DIP Day 3_Parallel sessions
3rd festival conference of music performance and artistic research “Doctors in Performance”,
Lithuanian Academy of Music and Theatre,
September 6, parallel sessions: Juozas Karosas Hall, Balcony Theatre, Organ Hall, Music Innovation Studies Centre
Sessions 17–20
-
-
Nana Wang, lecture-recital “Translator, Architect and Creator: A Study of Piano Response to the Ballet of the Nuns”
-
-
Nana Wang
-
-
Nana Wang
-
-
Nana Wang
-
-
Nana Wang
-
-
Nana Wang
-
-
“Translator, Architect and Creator: A Study of Piano Response to the Ballet of the Nuns”
-
-
Session 17, chair Carolina Estrada Bascunana
-
-
Anu Vehviläinen
-
-
Nana Wang
-
-
“Translator, Architect and Creator: A Study of Piano Response to the Ballet of the Nuns”
-
-
Virginija Unguraitytė-Levickienė, lecture-recital “The Sketches of Piano Music by M. K. Čiurlionis: Editing Practice and Its Effect on Performance”
-
-
Virginija Unguraitytė-Levickienė
-
-
Virginija Unguraitytė-Levickienė
-
-
“The Sketches of Piano Music by M. K. Čiurlionis: Editing Practice and Its Effect on Performance”
-
-
Virginija Unguraitytė-Levickienė
-
-
Virginija Unguraitytė-Levickienė
-
-
Kristel Pappel
-
-
Virginija Unguraitytė-Levickienė
-
-
Eveliina Sumelius-Lindblom, paper “The Pianist’s Perception as a Working and Research Method: Encountering Intertextual and Phenomenological Approaches in Piano Playing”
-
-
Eveliina Sumelius-Lindblom
-
-
Eveliina Sumelius-Lindblom
-
-
Eveliina Sumelius-Lindblom
-
-
Eveliina Sumelius-Lindblom
-
-
Session 18, chair Russell Wimbish
-
-
Anne Elisabeth Piirainen, lecture-recital “Beyond Borders: Tracing Stylistic Changes in Unofficial Soviet Clarinet Music After the “Thaw””
-
-
Anne Elisabeth Piirainen
-
-
Anne Elisabeth Piirainen
-
-
Anne Elisabeth Piirainen
-
-
Beyond Borders: Tracing Stylistic Changes in Unofficial Soviet Clarinet Music After the “Thaw”
-
-
Kirill Kozlovski
-
-
Anne Elisabeth Piirainen
-
-
Zsuzsanna Könyves-Tóth, paper “Don’t you remember me, Adam?” The Character of Lilith in Péter Eötvös’ Operas
-
-
Zsuzsanna Könyves-Tóth
-
-
“Don’t you remember me, Adam?” The Character of Lilith in Péter Eötvös’ Operas
-
-
Zsuzsanna Könyves-Tóth
-
-
Session 18, Balcony Theatre
-
-
“Don’t you remember me, Adam?” The Character of Lilith in Péter Eötvös’ Operas
-
-
Zsuzsanna Könyves-Tóth
-
-
Zsuzsanna Könyves-Tóth
-
-
Session 18, Balcony Theatre
-
-
Zsuzsanna Könyves-Tóth
-
-
Session 18, Balcony Theatre
-
-
Nazrin Rashidova, lecture-recital “Émile Sauret’s 24 Études-Caprices, Op. 64 (1902): A First Recording”
-
-
Nazrin Rashidova
-
-
Nazrin Rashidova
-
-
Nazrin Rashidova
-
-
Nazrin Rashidova
-
-
Nazrin Rashidova
-
-
Nazrin Rashidova
-
-
Korneel Bernolet, lecture-recital “Arpeggio in Baroque Keyboard Literature: How Did They Teach and How Do We Play?”
-
-
Korneel Bernolet
-
-
Korneel Bernolet
-
-
Korneel Bernolet
-
-
Korneel Bernolet
-
-
Korneel Bernolet
-
-
Session 19, chair Sarah Callis
-
-
Session 19, Organ Hall
-
-
Cherie Broome, lecture-recital “Performing Rhetoric. Revealing the Secrets: A Consideration of the Rhetorical Structure and Figures of J. S. Bach’s Chromatic Fantasy, BWV 903”
-
-
Cherie Broome
-
-
Cherie Broome
-
-
Cherie Broome
-
-
Cherie Broome
-
-
Cherie Broome
-
-
Cherie Broome
-
-
Markus , paper “On Playing the Sonata by Franz Schubert D. 821 for Arpeggione and Piano”
-
-
Markus Kuikka
-
-
Markus Kuikka
-
-
“On Playing the Sonata by Franz Schubert D. 821 for Arpeggione and Piano”
-
-
Chiara Bertoglio, recital “”On Playing the Sonata by Franz Schubert D. 821 for Arpeggione and Piano””
-
-
Chiara Bertoglio
-
-
Chiara Bertoglio
-
-
Chiara Bertoglio
-
-
Chiara Bertoglio
-
-
Chiara Bertoglio
-
-
Session 19, Organ Hall
-
-
Session 19, Organ Hall
-
-
Session 20, chair Rasa Murauskaitė
-
-
Vincent Caers, recital “It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
Sigrid Tanghe (visual artist and performer)
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
Sigrid Tanghe
-
-
Vincent Caers
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
Vincent Caers
-
-
Vincent Caers
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
Mantautas Krukauskas
-
-
Vincent Caers
-
-
“It’s the Score, Stupid?! The Transition from Contemporary Percussion Score to Audiovisual Electro-Acoustic Improvisation”
-
-
Adilia Yip
-
-
Session 20, MiSC
-
-
Rasa Murauskaitė
-
-
Adilia Yip, lecture-recital “Describe Experience: The Artistic Research on Cross-Cultural Music Practices”
-
-
Adilia Yip
-
-
Session 20, MiSC
-
-
Adilia Yip
-
-
Adilia Yip
-
-
Session 20, MiSC
-
-
Session 20, MiSC
-
-
Adilia Yip
-
-
Adilia Yip
-
-
Adilia Yip
-
-
Adilia Yip
-
-
Paola Livorsi, paper “Human Voice and Instrumental Sound: Embodied Perception and Performative Space”
-
-
Paola Livorsi
-
-
Paola Livorsi
-
-
Paola Livorsi
-
-
“Human Voice and Instrumental Sound: Embodied Perception and Performative Space”
-
-
Session 20, MiSC
-
-
Paola Livorsi
-
-
Paola Livorsi
-
-
Session 20, MiSC
-
-
Anna Rutkowska
-
-
Anna Rutkowska, lecture-recital “The Influence of the Culture, Tradition and Arts of Japan on Contemporary Marimba Literature by Japanese Composers: Keiko Abe, Minoru Miki and Akira Miyoshi”
-
-
Anna Rutkowska
-
-
Anna Rutkowska
-
-
Session 20, MiSC
-
-
Anna Rutkowska
-
-
Anna Rutkowska
-
-
Anna Rutkowska
Sessions 21–24
-
-
Daniele Buccio, recital “Solo Piano Compositions by Marina Scriabine”
-
-
Daniele Buccio
-
-
Daniele Buccio
-
-
Daniele Buccio
-
-
Daniele Buccio
-
-
Daniele Buccio
-
-
Session 21, chair Julian Hellaby
-
-
Horng Kent Tham, lecture-recital “Towards a Performance of Tazul Izan Tajuddin’s Selected Solo Piano Works”
-
-
Horng Kent Tham
-
-
Horng Kent Tham
-
-
Horng Kent Tham
-
-
“Towards a Performance of Tazul Izan Tajuddin’s Selected Solo Piano Works”
-
-
Horng Kent Tham
-
-
Alexandra Vaduva, recital “The Pièces Impromptues, Op. 18 by George Enescu”
-
-
Alexandra Vaduva
-
-
Alexandra Vaduva
-
-
Alexandra Vaduva
-
-
Alexandra Vaduva
-
-
Session 21, Juozas Karosas Hall
-
-
Hanli Stapela
-
-
Hanli Stapela
-
-
Hanli Stapela and Brian Wallick, recital “The Theatre of Art Song or Art Song as Theatre”
-
-
Hanli Stapela
-
-
Hanli Stapela
-
-
Hanli Stapela
-
-
Hanli Stapela (soprano) and Brian Wallick (piano)
-
-
Session 22, chair Päivi Järviö
-
-
Olga Heikkilä, lecture-recital “Cabaret Tradition in Notation of Sprechgesang in Pierrot Lunaire by Arnold Schoenberg”
-
-
Olga Heikkilä (soprano), Eveliina Sumelius-Lindblom (piano)
-
-
Olga Heikkilä (soprano), Eveliina Sumelius-Lindblom (piano)
-
-
“Cabaret Tradition in Notation of Sprechgesang in Pierrot Lunaire by Arnold Schoenberg”
-
-
Olga Heikkilä
-
-
Olga Heikkilä
-
-
Olga Heikkilä (soprano), Eveliina Sumelius-Lindblom (piano)
-
-
Olga Heikkilä
-
-
Olga Heikkilä (soprano), Eveliina Sumelius-Lindblom (piano)
-
-
Päivi Järviö
-
-
Olga Heikkilä
-
-
Deborah Oliveira, paper “Exploring the Recital Model: A Look into Undefined Performance Formats”
-
-
Deborah Oliveira
-
-
Deborah Oliveira
-
-
Deborah Oliveira
-
-
Deborah Oliveira
-
-
Iryna Gorkun-Silén, lecture-recital “Flute Française: The French Flute. The Influence of the French Flute School from the End of the 19th Century on Flute Playing Today”
-
-
Iryna Gorkun-Silén
-
-
Iryna Gorkun-Silén
-
-
Iryna Gorkun-Silén
-
-
Iryna Gorkun-Silén
-
-
Iryna Gorkun-Silén
-
-
Richard Craig, recital “Emperdûment livrer mon corps…Composing the Performer and Models of Dramaturgy for the Solo Instrumentalist”
-
-
Richard Craig
-
-
Richard Craig
-
-
“Emperdûment livrer mon corps…Composing the Performer and Models of Dramaturgy for the Solo Instrumentalist”
-
-
Richard Craig
-
-
Session 23, chair Alana Blackburn
-
-
Ine Vanoeveren, lecture-recital “Cassandra’s Dream Song: Let’s (Not) Talk About Gender”
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Ine Vanoeveren
-
-
Session 24, chair Kristel Pappel
-
-
Robert Jędrzejewski, recital “Pure Intuitive Act”
-
-
Robert Jędrzejewski
-
-
Robert Jędrzejewski
-
-
“Pure Intuitive Act”
-
-
Session 24, MiSC
-
-
Robert Jędrzejewski
-
-
Robert Jędrzejewski
-
-
Session 24, MiSC
-
-
Robert Jędrzejewski
-
-
Kristel Pappel
-
-
Session 24, MiSC
-
-
Session 24, MiSC
-
-
Brigita Bublytė, lecture-recital TRANS/formations of Vocal Timbre in Different Cultural Experiences: Conception of “TranceSpace”
-
-
Brigita Bublytė
-
-
Brigita Bublytė
-
-
TRANS/formations of Vocal Timbre in Different Cultural Experiences: Conception of “TranceSpace”
-
-
TRANS/formations of Vocal Timbre in Different Cultural Experiences: Conception of “TranceSpace”
-
-
Brigita Bublytė
-
-
Session 24, MiSC
-
-
Session 24, MiSC
-
-
TRANS/formations of Vocal Timbre in Different Cultural Experiences: Conception of “TranceSpace”
-
-
TRANS/formations of Vocal Timbre in Different Cultural Experiences: Conception of “TranceSpace”
-
-
Maria Korepanova, lecture-recital “The Problem of Improvisation and Variation in Besermyan’s Krez’s on the Example of Soldat Keljan Krez’”
-
-
“The Problem of Improvisation and Variation in Besermyan’s Krez’s on the Example of Soldat Keljan Krez’”
-
-
Maria Korepanova
-
-
Maria Korepanova
-
-
“The Problem of Improvisation and Variation in Besermyan’s Krez’s on the Example of Soldat Keljan Krez’”
-
-
Maria Korepanova