Christine Esclapez, Jean-Marc Montera [Invited participants]
Free Improvisation as Interpretation?
Abigail Sin
On The 100% Perfect Collaboration
Alexandre Damasceno
Divertimento para 6 Instrumentos: analysis and reflection on Luciano Perrone’s performance
Alfonso Benetti, Helena Marinho, Luís Bittencourt, Mónica Chambel
Gendering the Piano: Avec Picasso Ce Matin… and Valse, Valsa, Vals; Keuschheits Waltz by Constança Capdeville
Annini Tsioutis
Reflections on Re:Mains for Multi-Pianist: An Interview with the Composer Christina Athinodorou
Basem Zaher Botros, Mohamed Rashed
How to Discuss Intertextuality and Authenticity in the Context of Contemporary Music, and What Issues Should Be Considered
Benjamin Duinker
Rebonds: Structural Affordances, Negotiation and Creation
Bibiana Bragagnolo
Musical Performance as a Creative and Political Act: Decolonial Practices and Artistic Research
Bruno Pereira
Innere Gesang: The Voice as an Expressive Device of an Inner Sound, an Inner Song
Camila Alves
Afrobeats in the Lusosphere: Social Discourse and Language reframed in Rhythm & Poetry
Carmen Noheda
Elena Mendoza and Matthias Rebstock’s La Ciudad de las Mentiras: Composed Theater in the Plural
Caroline Boë
The Polluted Soundscape as Music
Caroline Wilkins
Music Performance in the Making
Christian Benvenuti
Compositional Variability as a Measure of Musical Complexity
Cláudio de Pina
Ligeti’s organ studies
Daniel Santos Rodríguez, Henrique Portovedo
The Electric Guitar. Forms of augmentation and their use in the contemporary repertoire
Dimitris Andrikopoulos, Nuno Aroso
Composer-Computer-Interpreter. A three-way collaborative process in the creation of two new works for multipercussion
Diogo Alvim, Matilde Meireles
Campo Próximo
Eliazer Kramer
E-Rock: Creating Blend, Combing Styles, and Composing through Collaboration
Federico Favali
Qwalala, a river of colorful sounds
Felipe Rodrigues Ferreira Perez
New Music, New Vocality: The Music-Text Continuum in the Second Half of the XX Century
Fellipe Martins, Giovanna Lelis Airoldi, Lucia Esteves, Lucas Quinamo, Lucas Torrez Toledo
Collaboration and distance: the challenges on the collective creation of Nácar, an audiovisual improvisational piece for cello and electronics
Fernando dos Santos
Ibero-American contemporary music ensembles: “ABSTRAI ensemble” as a case study
Fernando dos Santos, Guilherme Ribeiro, Laiana Oliveira
Musical creation based on images of the composer-performers on ‘El ojo de la mujer’, for singer and saxophonist
Filipa Magalhães
Music, performance and preservation: current perspectives for the documentation of works involving performance
Gabriel Jones
Empirical Performance Analysis as a Means of Creation in Stockhausen’s Klavierstück X
Gabriel Trottier
The inventory and development of new performance tools in the horn repertoire of the XXth and XXIst centuries
Guilherme Ribeiro, Fabio Simão, Silvio Ferraz
Acoustic bubbles in the telematic performance of “Ceci n’est pas une trompette”
Haize Lizarazu
Bodies in musical performance: a gestural approach
Henrique Portovedo, Paulo Ferreira Lopes, Luís Neto Costa
Multidimensional Contemporary Music Performance as Creation: SaxMultis, a system of Multiphonic Permutations
Igor Silva
Zone #1 (fake homeostasis) installation/performance for a percussion player, electronics and video
Isotta Trastevere
The energetic perspective of musical form in sound art. Understanding the sense of duration in a sound art event
João Fernandes
The Free Music Improvisation Performance and the Emergence of New Musical Creations
João Ricardo
Image–Music–Text: Operatic Experiments in the Age of the Audiovisual Essay
Joevan de Mattos Caitano
Isao Nakamura as an intercultural percussionist and his activities in the Internationale Ferienkurse für Neue Musik in Darmstadt
Jonathan Heilbron
Composed Bodies: Incorporating Fernando Grillo’s Instrumental Practice through Paperoles
Jorge Graça, Paulo Maria Rodrigues, Helena Rodrigues, Mariana Miguel, Mariana Vences, Luís Paixão, Maria da Silva, Miguel Ferraz, Élio Moreira
Syncretic Musical Experiments #19: developing a live performance during a pandemic
José Neto, Jessica Gubert, Luís A. E. Afonso Montanha, Sílvio Ferraz
Evoking a landscape through the encounter of the voices of performer and composer
Justine Maillard, Caroline Traube, Lindsey Reymore, Stephen McAdams
Orchestrational thinking and composer-performer relationships in the context of a collaborative creation process
Késia Decoté Rodrigues
A recital of your own – digital strategies for piano performances in pandemic times
Marcin Strzelecki
New Musicology / New Music Theory – the Paradigm Shift from the Turn of the 21st Century in Reflection on music (and its Spatiality) – PART II
Maria de Fátima Lambert, Paula Freire
From Home Towards a World…
Maria Inês Pires
Portuguese musical groups dedicated to the erudite contemporary music repertoire: new research directions
Mariachiara Grilli
How to Analyse Scelsi’s Music? – Methodological Inadequacies and a Possible Approach
Mariana Miguel, Ana Telles
Become One: An experience in prepared piano, live electronics, and creativity within a minimalistic framework
Martin Laliberté
Electroacoustic performance as an act of creation: networking with technology with musical imperatives.
Monika Karwaszewska, Beata Oryl, Michał Garnowski
N44n – Circulating echo of an action as an interactive repetition – in contemporary music, choreography and visual live performance
Nicola Bizzo
The music of Queen between movies and videogames
Nuno Fonseca
Music in the white cube: music exhibited as sound art
Pavlos Antoniadis, Aurélien Duval, Jean-François Jégo, Makis Solomos, Frédéric Bevilacqua
Dwelling Xenakis: An augmented reality project on ‘Evryali’ for piano solo
Rachel Becker
The gendered physical narrative of wind virtuosity: Pasculli, the opera fantasia, and the female oboé
Robert Jedrzejewski
What, where, when and why it is happening?
Ryan Lambe
Performative/Transformative: Performance and Participation in Queer Amateur Community Music
Sara Belo
The voice as creation – Pre-voice and Vocal Theater
Serge Lacasse
The Three (Confusing) Modes of Existence of Music: Composition, Performance, Phonography
Serge Lacasse, Sophie Stévance
Research-Creation in Music as an Interdiscipline: From Definition to Action
Simonetta Sargenti
Creative performance and technology evolution: an example of analysis
Stephen McAdams, Eliot Briton, Keith Hamel, Roger Reynolds, Caroline Traube
Composer-performer orchestration research ensembles
Teresinha Prada
Blirium (1965) by Gilberto Mendes: new perspectives
Yuval Adler, Robert Hasegawa, Joshua Rosner
Documenting Composer-Performer Collaborations on Orchestrational Problem Solving