KEYNOTES

BEYOND INTERPRETATION: MUSICAL PERFORMANCE AS CREATIVE PRACTICE
John Rink

THE MODAL FORM AND CHALLENGES FOR INTERPRETERS OF NEW MUSIC
Vykintas Baltakas

STYLES AND REPERTOIRES

THE RECEPTION OF BACH IN FIN-DE-SIECLE ITALY: GIUSEPPE MARTUCCI’S TRANSCRIPTIONS OF THE ORCHESTRAL SUITES
Chiara Bertoglio

PRIMITIVISM IN PIANO MUSIC OF THE TWENTIETH CENTURY WITH REFERENCE TO 14 BAGATELLES OP. 6 BY BÉLA BARTÓK
Vincenzo De Martino

“ABSTRACT PROGRAMMATIC MUSIC”: PERFORMING THEODORE ANTONIOU’S PIANO WORKS
Konstantinos Destounis

PREPARING SELECTED IRISH SAXOPHONE WORKS FOR PERFORMANCE
Kenneth Edge

THE METRONOME IN THE PERFORMANCE OF SEVENTEENTH- AND EIGHTEENTH-CENTURY MUSIC
Saale Fischer

FINAL THOUGHTS? INTERPRETATION OF THE FIRST MOVEMENTS OF BEETHOVEN’S AND SCHUBERT’S LAST THREE PIANO SONATAS
Marie-Charline Foccroulle

FLÛTE FRANÇAISE: INFLUENCE OF THE LATE NINETEENTH-CENTURY FRENCH FLUTE SCHOOL ON FLUTE PLAYING TODAY
Iryna Gorkun-Silén

BRAHMS’S TRIO OP. 8: AN INTERPRETER’S ANALYSIS
Joan Grimalt

MODIFYING LISZT
Julian Hellaby

PERFORMING ON THE QUARTER-TONE PIANO: RE-DISCOVERING REPERTOIRE
Elisa Järvi

“DON’T YOU REMEMBER ME, ADAM?” THE CHARACTER OF LILITH IN PÉTER EÖTVÖS’S OPERAS
Zsuzsanna Könyves-Tóth

ON PLAYING THE ARPEGGIONE SONATA BY FRANZ SCHUBERT ON ARPEGGIONE
Markus Kuikka

MODERNIZING INSTRUMENTATION IN FERDINAND REBAY’S GROSSES DUO IN A-MOLL
Luiz Mantovani

BENJAMIN BRITTEN’S REALIZATIONS OF HENRY PURCELL: EXPERIMENTS AND INFLUENCES
Giedrė Muralytė-Eriksonė

OF RUBATO SYSTEMATIZATION IN THE FIRST BARS OF CHOPIN’S NOCTURNE NO. 1
Rima Povilionienė

THE INFLUENCE OF THE CULTURE, TRADITION, AND ARTS OF JAPAN ON CONTEMPORARY MARIMBA LITERATURE BY THE JAPANESE COMPOSERS: KEIKO ABE, MINORU MIKI, AND AKIRA MIYOSHI
Anna Rutkowska

THE GERMAN INFLUENCE ON FINNISH VIOLIN MUSIC FROM THE NINETEENTH CENTURY
Sebastian Silén

THE EARLY SOUND RECORDINGS AS PRIMARY EVIDENCE: LATE NINETEENTH-CENTURY EXPRESSIVE TECHNIQUES RELATING TO CHOPIN’S NOCTURNES
Inja Stanović

HIGHLIGHTS OF CONTEMPORARY LATVIAN PIANO MUSIC
Diāna Zandberga

PERFORMANCE INTROSPECTION AND EXPERIMENTAL PRACTICES

DANCING AND TWIRL-ING: CONTEMPORARY CLARINET FROM THE PERSPECTIVE OF LIBBY LARSEN AND MARKKU KLAMI
Lucy Abrams

PUSHING BOUNDARIES (BY THE DUO HEVANS)
Henri Bok, Eleri Ann Evans

CONTEMPORARY PERFORMANCE TRENDS IN THE CONCERT KANKLĖS REPERTOIRE
Aistė Bružaitė

TRANS/FORMATIONS OF VOCAL TIMBRE IN DIFFERENT CULTURAL EXPERIENCES: CONCEPTION OF “TRANSPACE”
Brigita Bublytė

BASTANDOSI LA NUCA A SCORRERE DIETRO LA FRONTE, A COMPOSITION FOR A SOLO MIND
Dario Buccino

ORAL CONTRACEPTIVES AND ELITE VOCALISTS IN TRAINING; PERSPECTIVES FROM THE VOICE ACADEMY
Imelda Drumm

PIANO HERO. CURATORIAL EXPLORATION OF THE PIANO RECITAL
Marta Finkelštein

THE EMOTIONAL LABOR OF AN OPERA SINGER
Jenni Lättilä

SOME MORE BEGINNINGS OF ARTISTIC RESEARCH
Maximilian Lehner

HUMAN VOICE AND INSTRUMENTAL SOUND: EMBODIED PERCEPTION AND PERFORMATIVE SPACE
Paola Livorsi

I’M MY OWN MERRY-GO-ROUND: AN ARTISTIC PROJECT DEVOTED TO THE ELECTRIC VIOLA AS A CONTEMPORARY MUSICAL MEDIUM
Rastko Popović

“SOUND ANSWERS VOICE”—THE BACKROUND OF MY COMPOSITION BASED ON THE PERSONAL SONG TRADITION OF THE INDIGENOUS TUNDRA CHUKCHI
Pia Siirala

INFLUENCE OF STIMULUS-BASED IMAGERY ON THE PROCESS OF IMPROVISING FREELY
Jaak Sikk

THE THEATRE OF ART SONG AND ART SONG AS THEATRE
Hanli Stapela

CASSANDRA’S DREAM SONG: LET’S (NOT) TALK ABOUT GENDER
Ine Vanoeveren

HOW DO YOU PLAY THAT? A PERFORMER’S OUTLOOK ON GRAPHIC SCORE INTERPRETATION
Russell Wimbish

DESCRIBED EXPERIENCE: ARTISTIC RESEARCH ON CROSS-CULTURAL MUSIC PRACTICES
Adilia On-ying Yip