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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.

Sample of abstracts submitted in 2013

Posted by on Jun 7, 2013 in Event News | 0 comments

  Elaine Chew, Queen Mary, University of London Title: Explaining what musicians do, how we do it, and why; making concrete conceptualized structures and expressive (prosodic) decisions that shape musical communications using mathematical models, computational methods, and scientific visualisations   Schnabel’s playing of Beethoven’s Moonlight Sonata (15 bars) – Tempo analysis from Elaine Chew on Vimeo. Schnabel’s tempo variations in his performance of Beethoven’s Moonlight Sonata (15 bars). Vertical grid lines mark the beginnings of each bar. The arches denote phrase and sub-phrase groupings at different hierarchical levels.  In Schnabel’s performance, the phrase arcs consistently cut across the bar lines, creating the perception of a long line.  The phrase boundaries align with the bar line for the first time  at  beginning of bar 9, reinforcing the arrival of the new key (the relative major). More analysis videos at vimeo.com/elainechew. Musical prosody is the manipulation of timing, loudness, articulation, and timbre that a performer adds to an abstract conceptualisation of music (such as that notated in a score) in order to communicate ideas of grouping and prominence. Prosodic choice can often be explained as the result of desired parsing, subject to the structural constraints of the abstract music, and the acoustic properties of the musical instrument. Decisions of grouping and prominence, and of musical prosody form the crux of the art of interpretation, but it remains one of the most elusive elements in music pedagogy. The advent of scientific tools for representing and charting not only the music waveform but also acoustic features ranging from frequency and amplitude to tempo and loudness allows us to overlay and cross reference prosodic information from a performance with structural information in a score. By synchronising these multiple layers of information, we make concrete connections between abstract time and pitch structures (such as measures and key), prosodic decisions (such as timing and loudness), and acoustic properties of the instrumental sound (such as sound decay time). The scientific visualisations become a tool to discover and explain prosodic choice and the underlying grouping and prominence decisions. A brief illustration of the technique using three performances of Beethoven’s Moonlight Sonata, by Barenboim, Pollini, and Schnabel will show how the performers’ different grouping decisions can be inferred from prosodic information. A more detailed study of prosodic choices in my recording and live demonstration of the Epilogue from Peter Child’s Doubles (1998-1999), how these decisions are constrained by the acoustics of the instrument, and expressive markings in the score, corroborated by the scientific visualisations will follow. By revealing the logic behind prosodic choices, we aim to make widely accessible the knowledge of creating new and informed interpretations. Keywords: music prosody, scientific visualisation, interpretation Kathleen Riley, The NYU Steinhardt School of Culture, Education and Human Development. Title: Understanding the Physiology of Piano Performance Background In addition to many years of intensive instructive guidance and practice, music performance requires strength, coordination and fine motor control in order to realize performance intentions. To achieve optimal performance requires that we address the physical, mental and emotional aspects of each individual in order to allow their careers to flourish. While many teachers subscribe to healthy teaching methods, the problem seems to lie in knowing whether or not these methods have been integrated correctly into the physiological profiles of our students. In addition, the most efficient utilization of muscles is a necessary component when strain and injury may still be a concern. In sports training, this is widely accepted as one of the most important factors. Aims This paper presents research on several high level pianists using multimodal biofeedback that enables pedagogues to see inside their students, collecting data that can not only give them insights for teaching, but, more importantly, can be provided as objective data to members of the medical community. The protocols I have developed and use through ProformaVision, a software program that simultaneously layers and analyzes multi-perspective videography with surface electromyography (sEMG) muscle tension recordings and MIDI data, can help to provide researchers and medical experts, as well as pedagogues, with data that can help focus on the cause, not the...

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Sucess: Going to the Linbury Theatre, Royal Opera House.

Posted by on Mar 25, 2013 in Event News | 0 comments

 The collaboration at the Royal College of Music during  February last between Cristine MacKie & Jeanetta Lawrence of the Royal Ballet was so successful that the work is being presented at the Linbury Theatre, Royal Opera House, Covent Garden on April 23rd, 24th and 26 April.

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The Conference Programme for February 2013

Posted by on Feb 1, 2013 in Event News | 0 comments

Conference Programme 2013   Friday, 8th February 2013. 8.30-9.00 REGISTRATION Recital Hall, Royal College of Music 9.00-9.15 Welcome 9.15-10.00 KEYNOTE ADDRESS – Professor Roger Kneebone, Imperial College THEMATIC SESSIONS MIND & BODY 10.00-10.30 Jennifer MacRitchie & Alessandro Guisti, Embodying Intentional Musical Expression Through Piano Touch: A Motion Capture Study. 10.30-11.00 Lois Svard, It’s All in Your Mind: Motor Imagery and the Pianist. 11.00-11.30 BREAK 11.30-12.00 Kathleen Riley, Understanding the Physiology of Performance. 12.00-12.30 Lilian Simones, An Exploratory Analysis into the Role of Gesture in Instrumental Music teaching and Learning. 12.30-1.00 Lois Svard, The Pianist’s Brain: Why and How We Are Different. 1.00-2.00 LUNCH 2.00-2.30 Luciana Hamond, The Nature of Feedback in Piano Learning & Teaching in Higher Education. 2.30-3.00 Miguel Henriques. The Role of Information in Pianism. REPERTOIRE,  INTERPRETATION & HISTORICAL RECORDINGS Matthew Schellhorn, Sunsets & Silences: The Passage of Time in Messiaen’s Catalogue d’oiseaux. 3.30-4.00 Patricia Abdalla & Nancy Lee Harper, From Lisbon to Rio: The Absence of Portuguese Piano Music in the New State (1930-1940). 4.00-4.30 BREAK 4.30-5.00 Georgia Volioti, Musing on the Past: Historical Recordings as Creative Resources for Piano Performance. ANXIETY IN PIANO PERFORMANCE 5.00-5.30 Nancy Lee Harper, Portuguese Piano Music for Multiple Players from the Eighteenth Century to Modern Times: A Bibliography. 5.30-6.0 Fiammetta Facchini and Nancy Lee Harper, Anxiety in Instrumental Duo. 6.0-6.30 CONTEMPORARY PERFORMANCE PRACTICE ISSUES  Ana Cristina Bernardo & Eduardo Lopes, Some 21th Century Performance Practice Issues: The Piano in “Um Sina Contra o Tempo”.   Friday 8th February 2013 PARALLEL PAPERS, PARRY ROOM PEDAGOGY 10.00-10.30 Huisman, Musical Complexity: Nature of Limits & Limits of Nature. 10.30-11.00 Yuki Moriji, The Influence of Piano Teachers on Piano Expertise. 11.00-11.30 BREAK BREAK 11.30-12.00 Barbara Fast & Jennifer Mishra, Exploration of Practice Strategies Related to the Premier of Classical Music. 12.00-12.30 Zelia Chueke & Roger Chaffin, Performance Cues for Music ‘with no plan’: 12.30-1.0 A Case Study of Preparing Schonberg’s Opus 11 No. 3. Chiyoon Chung, Pedagogical & Musical Insights into Saint-Saens’s Six Etudes pour la main gauche seule Op. 135.   1.0-1.30 Galina Crothers, Piano Pedagogy: Contradictions Within Piano Training in the Area of the Technical Development of the Pupil.  . 1.30-2.30 LUNCH 2.30-3.0 Cristina Gerling, Chopin’s Bacarolle Op. 60: Searching for References, Standards & Models. 3.0-3.30 Hsing-Chwen Hsin, Perceiving Debussyism from His Own Piano Arrangements of Orchestral Works: Performing& Teaching Debussy’s Soundscript. 3.30-4.0 Victoria Tzotzkova, Towards a Model of Masterful Sound Production in Piano Performance: Systematising pedagogical Views in the Light of Personal Experience & Ulrich Neisser’s ‘Perpetual Cycles’. 4.0-4.30 BREAK 4.30-5.0 Marcelo Cazarre & Vera Vianna, The Piano Technique of Two Great Brazilian Pianists: Antonio Sa Pereira (1888-1966) e Magdalena Tagliferro (1893-1986). 5.0-5.30 Oeida Hatcher, Practice, Prepare & Print: Writing for Musical Knowledge & Understanding in Keyboard Performance Courses. 5.30-6.0 Olga Hasanova, Piano Education: Purposes and Ways.     Saturday 9th February 2013. PARRY ROOM PEDAGOGY CONTINUED: 9.0-9.30 Evangelia Mitsopoulou, Performing Carl Tausig’s Dante Symphony for Solo Piano: Thoughts on the Approach of Piano Technique. RECITAL HALL, LECTURE RECITALS SOME INSIGHTS INTO COMPOSERS FROM J.S BACH TO  JOHN CAGE 9.30-10.10 Nicasio Gradaille, ‘David Tudor’s First Realisation of Solo for Piano by John Cage. 10.10-10.50 Judith Gore, Liszt and the Ballet. 10.50-11.05 BREAK 11.05-11.45 Chiara Bertoglio, Bach, Busoni & Beyond: Instructive Editions & Performance Practice. 11.45-12.25 Michael Tsalka, The Stylistic & Aesthetic Parallels of Daniel Gottlob Turk’s Standard Classical Repertoire: Keyboard Sonatas: A Comparative Lecture Recital Study. 12.25-1.05 John Slominski, This is Not Your Papa’s Haydn: A New Perspective on Musical Topics & Narrative in the Composer’s Keyboard Sonatas. 1.05-2.0 LUNCH RECITAL HALL SOUND & GESTURE THEORY & HISTORICAL PIANOS AS TEACHING TOOLS 2.00-2.45 Megumi Masaki, Music 4 Eyes & Ears II: Integrating Sound & Image in Solo Piano Multimedia Performance. 2.45-3.25 Olivia Sham, Performing Liszt on Historical & Modern Pianos. 3.25-4.05 Mariann Marczi, Claude Debussy’s Influence on Zoltan Kodaly’s Piano Pieces. 4.05-4.45 Guerino Mazzola, Cecil Taylor’s Dancing Fingers: An Introduction to Extremal Piano Techniques Using Musical Gesture Theory. 4.45-5.15 BREAK 5.15-5.55 Elaine Chew, Synchronising Prosodic and Structural Information to Reveal Performance Decisions. 5.55-6.35 Giusy Caruso, Western Embodiment of Carnatic Music: 72...

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Tickets for the symposium will be available to professional musicians, piano students and the public in Jan 2015

Posted by on Jan 16, 2013 in Event News | 0 comments

For professional musicians wishing to attend the symposium please go the Home Page for News and Events and click on Registration. For booking a seat for the workshop and the piano recital please call 020 8789 6163 Click here for the RCM’s online box office.   To attend the conference on Friday 13th and Saturday 14th February: Public attendees: £50.00 per day Students: £25.00 per day (ID will be required at the door). Please pay  by bank transfer to the: London Piano International Symposium Barclays Bank Sort code 20 90 74 Account number 23121534 SWIFT: BARCGB22 IBAN GB71 BARC 2090 7423 1215 34 OR BY CHEQUE to the London Piano International Symposium 25a Deodar Rd, Putney, London SW15 2NP  ...

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New media parteners onboard

Posted by on Dec 11, 2012 in Event News | 1 comment

We have agreed that the International Piano Magazine and Rhinegold Publishing are to be media partners

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LIPS is launched Oct 12th at Steinway Hall, London

Posted by on Nov 3, 2012 in Event News | 0 comments

  Cristine MacKie with the Russian Pianist Sofya Gulyak at the launch of LIPS at Steinway Hall

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