Abstracts

Adam Stanovic
The Dissolving Work

Alexandre Damasceno
Development of musical motives in the drums: a theoretical and practical approach to their use in the study and musical performance in this instrument

Amy Mallet
‘You will grow to hate emails from me’:composing in a remote [digital] collaboration

Ana Cristina Bernardo
Contemporary Portuguese music performance as research: intertextuality in “Sedoso” and “Saudoso” as a case study

Ana Martins
A CODFISH IN THE SKY WITH SALT!? The representations of portuguese media about the relationship between rock’n’roll music and drug abuse (1980-2018)

Andreia Nogueira
Preserving contemporary music today: The case of “Jogo Projectado I” (1979)

Anna Terzarol
“Spatial Composition”: a reflection on it and on its use

Bernhard Alexander Achhorner
The Gestural as a Parameter in Contemporary Music Notations

Bryan Hayslett
Gesture and Phrasing in the Music of Lee Hyla: Temporal Perception and Performance

Christian Benvenuti
Composing in the Zettabyte Era: an Information-Theoretical Approach to Composition

Christine Dysers
Waltzing with chaos: drifting repetition and dynamic attending in the music of Bernhard Lang

Claudio Pina
Extended techniques on the pipe organ

Daniel Moreira
Time and memory, desire and obsession: Bernard Herrmann’s music for Hitchcock’s Vertigo

Diana Ferreira
New Music for New Musicians – New Musicians for New Audiences – New Audiences for New Music: the case of Arte no Tempo.

Dimitris Exarchos
On the Work of Modern Composition

Diogo Carriço
Computer vision color tracking

Dominika Porebska
Superiority of the Thought upon the Matter: the Form of composing

Fernando Magre
Wandering routes and new terminologies: from “Musiktheater” to “Música-teatro”

Filipa Magalhães
What place does Constança Capdeville hold in contemporary Portuguese music history?

Francisco Monteiro
MELODRAMA: From performance to composition

Gonçalo Gato
Computer-assisted harmony in practice

Hans Hess
Orfeu Negro

Henrique Portovedo & Paulo Ferreira Lopes
Composition Models for Augmented Instruments and New Interfaces: HASGS as Case Study

Ieong Cheng (Katy) Ho
Exploring the Possibilities of a Collaborative Composition Program for Children

Igor C. Silva
Plastic Air: multimedia plastic synchronization

Isabel Urrutia & José Luis Campana
WORLD TIMBRES MIXTURE (WTM): A new sound for the chamber and orchestral music in XXI century

Isabella Fabbri
Mixed music – synchronization – multimedia

Jasna Jovicevic
Free Music Improvisation as a Collaborative Creative Event

Javier Subatin
Contemporary Jazz: Understanding Jazz Composers’ Current Reality

Jessica Aslan
Breaking the algorithm: A heretical approach Computer Aided Algorithmic Composition

Jim Dalton
Size Does Matter: Microtonal Harmonic Distance as a Structural Determinant in Just Intonation

João Pedro Oliveira
Gesture relationships Between Sound and Image

José Besada
Different Trails: On the Multiple Genetic Roots Determining a Distributed Compositional Project

José Oliveira Martins
Lutosławski’s Twelve-Note Chords and the Renewed Exploration of Harmony in the Twentieth-century

Katrin Stöck
Music theatre as an application for mobile devices and interactive performance

Marcello Messina & Leonardo Feichas
Ntrallazzu: a series of live-score pieces on creative interaction and public surveillance

Mariana Miguel, Paulo Rodrigues & Helena Rodrigues
CMT’s artistic-educative constellations and its music-making practice

Mario Lorenzo
What does “figure” mean today ?

Martin Knust
Library Music: Composition, Compilation, or Copy?

Mauro Fosco Bertola
Tarrying with the negative? Contemporary music and the sublime

Michael Schumacher
Composing Boundaries: A Portable, Immersive, Music Performance System

Paulo Perfeito
Jazz Harmony: Chordscales and Implied Modulatory Fields

Pedro Berardinelli
Sound as matter

Pedro Louzeiro
Aspects and potentialities of a real-time composition and notation system – Comprovisador

Rita Torres
“Si amanece, nos vamos”: From a Goya print to a new form of usage of guitar multiphonics

Robert Hasegawa
Rhythm and repetition in Gérard Grisey’s Vortex temporum

Robert Jędrejewski
Pure Intuitive Act

Samuel Peruzzolo-Vieira
Composing in collaboration: A hermeneutic approach on composition and notation

Sara Carvalho
Spinning Yarns: Gesture and indeterminacy in collaborative composition

Tiago Sousa
Appreciating a musical composition: a synthesis between Levinson’s concatenationism and Kivy’s architecturalism

Tomás Henriques
Composing Space: Innovative sound display techniques for a 52.1 Surround Mixing System

Tristan Mckay
Into the Wilderness: A Semiotic Analysis of Notations in Will Redman’s Book (2006)

Violetta Kostka
Paweł Szymański’s works referring to medieval music