9am - 5:30pm
Thursday 5 September - Friday 6 September 2019

New takes on recorded music: performance, creativity and technology

This Performance Studies Network (PSN) research forum is the first of its kind complementing the biennial PSN International Conferences. This event seeks to renew and nurture dialogue among a range of different disciplines and artistic fields within which practitioners and scholars continue to explore the identity, role, and function of recorded music. This event aims to stimulate critical discussion on existing and new trends in research, especially the intersection between creative practice and technology, as well as artistic and scientific inquiry.

PATS Studio One
University of Surrey
Guildford
Surrey
GU2 7XH
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Keynote: Professor Simon Zagorski-Thomas

Invited panel speakers: Professors Amanda Bayley, John Rink, Daniel Leech-Wilkinson

Programme of events

    9.00 – 9.30 am WELCOME & REGISTRATION (PATS 1 FOYER)

    9.30 – 11.00 am SESSION 1 - Technology and Performance Aesthetics [Chair: Tom Hall, University of Surrey]

    • Joseph Coughlan Allen (University of Liverpool) – Crackology: The meaning of surface noise
    • Dylan Beattie (University of Sussex) – Record cutting in contemporary practice for composition and performance
    • Alex Stevenson (Leeds Beckett University) – The performance of machine aesthetics

    11.00 – 11.30 am BREAK

    11.30 – 1.00 pm SESSION 2 - Recording Practices in Context: Historical Perspectives [Chair: John McGrath, University of Surrey]

    • Sue Miller (Leeds Beckett University) – Another take: Exploring mid-twentieth-century music performance aesthetics through historically-informed experiments in the recording studio
    • Helena Marinho (University of Aveiro) – From magnetic tape to digital media: Recreating electroacoustic works of Constança Capdeville
    • Andrew Hallifax (King’s College London) – Producing simulacra and the denaturing of acoustic jazz

    1.00 – 2.00 pm LUNCH

    2.00 – 4.00 pm SESSION 3 - Creative Choices In and Out of the Recording Studio [Chair: Amanda Bayley, Bath Spa University]

    • Paul Thompson (Leeds Beckett University) – An alternative take: Creative practices of studio performance in the recording studio
    • Louise Cournarie (Royal Academy of Music) – The necessity of freedom: Departing from mainstream Baroque piano tradition
    • John Warburton (University of Surrey) - Ken Russell's Elgar: A Twenty-first century soundtrack

    4.00 – 4.30 pm BREAK

    4.30 – 6.00 pm SESSION 4 - Themed Panel: Bootleg Opera [Chair: Georgia Volioti, University of Surrey]

    • Laura Moeckli (Bern University of the Arts, Switzerland) – Sounds and identities of “liveness” in the Ehrenreich recordings
    • Ingela Tägil (Bern University of the Arts, Switzerland) – Interpretations of Die Zauberflöte at NYCO 1968–2003
    • Teresa-Sophie Puhrer (Bern University of the Arts, Switzerland) – Recital-demo: Liveness vs. “Liveness”? Emotions and the operatic reception experience in live performances and in recordings of the Ehrenreich collection

    6.00 – 6.15 pm BREAK

    6.15 – 7.15 pm KEYNOTE ADDRESS Professor Simon Zagorski-Thomas [Chair: Amanda Bayley, Bath Spa University]

    7.45 pm CONFERENCE DINNER (booking required)

    (8.30 – 8.55 am REGISTRATION)

    9.00 – 11.00 am SESSION 1 - Style-Analytical Perspectives: Performance Practice & Interpretation [Chair: Georgia Volioti, University of Surrey]

    • Adam Behan (University of Cambridge) – Large-scale structure and performance: A reassessment with Brahms’s Intermezzo in E minor Op. 119, No. 2
    • Thomas Wozonig (University of Graz) – Herbert von Karajan’s recording of the second movement of Jean Sibelius’s first symphony
    • Per Dahl (University of Stavanger) – Text versus performance in Stravinsky’s oeuvre
    • Michael Rector (University of Wisconsin) – Historical trends in expressive timing strategies: Chopin’s Op. 25, No. 1

    11.00-11.30 am BREAK

    11.30 – 1.00 pm SESSION 2 - Vocal Performance Practice: The Evidence from Early Recordings [Chair: Daniel Leech-Wilkinson, King’s College, London]

    • Massimo Zicari (Conservatorio della Svizzera Italiana, Switzerland) – Early recordings and Rosina’s lesson scene
    • Barbara Gentili (Newcastle University) – New takes on the tenor voice: Reinterpreting its history through early recordings
    • Daniele Palma (University of Florence) – The challenge of Timbre: Evaluating tone colour in early operatic recordings

    1.00 – 2.00 pm LUNCH

    2.00 – 3.30 pm SESSION 3 - Early Recordings Revisited: Perspectives from Practice-Led Research & Pedagogy [Chair: Amy Blier-Carruthers, Royal Academy of Music & King’s College London]

    • Inja Stanovic (University of Huddersfield) – Early recordings a posteriori
    • Jörg Holzmann (University of Leipzig, Germany) – Let Dr Brahms show you Adelina: A pedagogical approach to the recordings of Clara Schumann’s pupils
    • Ferenc János Szabó (Liszt Academy, Hungary) – Similarities in Performance? György Faragó, the favourite pupil of Ernő Dohnányi

    3.30 – 3.45 pm BREAK

    3.45 – 4.30 pm KEYNOTE LECTURE-RECITAL Alexander Karpeyev (pianist)Perspectives on re-interpreting Nikolai Medtner [Chair: Amy Blier-Carruthers, Royal Academy of Music & King’s College London]

    4.30 – 4.45 pm BREAK

    4.45 – 5.30 pm CLOSING SESSION: CONFERENCE WRAP-UP & GENERAL DISCUSSION Invited panel speakers include Professors Amanda Bayley, John Rink, Daniel Leech-Wilkinson.

    Supporters

    Programme committee

    • Professor Amanda Bayley, Bath Spa University, UK
    • Professor Daniel Barolsky, Beloit College, US
    • Dr Amy Blier-Carruthers, Royal Academy of Music and King’s College, London, UK
    • Dr Georgia Volioti, University of Surrey, UK (main organiser)

    This event is supported by:

    • Department of Music and Media, University of Surrey
    • Music and Letters Trust
    • Performance Studies Network.

    Cost

    • Single-day delegate fee: £25
    • Two-day delegate fee: £50

    Book now

    BOOKING IS NOW CLOSED

    Contact us

    Georgia Volioti: g.volioti@surrey.ac.uk.

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