WORKSHOP 2 : Gestes et expérimentations: composition et interprétation de Sonant 1960/... (1960) et Dressur (1977) de Kagel 01:36:22

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  • Saison 2015-2016 - None - None > TCPM 2015 : Analyser les processus de création musicale / Tracking the Creative Process in Music
  • Oct. 9, 2015
  • Program note: TCPM 2015
Participants
  • Jean-François Trubert (conférencier)
  • Noam Bierstone (percussion)
  • Rémi Durupt (percussion)
  • Florentin Ginot (contrebasse)
  • Éloise Labaume (harpe)
  • Thibault Lepri (percussion)
  • Rémy Reber (guitare)
  • Gaston Sylvestre (conférencier)
  • Willy Coquillat (conférencier)

TCPM 2015 : Analyser les processus de création musicale / Tracking the Creative Process in Music

From the same archive

WORKSHOP 2 : Gestes et expérimentations: composition et interprétation de Sonant 1960/... (1960) et Dressur (1977) de Kagel 01:36:22

Roundtable 1: Friedemann Sallis, Music Sketches (2015) 01:10:12

Table ronde 1 : Friedemann Sallis, Music Sketches (2015) 01:10:16

Michael Clarke and Frédéric Dufeu: Tracking the creative process in Trevor Wishart’s Imago 26:25

Giacomo Albert: E-sketch analysis: Marco Stroppa’s Chroma between the late ’80s and early ’90s 28:54

Jeremy Baguyos: A framework for sustainability and research of interactive computer music repertoire 30:44

Alain Bonardi et Olivier Baudry : Enquête sur les frequency-shifters dans les œuvres mixtes 27:08

Daniel Martín and Benjamin Frantz: Assessing the impact of feedback in the composition process: an experiment in leadsheet composition 31:12

Annelies Fryberger: The composer as evaluator: reflections on evaluation and the creative process. 29:20

Benoît Haug : Créer sous les micros. Quand la lecture répétée d'une œuvre fait advenir son interprétation 27:09

Amy Blier-Carruthers: From perfection to expression? Exploring possibilities for changing the aesthetics and processes of recording classical music 30:39

Isabelle Héroux and Marie-Soleil Fortier: Understanding the creative process in the shaping of an interpretation by eight expert musicians 28:47

Sheila Guymer: Genre as frame in elite performers' interpretative decision-making 27:55

Cayenna Ponchione-Bailey: The authorship of orchestral performance 33:36

Baptiste Bacot: Gestural interfaces and creativity in electronic music: A comparative analysis 31:55

Sean Williams: Technical influence and physical constraint in the realisation of Gesang der Jünglinge 30:42

Chloë Mullett: Life through a lens: a case study evaluating an application of the concepts of affordance, effectivities and the hallmarks of human behavior to an experiment in ‘intuitive’ composition for voice and accordion. 28:55

Amanda Bayley and Chartwell Dutiro: Creating new music across cultural boundaries: mbira and string quartet 29:53

Amandine Pras, Caroline Cance and Gilles Cloiseau: Improvised meetings between New York and Kolkata: A collaborative analysis of a transcultural study 28:35

Rob Schultz: Melodic Variation and Improvisational Syntax in an Aka Polyphonic Song 23:26

Alexandre Robert - Analyser la sociogenèse d’une manière d’écrire singulière : l’exemple de l’écriture improvisatrice chez Déodat de Séverac (VO) 25:30

Alexandre Robert - Analysing the Socio-Genesis of a Distinctive Writing Technique: Improvisatory Writing by Déodat de Séverac (English Version) 25:24

Alessandro Bratus - Jimi Hendrix’s ‘Fire’ from Studio to Live, and Back: The Song as a Work in Progress 25:50

François Delecluse: Models, Figures, and Modernity in the Process of Composition of Claude Debussy’s Sonate pour violoncelle et piano: The Case of 'Sérénade' (GB) 30:35

François Delecluse : Comment Debussy réinvente-t-il les opérateurs de la modernité ? Modèles, figures et modernité dans la composition de la Sonate pour violoncelle et piano de Claude Debussy: l’exemple de la «Sérénade» (VF) 30:35

Irina Kirchberg : Opter pour les bonnes « notes » en natation synchronisée : conséquences pratiques et stylistiques (VF) 29:02

Irina Kirchberg: Choosing the Right ‘Notes’ in Synchronized Swimming: Practical and Stylistical Consequences (English Version) 29:02

Julie Mansion-Vaquié : Création et re-création, les enjeux du changement de support (VF) 19:43

Julie Mansion-Vaquié: Creating and Re-Creating: What Remediation Entails (GB) 19:43

Laura Zattra - Computer Music et collaboration : enquête sur le rôle créatif des assistants musicaux à partir d’entretiens semi-structurés (VF) 24:45

Laura Zattra: Collaboration in Computer Music. An Analysis of the Role Played by Musical Assistants Obtained Through Semi-Structured Interviews (English Version) 24:43

Nicolas Donin : Sur les rôles de Heinz Holliger dans la genèse de la Sequenza VII de Luciano Berio (VF) 29:25

Nicolas Donin: On Heinz Holliger’s Roles in the Creative Process if Luciano Berio’s Sequenza VII (English Version) 29:25

Emily Payne: Historically informed? The creative consequences of period instruments in contemporary compositions 28:39

Mark Wraith: The Body in the Composition and Performance of Art Music 21:01

Maureen Carr: Igor Stravinsky’s Compositional Process for Duo Concertant (1931–32) 27:12

Jessie Ann Owens: Cipriano de Rore’s Setting of Petrarch’s Vergine Cycle and the Creative Process 26:35