Brochure de programme


Brochure des résumés


Videos des présentations (incluant tables rondes)

Mise en ligne à venir sur

Conférenciers invités

  • Georgina Born (University of Oxford) : conférence d’ouverture.
  • Nicholas Cook (University of Cambridge) : conférence invitée.
  • Pierre-Michel Menger (Collège de France, EHESS) : table-ronde autour de The Economics of Creativity, Harvard University Press, 2014. Avec la participation de Howard Becker, Georgina Born et Nicholas Cook (modération).
  • Friedemann Sallis (University of Calgary) : table-ronde autour de Music Sketches, Cambridge University Press, 2015. Avec la participation de Jonathan Cross, William Kinderman, Jessie Ann Owens et Nicolas Donin (modération).


  • 8 octobre : « La pratique de la direction d’orchestre au prisme du genre », sous la direction de Hyacinthe Ravet (Université Paris-Sorbonne)
  • 9 octobre : « Gestes et expérimentations : composition et interprétation de Sonant 1960/… (1960) et Dressur (1977) de Kagel », sous la direction de Jean-François Trubert (Université Nice-Sophia Antipolis)

Liste des papiers acceptés (27 janvier 2015)

Pauline Adenot. Le compositeur et l’assistant dans le champ de la musique à l’image : entre redistribution des tâches et extension de la collaboration
Thomas Ahrend. Versions, Variants, and the Performatives of the Score: Traces of Performances in the Texts of Anton Webern’s Music
Giacomo Albert. E-sketch analysis: Marco Stroppa’s Chroma among late ‘80s and early ‘90s
Baptiste Bacot. Interfaces gestuelles et créativité des musiques électroniques, une étude comparative
Baptiste Bacot and François-Xavier Féron. ‘Gestural Exformation’ (2014-15) de Jesper Nordin : l’expérimentation d’une direction d’orchestre techno-augmentée
Jeremy Baguyos. A Framework for Sustainability and Research of Interactive Computer Music Repertoire
Anne-Sylvie Barthel-Calvet. La place du geste de l’interprète dans le processus compositionnel : le cas des œuvres solistiques de Xenakis
Olivier Baudry and Alain Bonardi. Enquête sur les frequency-shifters dans les œuvres mixtes
Amanda Bayley and Chartwell Dutiro. Creating new music across cultural boundaries: mbira and string quartet
Valentina Bertolani. No score, hundreds of sketches: Mario Bertoncini’s Spazio-Tempo
Amy Blier-Carruthers. From Perfection to Expression?: Exploring Possibilities for Changing the Aesthetics and Processes of Recording Classical Music
Alessandro Bratus. Jimi Hendrix’s « Fire » between Studio and Live, and Back. The Song as a Work in Progress
Tara Browner. Creativity within Formal Structures: Two American Indian Song Repertories
Alexander Cannon. Metaphors of Creative Practice: Navigating Roots and Foliage in Southern Vietnamese Traditional Music
Maureen Carr. Igor Stravinsky’s Compositional Process for ‘Duo Concertant’ (1931–32)
Alessandro Cecchi. Musical composition under the sign of heteronomy: Synchronization techniques in film scores by Angelo Francesco Lavagnino
Giovanni Cestino. Investigating the performative approach through performing scores analysis: Cathy Berberian sings ‘Circles’
Michael Clarke, Frédéric Dufeu and Peter Manning. Tracking the creative process in Trevor Wishart’s ‘Imago’
Marco Cosci. Mixing Papers, Writing Sounds: Into Egisto Macchi’s Audiovisual Workshop
Fabian Czolbe. Comparative Sketch Studies and the ,Hidden Concepts’ of the creative process in music
Francesco Del Bravo. Modes of collision – Alberto Favara in the process of transcribing Sicilian folk songs.
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 ».
Michael Dias. The Application of Foundational Principles of Critique Génétique to the Analysis of Music Sketches: Problems and Solutions
Nicolas Donin. Composer avec l’interprète. Luciano Berio, Heinz Holliger et la genèse de la ‘Sequenza VII’
Ernesto Donoso. Quelques notes sur la genèse des « acoustiques virtuelles » dans la musique orchestrale de Marc-André Dalbavie : de ‘Color’ (2001) au ‘Concerto pour hautbois’ (2009).
Laura Emmery. Finding Common Ground in Divergent Compositional Aesthetics: Elliott Carter’s and Luigi Nono’s Analyses of Arnold Schoenberg’s Op. 31
Anna Ficarella. The performing dimension in Gustav Mahler’s compositional process
Silvana Karina Figueroa-Dreher. Material, Interaction, Attitude and Music within Improvising Processes: A Sociological Model
Annelies Fryberger. The composer as evaluator: reflections on evaluation and the creative process.
Shigeru Fujita. Henri Dutilleux’s incorporation of serialism into his harmonic language: An examination of the sketches related to ‘Métaboles’ and ‘Tout un monde lointain’
Sheila Guymer. Genre as Frame in Elite Performers’ Interpretative Decision Making
Benoit Haug. Créer sous les micros. Ethnographie d’une interprétation en train de se construire alors même qu’elle est en train de se figer
Vanessa Hawes and Kate Gee. Looking at, and listening to, musical features: creativity in score preparation
Isabelle Héroux and Marie-Soleil Fortier. Présentation du processus de création de six musiciens experts
Olaf Hochherz. The agency of musical instruments in the genesis of musical works
Joel Hunt. From Process to Performance: Compositional Process as Framework for Text-Based Improvisation in Henry Brant’s “Instant Music.”
Zubin Kanga. Sounding Bodies: Embodiment and Gesture in the collaborative creation of works for Piano and Electronics
Laura Kennedy. From Fragments to Final Works: Shostakovich and the Creative Process
Adam Kielman. Creating the Local and Sounding Global in China’s Evolving Music Industry
William Kinderman. ‘Feeling New Strength’: Beethoven’s Ninth Symphony and Quartet in A Minor, Op. 132
Irina Kirchberg. Opter pour les bonnes ‘notes’ en natation synchronisée : conséquences pratiques et stylistiques
Matthew Lorenzon. “Situation” and “Problem Situation” in the Interaction of Music and Philosophy in Antagonisme by Xavier Darasse on a Text by Alain Badiou
Stefan Caris Love. Learning From Our Mistakes in Tonal Jazz Improvisation
Michael Mackey. The Art of the Trio: Improvisation, Interaction, and Intermusicality in the Jazz Piano Trios of Ahmad Jamal, Bill Evans, and McCoy Tyner
Julie Mansion-Vaquié. Création et re-création, les enjeux du changement de support
Daniel Martín, Benjamin Frantz and François Pachet. Assessing the impact of feedback in the composition process: an experiment in leadsheet composition
Nicolas Misdariis, Andrea Cera and Sebastien Gaxie. Créativité et design sonore : étude de cas.
Chloë Mullett. Life through a lens: a case study evaluating an application of the concepts of affordance, effectivities and the characteristics of human behavior to an experiment in ‘intuitive’ composition for voice and accordion.
Lodewijk Muns. Musical Grammar and the Creative Process
Shierry Nicholsen. The Speculative Ear Tracks Musical Creativity: Adorno’s Response to the Dilemmas of Hearing the New
Gerhard Nierhaus. Patterns of Intuition: Musical Creativity in the Light of Algorithmic Composition
Jessie Ann Owens. Cipriano de Rore’s Setting of Petrarch’s Vergine Cycle and the Creative Process
Emily Payne. Historically informed? The creative consequences of period instruments in contemporary music
Cayenna Ponchione-Bailey. Tracking the Creative Process in Orchestral Performance
Amandine Pras, Caroline Cance and Gilles Cloiseau. Rencontres improvisées entre New York et Kolkata : analyse collaborative d’une étude transculturelle
Robin Preiss. Codification of the Concord Sonata: Editorial and Performative Composition
Ingrid Pustijanac. Analysing Improvisation: A Composer-Improviser Role in the Gruppo di Improvvisazione Nuova Consonanza and New Phonic Art Experience
Marida Rizzuti. “All the songs in the picture have to be taken from the score of the original show” When a Broadway musical becomes a Hollywood film
Alexandre Robert. Analyser la sociogenèse d’une manière d’écrire singulière : l’exemple de l’écriture improvisatrice chez Déodat de Séverac
Federica Rovelli. The Genesis of Beethoven’s Piano Sonata op. 101. “Lost sketches” and “Working Autograph”
Rob Schultz. Melodic Variation and Improvisational Syntax in an Aka Polyphonic Song
Talita Takeda and Cecilia Salles. How are creation networks configured in contemporary Brazilian opera
Bianca Temes. Ligeti and Romanian folklore: Citation, Palimpsest and Pastiche as creative tools
Sean Williams. Technical influence and physical constraint in the realisation of ‘Gesang der Jünglinge’
Mark Wraith. The Body in the Composition and Performance of Art Music.
Miloš Zapletal. Between the sports and ideology: Janáček’s Sinfonietta and Petrželka’s Štafeta
Laura Zattra. Collaboration in Computer Music. An analysis of the role played by Musical Assistants obtained through semi-structured interviews
Tasos Zembylas. The Interplay of Various Forms of Artistic Knowing
Monika Żyła. Agata Zubel’s ‘Not I’ at the festival Warsaw Autumn (2014) – tracing collaborative dimensions of the creative process within the festival context