OLD IS NEW - The Presence of the Past in the Music of the Present, International Conference

Dados do Evento

quinta, 24 novembro 2016
24 NOV na ESML | 25 NOV no CESEM 2| 6 NOV na ESML

Ver programa detalhado

Repetições ou continuação:
Até dia 26 de Novembro (ver notícia)
OLD IS NEW - The Presence of the Past in the Music of the Present, International Conference
15 Nov.

24, 25, 26 NOV | na ESML e no CESEM
OLD IS NEW - The Presence of the Past in the Music of the Present - International Conference

24 NOV | na ESML
25 NOV | no CESEM
26 NOV | na ESML


Preliminary program

Thursday, 24th November

Lisbon's Superior School of Music (ESML)


Opening Session

Conference presentation: Isabel Pires, Rui Pereira Jorge

Institutional presentation: participants to be appointed


Coffee Break


Keynote Speech

Ian Pace



Panel 1 : Room 1

Makis Solomos
On the supposed nostalgia of the ecological approaches of music and sound

Adrian Smith
Beating the Past into Shape: Recycling Strategies in the Music of Gerald Barry

Joseph Delaplace
L’écriture comme présence du passé dans la musique du XXe siècle

Patrick Becker
“New Conceptualism” and the Overcome of Postmodernism

Panel 2 : Room 2

Martin Knust
The Old in News: late Romantic aesthetics in current TV news and documentaries

Otilia Constantiniu
National musical style – a problem of musical or national identity?

Maria da Rocha Gonçalves
Bet Rot: a case study

Rafael Leonardo Junchaya
In search of lost contact. A step back in style as a means to revive the musical experience.

Coffee Break

Panel 3 : Room 1

Filipa Magalhães
The presence of the past on the music of Constança Capdeville: an analysis of the work Mise-en-Requiem

Madlen Batchvarova
Orphic Scions of the Mountains

Damien Bonnec
How old in new ? Hypothèses quant à une fatigue du style

Aleksandra Bilinska
Aesthetic and conceptual affiliation of classical narriation in electro-acoustic music by polish electro-acoustic music by polish women composers

Panel 4 : Room 2

Marilena Laterza
Rewriting the past in recent art music: ‘serious’ and ‘unserious’ remakes of Gesualdo’s Moro, lasso

Yulia Kreinin
Choosing an Influence, Or the Rorschach Test: Images of Bach as Reflected in 20th Century Compositions

Elena Maria Șorban
Transylvanian art music – Traditions reflected by contemporary composers

Federico Spinetti
Militant Memory: the legacy of the WWII antifascist Resistenza in contemporary Italian popular music


Concert 1

Wolfgang Rihm — Wölfli-Liederbuch

Arvo Pärt — Adagio

João Llano — Transfigurîgo

Pedro Finisterra — ¡¿Lamento?!

Jorge Ramos — Recompor v2!

Ivan Moody — Lumière sans déclin

Daniel Davis — Redefinition


Friday, 25th November

Faculty of Social Sciences and Humanities (FCSH)

Panel 5 : Auditorium 1

Andreia Nogueira
On the interplay of past, present and future. How can contemporary art conservators contribute to the preservation of the contemporary musical heritage?

Giuliano Bracci
Transcription as a form of active listening two experiences from the composer’s perspective

Jeremy Barham
In with the Old and Out with the New: Remixing Mahler and the Problems of Technological Historicism

Elena Abbado
In search of the fathers: Francesco Filidei’s Fiori di Fiori (2012) and Killing Bach (2015)

Panel 6 : Room 413

Kevin Gohon
Un paradigme de l’ornement dans les oeuvres électroacoustiques de Luigi Nono?

Max Erwin
“The Row Less Travelled: The Advent and Legacy of ‘Total’ Serialism”

Nuno Fonseca
Untimely glimpses of the sound to come: extra-musical inspirations of the past in contemporary approaches of sound

Violeta Nigro Giunta
Alice in Wonderland and Cinderellaaa...! The Imaginary Museum of Marta Lambertini’s Chamber Operas

Coffee Break

Panel 7 : Auditorium 1

Gustavo Penha
Critical Rewriting as a machination of solfeges

Martin Laliberté
Long term tendencies in musical and organological developments : archetypes, models and essential mixt cases

Silvio Ferraz
Réecriture: tradition et hétérogenèse

Christine Esclapez
Cantos Robados (2005) — Fátima Miranda. Ou comment «dérober» le passé pour le «mettre au présent». Ou comment « dérober » le passé pour le « mettre au présent »

Panel 8 : Room 413

Vincent Cotro
What’s new ? Le passé recyclé dans le jazz contemporain

Chris Inglis
Sampling the Past: The Role and Function of Vintage Music within Electro Swing

Jane Alden
The Great Learning Redigested

Marijana Mitrovic
Pop-Folk Music and Serbian Youth: Affect, Class and Memory



Special Session: Auditorium 1

Ian Pace — City University of London. School of Arts & Social Sciences

Camden Reeves — University of Manchester. School of Arts, Languages and Cultures

Rita Macedo — Departamento de Conservação e Restauro – FCT – UNL

João Soeiro de Carvalho — INET-Md – FCSH – UNL

Jorge Matta — CESEM – FCSH – UNL

Ivan Moody — CESEM – UNL

Coffee Break

Panel 9 : Auditorium 1

João Nogueira
“Restyling” musical: roupas novas em músicas velhas

Elise Gayraud
Creating new traditions: Contemporary folk music in a globalising world

Kilder Danjas
Expandindo a criatividade: um estudo sobre as práticas de performance não-convencionais aplicadas ao contrabaixo


Social Diner


Saturday, 26th November

Lisbon's Superior School of Music (ESML)

Panel 10 : Room 1

Daniela Silvestre, João Porfírio
The Hills are alive with the sound of Muzak...’ – Quando o Muzak também é arte.

Dominika Porębska-Kwaśnik
Relecture du Passé dans la recherche de l’Avenir. Dimensions et défis des grandes oeuvres.

Eun Ji Park
How New Technology Can Change to Old Tradition of Musical Education? – Suggestion of Visualization in Computer-Assisted Music Education for Education of Musical Dynamics

Katrin Stöck
‘Old‘ music for a ‘new‘ life – The discussions about national opera in the first centuries of the GDR (East Germany) between cultural heritage and musical advancement

Panel 11 : Room 2

Gonçalo Gato
Computer-assisted composition based on a XVII century madrigal

Julien Ferrando
Relire et Re-produire les Musiques Anciennes dans Notre Monde Contemporain : Entre Reconstitution et Création

Sébastien Lambert
Le sampling ou la reformulation musicale

Panos Amelidis
Sound recording, and technology: forging the past into musical composition

Coffee Break

Panel 12 : Room 1

William Drummond
Presence and (Anti)monumental Seduction in Pesson’s ‘Erasure’ of Bruckner’s Sixth Symphony

Guilhermina Lopes
Tombeau for a savage artisan

Francisco Pessanha de Meneses
“Man that is born from a woman” ou o processo de referenciação de Henry Purcell na música de cena para “Gertrude” (2013)

Cristina Benedita
Old patterns and new patterns of the voice and the body

Panel 13 : Room 2

Dimitri Kerdiles
Pésence du «bourgeois» dans la musique d’Helmut Lachenman

Diogo Alvim
String Quartet – Reconfiguring an Old Typology

Edward Ayres de Abreu
O cravo na ópera portuguesa do século XX: de Ruy Coelho a Joly Braga Santos

John Fallas
Quartet stations: the cross and beyond in string quartets by Dillon and Sciarrino




Keynote Speech

Camden Reeves

Coffee Break

Concert 2

Jorge Peixinho — Harmonicos

Carlos Marecos — terras por detrás dos montes

Isabel Pires — Untied scrawls

Jorge Peixinho — Sax blue

Antonio Pinho Vargas — Suite para Violoncelo

Luciano Berio — Sequenza para voz solo

Closing Session


Actividades e Notícias


cesem polo2