AN AFTERTHOUGHT ON MUSIC

Wednesday 15 MAY 2024 RHEIN-MOSEL-HALLE TAGUNGSZENTRUM 3 

10.00 am
Prof. Dr. Stephen Goss: The Delusion of Urtext
I will attempt to illuminate the murky process of collaboration between a composer and a guitarist. What contribution comes from the collaborating performer? How is that contribution measured and recognised? Were guitarists like Miguel Llobet, Andrés Segovia, Julian Bream, and John Williams more involved in the compositional process than is generally known?
I will briefly examine two approaches to collaboration:
Reactive collaboration – the performer reacts to a complete first draft of a composition.
Proactive collaboration – the performer is involved in every stage of the compositional process.
Is it possible, or even desirable, to untangle the interpretation and artistry of the collaborating guitarist from the style and aesthetic of the composer? How can we gauge the authority or flexibility of any published score?

11.00 am
Jörg Falk: Teaching demonstration as the key to success
Lecture on current developments in selection procedures at music schools, followed by a practical workshop.
In selection procedures at municipal music schools, artistic performance on the instrument is no longer enough. In recent years, pedagogical aptitude has increasingly come to the fore and the teaching demonstration now makes up 60 per cent of the selection process.
In this workshop, practical teaching situations will be trained using the example of individual and group lessons and participants are instructed on how to create their own musical learning moment that characterises a successful teaching demonstration.
Jörg Falk is head of department and deputy school director at the Musik- und Kunstschule der Stadt Duisburg. He also leads a guitar class at the Hochschule für Musik und Tanz Köln.

4.00 pm
Dr. Ingmar Brilmayer: Predict, predict, predict: How the brain learns the sensory consequences of its own motor actions
For a long period of time, researchers assumed that the brain passively processes sensory input, similar to a computer. However, in the last two decades of research in cognitive and computational neuroscience, researchers have reached a broad consensus that the brain actively creates its own sensations by predicting upcoming sensory input (predictive coding). For this reason, it constantly samples the environment on multiple, hierarchically ordered timescales from milliseconds to several seconds, thereby actively creating a consistent model of its ever-changing environment. Importantly, higher cognitive processing levels (e.g., what is colloquially referred to as 'conscious' levels) located in frontal parts of the brain can exert a strong (top-down) influence on the sensations we experience and the way and efficiency with which we learn. In this talk, I will elaborate on the consequences of the predictive coding framework for learning, producing and perceiving music.

SATURDAY 18 MAY 2024 RHEIN-MOSEL-HALLE TAGUNGSZENTRUM 3

09.30 am
Benjamin Janisch: Models and Sequences – building blocks of western music
In this presentation we will take a closer look at a selection of musical sequences and models: In which eras did they originate, how were they implemented and for what musical effect, and to what extent did they influence musical composition for hundreds of years to follow?

10.15 am
Hye-Min Lee: Das barocke Konzert
More information coming soon.

11.00 am
Henrik Schuld: Polyphonic textures and imitation
In this course, various forms of polyphony are examined and analyzed. The focus will be on the concept of imitation and how it can be realized and especially improvised in solo or ensemble playing on the guitar.

11.45 am
Prof. Dr. Immanuel Ott: Die »Fantaisies« von Fernando Sor
More information coming soon.

SUNDAY 19 MAY 2024 RHEIN-MOSEL-HALLE TAGUNGSZENTRUM 3