World Premiere Performance 2 June 2017 - Luc Brewaeys, completed Michael Finnissy, The Dale of Tranquillity (2004, completed 2017)

Luc Brewaeys (1959-2015) first began composing The Dale of Tranquility in 2004 for Ian Pace. It was left unfinished at the time of his death in 2015, and premiered in that form by Ian Pace at the Transit Festival in October 2016. At Ian Pace's instigation, Michael Finnissy composed a completion of the piece to be premiered on this occasion

Composição e performance podem ser, e frequentemente tem sido, pesquisa

O artigo de John Croft "˜Composição não é Pesquisa' desafia uma concepção e um ideal de trabalho composicional na academia que ganhou destaque ao longo de várias décadas no Reino Unido. Como performer acadêmico, que também escreve sobre assuntos acadêmicos não relacionados à performance, abordo este desafio, partilhando algumas das restrições de Croft sobre as maneiras pelas quais essas concepções têm se manifestado, e também algumas preocupações sobre a integração indiscriminada de profissionais na academia e as implicações para as formas acadêmicas mais tradicionais. No entanto, eu creio que muitas das formulações e suposições de Croft são limitadas, e, ao invés disso, argumento que boa parte do processo de composição e performance constituem-se em pesquisa ao lidar com questões difí­ceis, explorando soluções, e produzindo trabalhos criativos que incorporam essas soluções, das quais outros podem se beneficiar também

The reconstruction of post-war West German new music during the early allied occupation (1945-46), and its roots in the Weimar Republic and Third Reich (1918-45)

This thesis is an analysis of the development of new music in occupied Germany from the end of World War Two, on 8 May 1945, until the end of 1946, in terms of the creation of institutions for the propagation of new music, in the form of festivals, concert series, radio stations, educational institutions and journals focusing on such a field, alongside an investigation into technical and aesthetic aspects of music being composed during this period. I argue that a large number of the key decisions which would affect quite fundamentally the later trajectory of new music in West Germany for some decades were made during this period of a little over eighteen months. I also argue that subsequent developments up to the year 1951, by which time the infrastructure was essentially complete, were primarily an extension and expansion of the early period, when many of the key appointments were made, and institutions created. I also consider the role of new music in mainstream programming of orchestras, opera houses, chamber music societies, and consider all of these factors in terms of the occupation policies of the three Western powers – the USA, the UK and France. Furthermore, I compare these developments to those which occurred in during the Weimar Republic and the Third Reich, of which I give an overview, and argue as a result that the post-war developments, rather than being radically new, constituted in many ways a continuation and sometimes distillation of what was in place especially in the Weimar years. I conclude that the short period at the centre of my thesis is of fundamental importance not only for the course of German new music, but that in Europe in general

Simplifying Contract-Violating Traces

Contract conformance is hard to determine statically, prior to the deployment of large pieces of software. A scalable alternative is to monitor for contract violations post-deployment: once a violation is detected, the trace characterising the offending execution is analysed to pinpoint the source of the offence. A major drawback with this technique is that, often, contract violations take time to surface, resulting in long traces that are hard to analyse. This paper proposes a methodology together with an accompanying tool for simplifying traces and assisting contract-violation debugging.Comment: In Proceedings FLACOS 2012, arXiv:1209.169

O Novo Estado da Arte dos Estudos em Performance

A performance-como-pesquisa e a performance baseada em pesquisa são alvos de criÌticas constantes na academia. Autores como Clarke, Cook e Daniel Leech-Wilkinson integram um grupo muito proeminente de pesquisadores que abordam esse assunto. Cook se destaca com o livro Beyond the Score: Music as Performance (livro que seraÌ analisado durante este texto), no qual realiza criÌticas duras e, por vezes, precipitadas, aÌ€ performance da muÌsica de concerto, especialmente da que ele chama de "˜performance modernista'. Por meio dele eÌ possiÌvel conhecer outros autores de seu grupo que apoiam ideias similares. Acontece que Cook, com seu tom, parece esperar que seus leitores partam de conhecimentos taÌcitos acerca da realidade atual da performance musical e dos estudos em performance. A anaÌlise feita aqui, principalmente deste livro, vem para estabelecer um contraponto e para tentar conter algumas de suas ideias depreciativas sobre a pesquisa em performance, a performance musical e outros campos que permeiam a ramificação dos estudos em performance. [resumo elaborado pelos tradutores