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Sponsorship Opportunities

Posted by on May 28, 2014 in Event News | 0 comments

Our goal is to establish the work of LIPS as a ground-breaking part of the musical experience both globally and in the UK by the end of the three cycles. We aim to offer hard evidence to teachers, performers and clinicians about the vital importance of a more unified approach to piano performance based on research at the interface between the arts and sciences. Furthermore we will look to increase the influence of LIPS at home and internationally by cooperating with strong international scientific communities and musical establishments, publishing research papers, live-streaming of the conference and provide the means for students to attend, and bursaries to study for a M.Mus, or PhD in Performance Science. We have a range of exciting sponsorship opportunities for businesses, organisations and private individuals through whose support we can continue to run the symposium through 2014 to 2019, building upon what we have achieved so far. Benefits include: Association with an important new musical project of excellence, passion and inspiration. An opportunity you to meet some of the biggest names in the world of science and music at specialised breakout sessions With your agreement we will host your logo on all our publicity material World coverage via the media and digital promotion View details of packages for sponsors and patrons and contact us to discuss how you can be...

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We are urgently seeking a fundraiser

Posted by on Apr 26, 2014 in Event News | 0 comments

We are currently seeking a fundraiser – would any one interested please contact us. The fundraiser will receive a percentage of all funds raised. Please email the director:

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Examples of the workshops, February 2013

Posted by on Apr 13, 2014 in Event News | 0 comments

Full conference programme provided under News and Events Britten Theatre RCM   Background Performance science has grown considerably during the last ten years. But despite the potential for this field to inform educational and professional practice across the arts, its application in the field of piano performance has been largely neglected. This neglect is not surprising, since the area is steeped in traditional methods of performance practice, and suffers also from a mind/body dualism.  These workshops will suggest that skilled pianism cannot be achieved exclusively by pursuing the traditional route, in which the student and the teacher sit side by side throughout the piano lesson.  It may be better achieved by including some collaboration with other disciplines such as operative surgery, dance, neuroscience and musical analysis. 1st Workshop The Keyboard and the Scalpel In this workshop, the distinguished surgeon Roger Kneebone will explore unexpected parallels between the worlds of piano performance and operative surgery.  As he writes ‘both demand years of preparation, and both require dexterity, memorisation and performance under pressure’.  After a brief illustrated introduction to what surgeons do and how they do it, the workshop will explore how an understanding of this closed world may cast light on pianistic training and performance. Issues will include memorisation, rehearsal, performance anxiety and strategies for recognising and remedying errors during recital and ensemble performance.  The workshop will involve discussion by participants, aiming for an interactive and stimulating sharing of views, insights and perspectives’.   2nd Workshop. Mirror Neurons:imitation & emulation in piano performance In 2004, Rizzolatti writes ‘every time an individual observes an action performed by another individual, neurons that represent that action are activated in the premotor cortex. The observer ‘‘understands’’ someone else’s actions because the evoked motor representation corresponds to that generated internally during action execution’.  This research amongst others, Craighero et al (2007), (Haggard (2008), and Iacoboni (2008), Ramchanderan (2011), will be drawn upon, because it may underpin the approach taken in this workshop in which a music analyst, a choreographer and dancer from the Royal Ballet will collaborate in assisting the pianist to develop a greater control of the pacing of the ebb and flow of Clair de lune through imitation and emulation of the dancer’s movements. A short piano recital will be given by the Russian pianist, Sofya Gulyak, the first, and only woman to win the Leeds international Piano Competition....

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We are delighted to receive the support & guidance of the MORE Partnership

Posted by on Apr 5, 2014 in Event News | 0 comments

‘MORE partnership[s] is an agency specializing in creative partnership design. They connect companies and culture creators (musicians, artists, film makers, ..’.

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Music Teacher magazine reviews Cristine MacKie’s work

Posted by on Mar 19, 2014 in Event News | 0 comments

The magazine the Music Teacher, published this April 2014, acknowledges Cristine MacKie as one of the foremost leading advocates in the UK of the mind/body approach to piano performance

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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 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...

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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...

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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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