The AEC European Platform for Artistic Research in Music (EPARM) Conference 2018 will take place in ESMAE, Porto, on 22-24 March.
The EPARM preparatory Working group is in charge of organizing the AEC Annual EPARM meeting (Forum and Conference). The Working Group is 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 group, who should ideally recreate the diversity of AEC members institutions.
Working Group Members:
Peter Dejans - Chair (Orpheus Institute Ghent)
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen - Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Leonella Grasso Caprioli (Conservatorio "A. Pedrollo" di Vicenza)
Stephen Broad (Royal Conservatoire of Scotland, Glasgow)
Lina Navickaitė-Martinelli (Lithuanian Academy of Music and Theatre, Vilnius)
Matthias Hermann (Musikhochschule Stuttgart)
Call for Proposals
AEC European Platform for Artistic Research in Music
EPARM Conference 2018
22-24 March, Porto
A Common Ground for Artistic
Research and Teaching the Arts
The sixth EPARM conference welcomes music researchers, educators and/or performers to a three day exploration of the bonds between artistic research and higher music education.
As the field of artistic research in music is beginning to mature, the manifold possibilities of this particular research practice is beginning to surface. Last year's EPARM approached the question of the relation between the academy and the field of music production. This year we turn our gaze towards the academy and one of its core activities: the teaching of music.
On a general level it is clear that research and teaching should benefit from each other, intimately connected. However, as may be observed also in other disciplines this is not always self evident: research is sometimes more of a satellite orbiting the institution rather than informing it with knowledge from within. In music we have the benefit of a common ground between teaching and research: the playing of music is at the centre of attention for both and may be seen as a common ground.
The obvious benefit of looking at playing as common ground for research and teaching is that it puts artistic practice at the centre of the activity. The topic may be approached from many angles and questions may relate both to the ways in which artistic research results can be used in teaching, and how pedagogical practice can be incorporated in artistic research. Following are further questions that may be explored within the frame of EPARM 2018
Submissions for EPARM 2018 may relate any of the following questions (In the questions below teaching refers to teaching in HME):
- How can playing serve as a method for (artistic) research?
- How can playing serve as a method for teaching?
- In what ways may the practice of teaching be incorporated in the practice of artistic research?
- How can the output of artistic research be used as input in teaching activities?
- Can we have HME without artistic research?
- Can teaching and learning activities be developed as collaborative research activities?
- How can artistic research improve higher music education?
- To play in the context of artistic research can be seen as a synonym for both experimentation and artistic practice. What may be the role of teaching in this context?
- How may methodologies of artistic research inform the practice of teaching?
- To what extent may students be involved in artistic research practices, and to what purposes?
- Teaching the art of music making is not possible without playing. Conducting artistic research is not possible without playing. How do these concepts of playing relate to each other?
EPARM 2018 will consider cases in which there is a manifest relation between artistic research and higher music education – in particular examples where such a relation is not only present but is properly documented and shared as good practice.
Submissions are invited in written, audio or video format or any combination of these. Proposals for a fifteen minutes presentation with ten minutes discussion should address one or more of the questions posed above.
Proposals should be sent in Word format and should include the following:
- Name of the presenter/s
- 150 words biography
- 350 words description of the content
- 150 words text describing link with the questions listed above
For the submission please use the template provided in the Documents section
We strongly welcome presentations including artistic contributions.
A peer-review team composed by the EPARM working group members 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 2018 one month before it takes place.
The timetable for this process is as follows:
- 17th November: Circulation of call
- 10th January: Deadline for submissions
- 23rd January: Results communicated to the applicants / publication of the final programme of EPARM 2018 and launch of registrations
- 22nd March: Start of EPARM 2018
Completed submissions to be sent to AEC Events Manager Sara Primiterra at the following email address: email@example.com. Submission not following the guidelines here above will not be considered.
The final programme of the EPARM 2018 will be published at the end of January together with the online registration form
- EPARM Registration Opening: Thursday 22nd March around 14:00
- EPARM Conference Starting: 16:00
- EPARM Conference ending: Saturday 24th March around 13:30
Please note that the AEC EPARM 2018 is organized in combination with the HARMOS Festival (Porto, 20th - 24th March )
and ICMuC 2018: International Chamber Music Conference 2018
organized by NIMAE - I2ADS and ESMAE in Porto right before EPARM, from 21st March (afternoon) to 22nd March (morning).
The aim of ICMuC is to stimulate discussion and reflection on Chamber music. Educationally, chamber music is a curricular unit which is widely spread in every level of music education, but with a surprisingly scarce body of research.ICMuC aims at sharing a broader view on chamber music, gaining insight on aspects such as creating the ensembles, group dynamics and leadership, assessment and repertoire, as well as composition practices for chamber music or the development of innovative teaching methods, programming, among others.
Link to the Porto Chamber Music Conference Registration: https://www.esmae.ipp.pt/investigacao/open-calls/icmuc-2018-international-chamber-music-conference-2018-porto
Information on Fee Payment
Please note that before paying and/or asking for an invoice you must submit your registration form
To receive an invoice please mail firstname.lastname@example.org
Participation fees can be paid the following ways:
Manual Payment by Bank Transfer before the event (please quote your name or invoice number)
Ideal, Credit Card, Bankcontact Systems Online (in the registration form)
Manual Payment (cash on the spot in Porto)
Manual Payment (by Credit Card in Porto
Amount of the Registration Fee (per person)
|| For Registration and Payment made by 24th February
|| For Registration and Payment made after 24th February
|Representative of an AEC member institution
|Representative of a non-AEC member institution
|| 470 euro
|Student from an AEC member institution
|| 90 euro
|| 110 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
• Coffee Breaks
• One organized Reception
• One organized Dinner
• One organized Lunch
• Assistance by the AEC Office Staff
The participation fee will not be reimbursed for cancellations notified after February 24th
Bank details for payments by bank transfer
Bank: BNP Paribas Fortis
Account Holder: AEC-Music
IBAN: BE47 0016 8894 2980
SWIFT/BIC Code: GEBABEBB
When making the transfer, please clearly quote:
• Invoice number
• the code of the event (EPARM 2018) and
• the last name of the participant
• the name of your institution (if fitting)
Example: EPARM2018, Smith, Gotham Conservatory