Date: 23 - 25 April 2015
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The EPARM Conference 2015 took place at the University of Music and Performing Arts Graz (KUG) on 23-25 April. 
 

The European Platform for Artistic Research Working Group:

Peter Dejans - Chair (Orpheus Institute Ghent)
Leonella Grasso Caprioli (Conservatorio di Vicenza)
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen)
Henrik Frisk (Royal College of Music Stockholm)
Mirjam Boggasch (Musikhochschule Karlsruhe)


The AEC preparatory working groups members work on the preparation of AEC events on voluntary basis. The AEC Preparatory Working Groups are all formed by coopting active individuals in the relevant field of specialization within AEC member institutions. Proactivity, as well as geographical and gender balances are the applied criteria to guarantee the diverse and dynamic character of the groups, who should ideally recreate the diversity of AEC members institutions.
Working group members are financially supported by their home institutions, which cover their travel and accommodation expenses to the working group meetings and to the actual event. 

 

EPARM Conference, Graz, 2015
(Re-)processing Research: musical practice as both source and target domain

for artistic research in music

Artistic research in music is rooted in practice; its questions and answers arise from musical practice and, ideally, should feed back into this practice to enhance it for the whole community of musical practitioners. This conference seeks to identify, explore and encourage examples where this can be seen to take place.

Artistic researchers do, in general, use their own musical practice as the source domain for their research questions. This work may prompt them to make specific adjustments in that musical practice, perhaps relating to a particular work at a particular time.  But as the discipline of artistic research grows and matures, we should also be searching out and documenting cases where the musical practice of artistic researchers can be shown to have undergone more fundamental and lasting modification in the light of their research experiences. This documentation should extend to examples of the findings of individual research in music having a discernible impact upon the wider community of researchers – and, for that matter, upon the musical community more generally. A key issue here is that of the replicability of the ‘results’ of artistic research. What is perhaps needed is greater attention to the way that research questions, devised and explored by individual artistic researchers, might yield outcomes that can be fed back into musical practice more widely. 

We know that each performance that we witness of a given work adds to our accumulated experience of all previous performances and, in the process, subtly transforms them all.  The same should surely be the case – arguably, even more so - with outputs of artistic research that are related to that work. This potential for more general significance raises the following questions:

• Do I integrate findings of my artistic research in my own artistic practice – including teaching practice - , and if so, how?
• Who are the peers I am relating to in my own artistic research project, and how do I relate to them? And what is the impact of this relationship with peers?
• Can I provide convincing examples of artistic research where it is very obvious that the artistic material itself makes the argument?
• Can I provide any evidence from my own experience that music, and our general understanding of it, can be transformed by the outputs of artistic research?  And if so, are the effects of such transformation the same as, or different from, those of a purely artistic performance?

To answer these questions, what is needed is an increased focus upon the modes and channels of dissemination by which artistic research in music may feed back into wider musical practice. EPARM 2015 will consider cases in which musical practice is not just the source domain for our research questions but also the target domain for our research answers – in particular, examples where this not only takes place but is properly documented and shared as good practice. 

As well as contributions from invited speakers, the conference will include presentations selected on the basis of this call.  The submission process is as follows:

Submission process

Submissions are invited in written, audio or video format or any combination of these.  Proposals for a fifteen minutes presentation with fifteen minutes discussion should address one or more of the questions posed above, and may fall under one or more of the following four headings:
• An artistic research project currently in progress that is generating artistically relevant insights for the researcher, with thoughts as to how these might have a longer-term impact on his or her musical practice
• Outputs from a completed or well-advanced artistic research project that can be shown to be having a lasting impact on the researcher’s own musical practice
• Outputs from a completed or well-advanced artistic research project that can be shown to be having an impact on the subject areas, research questions or research methods used by other researcher(s)
• Outputs from a completed or well-advanced artistic research project that can be shown to be having an impact on the musical practice of people other than the researcher(s)

Your proposal should include the following:
• Name
• Institution
• 350 words description of the content
• 150 words text describing link with the questions listed above
We strongly welcome presentations including artistic contributions

A peer-review team will select those submissions that will be featured in the EPARM conference.  The material submitted for these will be posted on the events page for EPARM 2015 one month before it takes place.  Text based material will be available directly on the website; audio/video material will be placed on a suitable media platform with embedded links to this from the website. 

Delegates will be expected to have reviewed this material beforehand, and presenters should take this into account when deciding how to use the ten minutes at their disposal.  It is hoped that this will lead to presentations with a practical emphasis, rather than spoken versions of the written material already submitted.

Submissions are welcome from Masters and Doctoral students, as well as teachers and other staff members engaged in research.  The submission should make clear the status of the researcher; student presentations will be evaluated accordingly and grouped separately within the conference.

After the conference, material from the selected presentations will be archived permanently in an online format.

The timetable for this process is as follows:
• Friday 23rd January:  Circulation of call
• Friday 6th March: Deadline for submissions
• Monday 23rd March: Selected material posted on events page of AEC Website
• Thursday 23rd April: Start of EPARM 2015
 

Completed submissions to be sent to AEC Events Manager Sara Primiterra at the following email address: events@aec-music.eu 

Online Registration

Please click HERE to register to the EPARM 2015

 

Deadline Early Bird Fee: 1st April

PLEASE NOTE THAT ONLINE REGISTRATION IS COMPULSORY TO ATTEND THE MEETING

 

LAST DAYS TO REGISTER!


 

Information on Fee Payment


To receive an invoice please mail events@aec-music.eu


Amount of the Registration Fee (per person)

 
Category For Registration and Payment made by 1st
April

 
For Registration and Payment made after
1st April

 
Professor/staff member from an AEC member institution
 
120 euro 150 euro

Professor/staff member of a non-AEC member institution
 

410 euro

450 euro

Student from an AEC member institution
 
90 euro 110 euro
Other students 120 euro 150 euro

 
 

The participation fee includes:

• conference documents
• participation to all plenary and parallel session
• participation to the networking moments
• possibility to display information brochures posters and materials about AEC members institutions
• Coffee Breaks
• Reception on Thursday
• One organized Lunch (Friday)

• One organized Dinner(Friday)
• Concerts and other performances
• Assistance by the AEC Office Staff

The participation fee will not be reimbursed for cancellations notified after April 1

 


Bank details for payments

BNP Paribas Fortis
Kantoor Sint-Amandsberg, Antwerpsesteenweg 242
9040 Sint-Amandsberg, Belgium
Account Holder AEC-Music
IBAN: BE47 0016 8894 2980
SWIFT/BIC Code: GEBABEBB

When making the transfer, please clearly quote:

• Invoice number

or
• the code of the event (EPARM 2015) and
• the last name of the participant
• the name of your institution (if fitting)

Example:, EPARM2015, Smith, Gotham Conservatory

PDF Programme available in the Photo's and Documents tab
 

European Platform for Artistic Research in Music (EPARM)
April 23-25th, 2015
University of Music and Performing Arts, Graz, Austria

 

Programme

Thursday, 23rd April

15:30 – 17:00 Foyer MUMUTH

REGISTRATION

Informal Networking – Coffee available

16:00 – 16:45 Guided Tour of KUG

17:00 – 17:45 Opening Event - Rehearsal Room

Musical  Introduction: "Percussion" by U. Stadler
Official Welcome
- Elisabeth Freismuth, Rector of the University of Music and Performing Arts Graz
- Ulf Baestlein, Head of the Artistic Doctoral School, University of Music and Performing Arts Graz
- Georg Schulz, AEC Vice-President
- Peter Dejans, EPARM Chair

17.45 – 18:45 Information Forum

  1. Laboratory on Musical Rhetoric, Riccardo Ceni, Conservatorio di Musica “A. Boito”, Parma
  2. Sound and Music Processing Lab Activity Report, Giorgio Klauer, Conservatorio di Musica “C. Pollini”, Padova
  3. Explication of tacit knowledge of professional musicians and teachers in an academy of music about artistic research, Josien Mennen, Maastricht Academy of Music
  4. HARPS: Artistic Research and Performance Studies at the Lithuanian Academy of Music and Theatre, Lina Navickaité-Martinelli, Lithuanian Academy of Music and Theatre
  5. “The Conservatoire Project” – Call for international collaboration, Kevin Voets, Royal Conservatoire Antwerp
  6. The mirror and the x-box: real time feedback on posture, Anna Reid, Sydney Conservatorium of Music

18:45 – 19:30 Reception (drink and canapés) - Studio-Stage, MUMUTH 3rd Floor

19:30 Concert - Ligeti Hall, MUMUTH

 

Friday, 24th April

8:45 - 10:00 Tour of Graz

09:30 - 10:00 Informal Networking with Refreshments

10:00 – 11.15 Plenary Session I - Rehearsal Room

Musical  Introduction: "Saxophones" by S. Feigl
Simultaneities and Chimeric Sound. Composing, Performing, and Perceiving Music Anti-Hierarchically
Keynote presentation: Christian Utz, University of Music and Performing Arts Graz
Q & A.

11:15 – 11:45 Parallel Sessions I
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

A: What were we thinking? Reflections on three artistic research projects from Australia Paul Draper, Queensland Conservatorium Griffith University, Brisbane

BFour years after the practice - based research. “From Singer to Reflective Practitioner:Performing and Composing in a Multimedia Environment”, Aleksandra Popovska,  SS. Cyril and Methodius University in Skopje, Faculty of Music - Skopje 

CDeveloping meaningful relations – a study of artistic research in music composition in Flanders, Hans Roels, Orpheus Institute Ghent

11:45 – 12:15 Informal Networking with Refreshments

12:15 – 12:45  Parallel Sessions II
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

AA New Approach of Learning and Rehearsing Steve Reich’s Drumming, Adilia Yip, Orpheus Institute Ghent and Royal Conservatoire Antwerp

BInvestigating the Skills of Experienced Piano Accompanists, Evgenia Roussou, University of Hull, UK

C: Go To Hell: longitudinal developments through artistic research, Stefan Östersjö,  Malmö Academy of Music and Orpheus Institute, Ghent

13: 00 - 13:30 Parallel Sessions III
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

ARadical Interpretations of Iconic Percussion Works’: A catalyst for curriculum-building at Masters level, Kjell Tore Innervik, and Ivar Frounberg, Norwegian Academy of Music, Oslo 

BTempo and rubato in Alexander Scriabin’s early piano preludes, Stijn Vervliet, LUCA School of the Arts, Leuven

COrchestrating Space by Icosahedral Loudspeaker (OSIL), Gerriet K. Sharma,  Kunstuniversität Graz

13:30- 15:00 Lunch

15:00 – 16:00 AEC Council’s “Green Paper” on Artistic Research 

Presentation of the document  by Georg Schulz and discussion in 4 breakout groups

16:15 – 16:45 Parallel Sessions  IV
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

APhra Abhai Mani: A Musical Adaptation of a Thai Epic for Clarinet Ensemble, Yos Vaneesorn and Jean-David Caillouët,  Faculty of Music, Silpakorn University, Bangkok

BThe Sound of Silence: reconstructing lost voices, Francis Biggi, Haute Ecole de Musique de Genève

CTrio for String, Stick and Lightbulb, Christian Blom, Norwegian Academy of Music, Oslo 

16:45 – 17:15  Informal Networking with Refreshments

17:15 – 17:45 Parallel Sessions V
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

AEntering, trespassing, leaving and re-entering the „artistic sphere“. Transgression as a means of musical communication: AUSSEN, for Tenorhackbrett (tenor dulcimer) solo (2015).,Hannes Dufek, University of Music and Performing Arts Graz 

B: Addressing gender issues by means of music performance - Exploration of artistic consideration aiming to enhance theatrical performance of baroque music, Cecilia Hultberg, Royal College of Music in Stockholm

CAnimated Notation - Improving Live Electronic Music Performance Practice, Christian Fischer, Estonian Academy of Music, Tallinn

18:00 - 18:30 Parallel Sessions VI
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

A: Construction of bandoneon solos in Argentine Tango music, Santiago Cimadevilla, Codarts Rotterdam

BEnlightening shadows – women in music,Angela Annese, Conservatorio di Musica “N. Piccinni”, Bari

CZeitraum: Sharing Knowledge through Aesthetic Experience,Gerhard Eckel, University of Music and Performing Arts Graz 

18:45 – 19:30 Guided tour of KUG

20:00 Dinner - Aula der Alten Universität


Saturday, 25th April

09:30 – 10:30  Plenary Session II - Rehearsal Room

Musical Introduction: "Performing Art" by W. Strenger
'Between the Particular and the Normative’
Keynote presentation: Mieko Kanno, Royal Conservatoire of Scotland;
Q & A.

10:30 – 11:15 Plenary Session III - Rehearsal Room

‘Polifonia Project’ outputs on artistic research – Peter Dejans, Stefan Broad and Gerhard Eckel
The Artistic Doctoral School at KUG – Ulf Baestlein

11:15 – 11:45  Informal Networking with Refreshments

11:45 – 12:15 Parallel Sessions VII
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

A: Vulgar Display: Inscribing the Incompatible, David Horne and Simon Clarke, Royal Northern College of Music, Manchester 

B: Historical double bass techniques and their relevance to modern performers: an investigation based on A. Müller and F.C. Franke's discourse in the Neue Zeitschrift für Musik, 1848 – 1851, Shanti Nachtergaele, Royal Conservatoire The Hague

C: “Zeitraum”  - Installation by Gerhard Eckel (open to EPARM participants from 11:45 to 13:00 as part of the artistic programme offered by KUG)

12:30 -13:00 Parallel Sessions VIII
A) Rehearsal Room, B) Small Hall Palais Meran, 3) Ligeti Hall

APhonetic Relations between Vocal Music, Electronics and Linguistics in the second half of the twentieth century, Paolo Galli, Royal Conservatoire Antwerp and Orpheus Institute Ghent

B: Restoring a practice of the past: Piano playing in 1820s Vienna, Christina Kobb, Barratt Due Institute of Music and Norwegian Academy of Music, Oslo

C: “Zeitraum”  - Installation by Gerhard Eckel (open to EPARM participants from 11:45 to 13:00 as part of the artistic programme offered by KUG)

13:00 – 13:30 Closing Session - Rehearsal Room

Report on the discussion of the AEC ‘Green Paper’
Participant questionnaire
News from the AEC by Sara Primiterra
Closing remarks by AEC and KUG

Free Lunch arrangements

13:30 – 15:00 Guided Tour of Graz (with snack offered by KUG to the tour participants)



Please click here to see the EPARM 2015 Map of Locations

RELEVANT ADDRESSES 

CONFERENCE VENUE

Kunstuniversität Graz
Mumuth Building (ragistration desk, plenary sessions, parallel sessions A-C, concert)
Lichtenfelsgasse 14
A-8010 Graz

Palais Meran Kunstuniversität Graz (parallel sessions B)
Leonhardstraße 15
A-8010 Graz

DINNER FRIDAY
Aula der Alten Universität
Hofgasse 14, A-8010 Graz

TRAVEL INFORMATION

From the Graz Train Station

Trains from all directions arrive at Graz central station.
Take streetcar line 1 (direction Mariatrost) or 7 (direction Landeskrankenhaus) and alight at Lichtenfelsgasse/Kunstuniversität, if you would like to go to Palais Meran and the MUMUTH.
Alternatively you can go by taxi. There’s a taxi stand right in front of the central station.
Distance: 3 km
Travel time: 10 min.
Costs: € 7,50. (Most taxis accept cards.)

From the Airport

You will land at the airport of Graz Thalerhof. 
---> You can either take a taxi or the bus to Jakominiplatz (via central station), which stops in front of the airport terminal. ---> Change for streetcar line 1 (direction Mariatrost) or 7 (direction Landeskrankenhaus) and alight at Lichtenfelsgasse/Kunstuniversität, if you would like to go to Palais Meran and the MUMUTH.
Distance: 13,7 km
Travel time: 35-45 min.
Costs: Bus € 2,10, Taxi ~ € 23  (Most taxis accept cards.)
Within walking distance of the airport terminal (300 m away) there is also a train station from where trains leave for central station every hour. --->At central station, change for streetcar lines 3 or 6. Alight at Jakominiplatz. ---> Transfer to streetcar line 1 (direction Mariatrost) or 7 (direction Landeskrankenhaus) and alight at Lichtenfelsgasse/Kunstuniversität, if you would like to go to Palais Meran and the MUMUTH.
 

Please click here for information on how to get to Graz