perspectives from across the arts and sciences on the embodiment of the performer, We intend to offer both on-site and electronic presentation options, although the former will depend on possible restrictions on public meetings and international travel in place at the time of the event. Abstracts should consist of 250-300 words. They will be published on the website and should be submitted in Word, with the following specifications: Alignment: Justified; Font: Calabri; Spacing, 1.5. Pont size, 12.They should be submitted electronically by the 15th July 2025. June...
Read MoreAnnouncing a new collaboration with Imperial College in 2025
I am extremely pleased to say that I have begun working on a innovative project with Alison McGregor who is a Professor of Musculoskeletal Biodynamics in the Department of Surgery and Cancer, where she manages the Human Performance Group, and the engineer, Matthew Banger in the biodynamics Laboratory at Imperial College, London. This collaboration, using Markerless technology, will go a long way toward providing evidence concerning the function (movement) of the pianist’s skeleton and, possibly building on that, to show the relevant muscles which flex and extend the skeletal bones of the torso, and the ‘reach to grasp’ i.e. the scapula, upper arm,...
Read MoreWe are now published in a special issue of the Finnish Journal of Music Education (2023)
We are delighted to announce that as a result of holding a piano forum at the third symposium at the Royal Academy of Music Oct, 2018 an article is now published in a special issue of the Finnish Journal of Music Education (2023) entitled: ‘An inquiry into the psychological wellbeing of piano teachers engaged in one-to-one tuition in higher music education: How trauma transfers in teaching’. See the abstract in Publications.
Read MoreRethinking Piano Performance: The Embodied Mind is now published
We are excited to announce the publication of Rethinking Piano Performance: The Embodied Mind. Details of how to puchase the book are shown below. Introduction ‘It seems that so long as we are alive, we shall continue closest to knowledge if we avoid as much as we can all contact and association with the body, except when they are absolutely necessary…’ Socrates c. 469-399 B.C. Pianists routinely encounter a great variety of bodily and intellectual demands in preparing piano works for performance, but until recently, the emphasis has been largely on the intellectual aspect of performance, or ‘radical mentalism’. However, since piano performance requires an indissoluble...
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