Speakers
Robert A. Duke: Cultivating Creativity in Human Expression |
University of Texas, Austin, USA |
Music is a fundamental form of human communication. Although many of us make music for pleasure alone in the privacy of our own homes, music experiences most often involve performers and listeners. Intelligent performers consider musical intentions in terms how listeners will hear and interpret the music they make. Thinking about music in this way defines expressive goals for performers at all levels of experience and expertise.
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Eckart Altenmüller: Creative Practice as the Cue to a Musician’s Wellbeing |
University of Music, Drama, and Media Hanover, Germany |
All musicians have to practice, throughout their professional life-time. This can be an extremely demanding and tiring activity, eventually leading to frustration and burn-out. Creativity in practice can prevent these dangers to musicians’s health. I will describe ways to enrich „boring“ practice and present a „holistic“ model, accounting for the benefits of creative practice and stimulating ideas for further development and growth.
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Holger Geschwindner1 & Ernest Butler2: BBall is Jazz: Learning from Interdisciplinary Experimentation |
1“Institute of Applied Nonsense” & 2Ludwig-Maximilians-University, Germany |
“If it ain’t broke, don’t fix it” is not only a common saying, it’s also the mindset of many musicians and athletes. So, when creative – also referred to as “crazy” – strategies come around, they are often ignored or Holger Geschwindner was born in 1945 and started playing first division basketball when he was a teenager. He has won several championships and captained the German basketball team at the 1972 Olympics. During his playing days, he studied mathematics and physics, read philosophy and literature, and travelled the world. He worked for the Max-Planck-Institute of Psychiatry, built mill wheels in Bamberg, raised a pig named Bruno, saved a pecan nut farm in Mississippi, and hunted wolves around Mount Ararat. Geschwindner has been working with Dirk Nowitzki since 1995. He heads the "Institute for Applied Nonsense" where he still tries to reconcile sports with music and mathematics, physics, philosophy, and psychology.
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Jane Ginsborg & Raluca Matei: Between Complacency and Creativity – Bridging the Gap Through Questions |
Royal Northern College of Music, Manchester, UK |
We tend to think creativity is more at home in the performing arts than elsewhere. And yet, classical musicians are careful not to challenge rigid traditions and authority-invested figures, thereby potentially impeding progress. We rarely think of creativity and critical thinking as overlapping concepts and yet they are both components of purposeful thinking. After all, innovative ideas have to stand the test of rigorous judgment. Similarly, although evidence on various health-related problems musicians might suffer from is mounting, we are slow and somewhat Professor Jane Ginsborg, Associate Director of Research at the Royal Northern College of Music in Manchester, UK, won the British Voice Association’s Van Lawrence Award in 2002 and was shortlisted for a Times Higher Education award in 2013 for research on singers’ memorizing strategies and musicians with hearing impairments, respectively. She has published widely on expert musical performance and, latterly, musicians’ health and wellbeing. Managing Editor of Music Performance Research, she also fulfills editorial responsibilities for Musicae Scientiae, Journal of Interdisciplinary Music Studies, Psychology of Music and Performance Science (Frontiers in Psychology). Between 2012 and 2015 she was President of the European Society for the Cognitive Sciences of Music.
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Johannes Lunde Hatfield: Liberating the Creative and Natural Capabilities in Performance: Stimulating Excellence by Accepting the Very Worst Canceled |
Norwegian Academy of Music, Norway |
Liberating the creative and natural capabilities in performance, how? This talk will present recent findings, theory and applications on how performing artists and musicians peak their performance through accepting the worst possible outcome.
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Andreas Kissenbeck: Demystifying Creativity – From a Fundamental Understanding to Practical Methods |
University of Music and Performing Arts Munich, Germany |
Ask musicians exactly where and how creativity takes place in their musical activity, and you will often get evasive answers. "I play Beethoven, and this, of course, requires creativity." "I improvise, that's creative." These show that knowledge about one's own creativity is lacking. However, creativity can be understood and promoted. And that pays off, as can be seen in the economy, as well as heard in music.
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Gary McPherson: High Impact Creative Teaching and Learning Mindframes |
Melbourne Conservatorium of Music, University of Melbourne, Australia |
This presentation surveys over 20 years of research on teaching strategies and approaches within education in addition to studies the presenter has undertaken dealing with instrumental and vocal teaching at all levels. It will provide delegates with a range of teaching mindframes that have been shown to be successful in a range of learning settings, and emphasize approaches that research suggests make the most gains in learning and motivation.
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Manfred Nusseck: Motion Analysis of Creative Performance as Exemplified by Studies with Clarinetists |
University of Music Freiburg, Germany |
Moving is an essential part in creative performance. Motions contain not only necessary movements to execute the performance, i.e. producing sounds on an instrument, they also transmit expressive and personal intents. The habit of performing motions while playing an instrument can be rather individual. There are, however, certain commonalities of motion behavior. In this talk, I provide a theoretical framework of motions in creative performance and show results of studies on motion analysis of clarinet players.
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Paula Thomson: Bittersweet Adversity: The Influence of Childhood Experience on Creativity and Performance |
California State University Northridge, USA |
Engaging as a performing artist or athlete may buffer the negative effects of childhood adversity. Optimal performance, also known as a state of flow, is a potential for all who participate in activities that provide meaning, value, and purpose. Substantial childhood adversity does not change this outcome.
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