Programme for LIPS 2015

London International Piano Symposium, 2015
Royal College of Music, London

RESEARCHING THE INTERFACE BETWEEN
SCIENCE AND THE ART OF PIANO PERFORMANCE

Friday, 13th February, 2015 RECITAL HALL
9.15. 9.45. Registration
9.45- 10.0. Welcome
10.0 – 11.0. KEY SPEAKER Prof Dave Collins, Sports Psychologist from the University of Central Lancashire will discuss the psychological characteristics which facilitate pathways to elite performance.
11.0 -11.30. BREAK
11.30 – 1.0. ROUND TABLE
The following are the panel of experts who are gathering together to discuss how pianists may become ‘fit for purpose’ by developing a more unified approach to piano performance.

Chair: Cristine MacKie, author of the forthcoming book, Rethinking Piano Performance: A mind/body approach on eBook Kindle.

Prof Dave Collins, Sports Psychologist.

Iqbal Hussein, Member of the Osteopathy Council with extensive experience in treating pianist’s physical problems.

Dr Kathleen Riley, Faculty, Cleveland Institute of Music; Biofeedback Specialist, Cleveland Clinic Center for Integrative Medicine.

Prof Emma Redding, Head of Dance Science at Trinity Laban. Emma is Principal Investigator of the research project, Dance Science: Optimising Performing Potentia.

Dr Zubin Kanga, Pianist, University of Nice-Sophie Antipolis, Royal Academy of Music, London.

Felipe Verdugo, Pianist, Faculty of Music, University of Montreal, Canada. Laboratoire de recherche sur le geste musicien.

Prof Beate Perrey, Professor of Piano Performance/Musicology, Centre of Research in the Arts and Languages, Institute for Advanced Social Sciences (EHESS) Paris – France
1.0 – 2.0. LUNCH
2.0 – 2.50. KEY SPEAKER Dr Kathleen Riley

P = Paper
LR = Lecture Recital

Session 1 The Mind/Body in Piano Performance
Chair: Mary Hawkes

2.50 – 3.30. LR. Felipe Verdugo, Biomechanical and Physical Aspects of Marc Durand’s Holistic Piano Technique Approach
3.30 – 4.0. P. Zubin Kanga, The Pianist’s Body as Instrument: Performer-controlled electronics as collaborative catalyst in Patrick Nunn’s Morphosis.

4.0 – 4.20. BREAK

Session 1 con’t: The Mind/Body in Piano Performance
Chair: Mary Hawkes

.20 – 5.0. LR. Beate Perrey, At the still point,the dance is:from music analysis to interpretation.
5.0 – 6.0.
PIANO RECITAL
by
Sofya Gulyak

Winner of the Leeds International Piano Competition 2010

Saturday 14th February 2015, RECITAL HALL

8.30- 9.0. Registration

Session 1 con’t, The Mind/Body in Piano Performance
Chair: Kathleen Riley

9.0 – 9.30. P. Mary Hawkes, Can An Applied Sports Psychology Approach Help Developing Pianists in Performance?

Session 11. Cross Domain Thinking
Chair: Kathleen Riley

9.30 -10.10. LR. Erica Bisesi, Sketching the Piano Music Trajectory from Schubert to Liszt to Expressionism in an Emotion-Based Approach to Musical Analysis.

10.10 -10.50. LR. Richard Hoadley, Dynamic Cross-Domain Expression: Notation, technology and performance.

10.50 – 11.20. BREAK

Session 11 con’t, Cross Domain Thinking
Chair: Diana Dumlavwalla

11.20 -12.0. LR. Duncan Williams, Artificia for Neural Network and Piano (2014): A piano score and performance generated in real time by an artificial neural network.

12.0 – 12.40. LR. Neal Farwell, Interpretive Strategies in a New Work for Piano and Electronics.

Session 111. Timbre.
Chair: Diana Dumlavwalla

12.40 – 1.10. P. Andrew Aaron, Historically Informed Sound Production on the Modern Piano.

1.10 – 2.0. LUNCH

Chair: Cristine MacKie
2.0 – 3.30. KEY SPEAKER Jonny Juviler

If a prolonged state of ill health or mental/physical stress isn’t resolved by the performer, the balance of the autonomic nervous system may be disrupted and lead to a range of symptoms such as anxiety, panic attacks, nervousness, poor digestion and musculoskeletal dysfunction/pain. Any of these this may affect performance and the ability of the pianist to deal with high stress situations.
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We particularly want to encourage piano students to come and discuss these issues with him, and/or perform for him, so that he can comment on their musculoskeletal use of the body during performance.

3.30 – 4.0. BREAK

Session 1V. Gesture in Performance.
Chair: Beate Perrey.

4.0 – 4.30. P. Marine Blassel, Seeing Gesture in the Score: Towards a symbolic notation system for a general analysis of the score.
4.30 – 5.0. P. Alison Hood and R. Reilly, Musical Architecture: Analyses of gesture and structure in musical composition and performance.

Session V. Group Piano Classes.
5.0 – 5.30. P. Elizabeth Haddon, Group Piano Performance Classes, and the Life-long Learner.

Conference Dinner 7.30

Sunday 15th, February, RECITAL HALL

Session V1. Ensemble Performance
Chair: Andrew Aarons

9.30 -10.0. P. Laura Bishop, Expertise and Musical Structure Affect Pianist’s Use of Nonverbal and Visual Cues during Duet Performance.

Session V11. Obsession in Practice CANCELLED

Session V111. Insights into the Russian Piano School.
Chair: Andrew Aarons

10.0- 10.30. P. Blanc Wan, Rethinking the Russian Piano School.

Session 1X. Collaborative research: Art, poetry and musical performance.
Chair: Megumi Masaki

10.30 – 11.0. P. Gary O’ Shea, A Permanent Influence: How Beethoven had an impact on Prokofiev’s Writing.

11.0 -11.30. BREAK

Session 1X. con’t, Collaborative research: Art, poetry and musical performance.
Chair: Megumi Masaki

11.30 – 12.10. LR. Jacob Fichert, Works for piano by Adolf Busch.

12.10 – 1.0. LR. Diana Dumlavwalla, Finding Goya in Goyescas.

1.0 – 2.0. LUNCH

Session 1X con’t: Collaborative research: Art, poetry and musical performance.
Chair: Jacob Fichert

2.0 – 2.40. LR. Alex Hughes, Liszt’s Sposalizio: The Marriage of Art and Music: Using extramusical influences to enhance musical performance.

2.40 – 3.10. LR. Helena Marinho, Manzolli, Carvalho, New Music for Old Instruments: Collaborative processes in creative practice.

3.10 – 3.40. P. Paulo Rodriques, Looking at Constellations ADP: The relationship between artistic research, performance and educational work.

3.40. – 4.10 BREAK

Session X. Science, Memorisation and Musical Borrowing.
Chair: Richard Hoadley

4.10 – 4.50. LR. Steven Smith, The Piano’s Damper Pedal: Science, magic and art.

4.50 – 5.30. LR. Anastasia Zorina, Effective Memorisation Methods for Pianists.

5.30 – 6.10. LR. Jeong-In Kim, Musical Borrowing in Ruth Schonthal’s In Homage of… (24 Preludes) (1978).

END of the Second
London International Piano Symposium, 2015.