Programme (updated on 18 May)
27 May 2019, Monday
28 May 2019, Tuesday
29 May 2019, Wednesday
Conference Practical Information
Information on travelling to HKBU and other related logistic matters.
Professor of Musical Performance Studies,
University of Cambridge
Professor, Music Department,
Professor, Boyer College of Music and Dance,
Bart van Oort
Lecturer in Historical Performance Practice,
Royal Conservatory in The Hague (The Netherlands)
Professor of Harpsichord and Fortepiano,
Royal Academy of Music
Photo credit: Martynas Aleksa
Photo credit: Merlijn Doomernik
Call for Papers (closed)
The 2nd International Conference on Performance and Creativity: Historical Keyboard Music 1700–1850 will be hosted by Hong Kong Baptist University from Monday 27 May to Wednesday 29 May, 2019.
In November 2016, the Department of Music has successfully organised the first International Conference on Performance and Creativity, attracting leading scholars and musicians from Asia, Europe and the United States to exchange ideas through a series of paper presentations, concerts, masterclass and round-table discussions. The 2nd International Conference on Performance and Creativity aims to bring together scholars and performer/scholars researching keyboard performance on 1700—1850 repertory and will explore current research foci and possible future developments in historical performance research. In particular, this conference will take full advantage of the historical keyboard collection of the Department of Music:
(1) Flemish double-manual harpsichord by Marc Ducornet (Paris, 2015) after J. Ruckers (Antwerp, 1624), 2 x 8´, 1 x 4´, GG–d'''
(2) French double-manual harpsichord by Andrew Garlick (Somerset UK, 1992) after Goujon (Paris, 1749), 2 x 8´, 1 x 4´, FF–f'''
(3) Unfretted clavichord by Karin Richter (Lewes UK, 2009) after Hubert (Ansbach, 1771) FF–g'''
(4) Fortepiano by Chris Maene (Ruiselede Belgium, 2010) after Anton Walter (Vienna, 1795), FF–g'''
(5) Italian Harpsichord by Carey Beebe (Sydney, 1995) after Grimaldi (Messina Italy, ca. 1700), 2 x 8´, GG-d'''
(6) Fortepiano by Paul McNulty (Divišov Czech Republic, 2019) after Graf (ca. 1819, Op. 318), CC–f''''
(7) Taylor & Boody Organ, Op. 69 (Staunton, Virginia USA, 2014). Five stops: 8’ Gedackt, 4’ Rohrflöte, 2 2/3’ Nasat (c’), 2’Principal, 8’ Regal, C-d''', A440
We welcome proposals that explore latest development in historically-informed performance:
To research how an awareness of the original sources and contexts of performance could contribute to a contextualized understanding of the creative processes in music
To investigate how understanding historical keyboard performance as a creative activity could allow modern performers to cultivate new approaches to interpretation
To identify interdisciplinary approaches to revitalizing research on historical keyboard research in repertory up till 1850
To evaluate how collaborative research has reshaped historically-informed performance (HIP) for the 21st century
The organizing committee invites proposals for:
Individual presentations of 20 minutes in duration (followed by 5 minutes of discussion).
Lecture-recitals of 30 minutes in duration (including 5 minutes of discussion)
Workshops of 30 minutes in duration (including discussion)
Individuals may submit one proposal (in English) in the form of an abstract of not more than 250 words. Acceptance of proposals will be at the discretion of the organizing committee. Presenters will typically be grouped into themed sessions of three to four presentations per theme.
The abstract should include information under the following headings:
Presentation type (paper, lecture–recital, etc.)
Abstracts (in Microsoft Word format) shall be emailed to: firstname.lastname@example.org.
The deadline for submission of abstracts is extended to 8 January, 2019.
Please send all queries to email@example.com