in association with Steinway Hall, London
Full Conference Programme February 2013
Posted by Cristine on Feb 1, 2013 in Event News | 2 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 | ||
| 3.00.3.30 | 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.
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| 1.0-1.30 |
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| 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. | ||||
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| 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 Etudes Karnatiquesby JacquesCharpentier (1933). |
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| 6.35-7.15 | Tatev Amiryan, New Look at the Roots: A Representation of Armenian Music Traditionsto a Wider Audience. | ||||
| 8.00PM, CONFERENCE DINNER, Carluccio’s, Fulham Road. | |||||
| Sunday 10th February 2013 | |
| RECITAL LECTURES, BRITTEN THEATRE | |
| MEMORISATION | |
| 9.00-9.30 | Rosangela Sebba, Recalling and the Mnemonics not Repetition. |
| 9.30-10.00 | Jennifer Mishra, Memorisation as Performance Practice. |
| IMPROVISATION | |
| 10.00-10.30 | Cynthia Ramsey, Create, Express and Perform. |
| 10.30-11.10 | Norman Beedie Classical Improvisation: The heart of the matter. |
| 11.10-11.30 | BREAK |
| 11.30–1.00 | WORKSHOP 1, The Keyboard and the Scalpel, Professor Kneebone. |
| 1.00-2.00 | LUNCH |
| 2.00-4.00 | WORKSHOP 2, Mirror Neurons: Imitation & Emulation. A Collaboration between Cristine MacKie & Jeanetta Lawrence of the Royal Ballet. |
| 4.00-4.30 | BREAK |
| 4.30-5.30 | PIANO RECITAL, Sofya Gulyak |
2 Comments
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- London International Piano Symposium « Giusy Caruso - [...] London, Royal College of music [...]
I would like to let you observe that the name of the Composer Jacques Charpentier(1933) should stay in the same line of my lecture/recital on 9 February h5.55 – “Western Embodiment of Carnatic music” – and not in the previouse line
Thank you.
With kind regards,
Giusy Caruso
I have supported LIPS since its Steinway Hall launch by becoming the first “friend”. I am not a pianist or piano teacher, so the symposium itself was of no interest. However, I am deeply interested in piano music. I took two friends to Sofya Gulyak’s recital in the Britten theatre yesterday, asking another friend to join us there. You should know that we found it very difficult to order tickets for the recital. I managed to book two on line, one friend ordered a ticket on the phone, after not getting through online; a third friend gave up altogether. He tried booking both online and by telephone yesterday, finding the “Box office closed on Sunday”. He did not want to turn up on spec. We were priviledged to hear this astonishingly wonderful pianist in her recital, but sad on her behalf that there were so few people in the audience. Could this have anything to do with the difficult ticket-buying process?