Doctors in Performance Festival Conference

The University of the Arts Helsinki Sibelius Academy invites music performers and researchers to take part in Doctors in Performance, the sixth festival conference of music performance and artistic research.

The Doctors in Performance Festival Conference (DIP) was established in 2014 at the University of the Arts Helsinki. Since then, it has been organized by the following institutions: The Royal Irish Academy of Music (2016, Dublin), The Lithuanian Academy of Music and Theatre (Vilnius 2018), The Estonian Academy of Music and Theatre (Tallinn, 2021) and The Royal Academy of Music (London, 2023).  

The core idea of DIP is to promote performance and research, especially artistic research, by giving performers, composers and researchers the opportunity to present their research projects. DIP places the emphasis on performance itself and we particularly encourage recital and lecture recital submissions, although paper presentations on relevant fields of artistic research are also warmly welcome. 

DIP 2025 will take place in Helsinki, at the Helsinki Music Centre between 3–5 September, 2025. The conference language is English and all presentations should be in English.

DIP2025 is organized by the following units of the University of the Arts Helsinki: Sibelius Academy’s doctoral schools DocMus (Department of Classical Music) and MuTri (Department of Music Education, Jazz and Folk Music), Research Institute´s History Forum Network and the Open Campus.

Keynote speakers

The keynote speakers of the festival conference are Professor of Folk Music Kristiina Ilmonen (University of the Arts Helsinki, Sibelius Academy) and Dr. Inja Stanović (University of Surrey, Department of Music and Media).

Kristiina Ilmonen´ photo
Kristiina Ilmonen

Dr. Kristiina Ilmonen (University of the Arts Helsinki Sibelius Academy, Professor of Folk Music): Expanding Inwards – Being in music without a tune

The intangible cultural heritage of Finnish and Karelian older musical traditions – runosong, kantele and jouhikko music, shepherd music among others – are based on variation and improvisation, using repetitive melodic and rhythmic patterns. A specific performance style is the orally learned tradition of long-duration music-making, which contemporary folk musicians often call long aesthetics (pitkä estetiikka), where the performer approaches a meditation-like mindset. The music does not begin and end as a tune often does; instead, you enter it like an invariably existing stream and choose to come out when needed. Syvälle (Into the Deep) – A folk music improvisation laboratory as an alternative to tune-based music is a collaborative artistic research project that explores the process of making and performing contemporary folk music based on historical sources and creative experimenting. The Syvälle artistic collective shares a common experience where this music has profoundly impacted us as musicians and more – as humans.

The deep essence of this old runosong culture calls today’s performers and composers with another worldview of how art can be seen, created and experienced. It challenges the customary outcome of musical creativity, the tune or the composition: Can music in our modern society manifest itself in other ways than as works? What can be found in the musical creation process if not forced into the typical forms and venues – how does lingering in the unfinished affect the performance or, in fact, the performer? How can the archaic allow and inspire contemporary expression? What do memory-based music-making and the micro-varied music of long aesthetics do to the musician-composer who embraces it – what kind of expression might emerge? When does improvisation become a composition, and does it matter?

This lecture-recital will delve into the creative performer’s expression and intuition, finding our path in improvisation into this older way of being in music. Perhaps the aesthetics of slowness, gradual change, embodied listening and outward stillness but expanding inwards could lend us an alternative to the current societal mindset of continuously striving towards faster, higher, stronger – the demand for all-around effectivity, being in control and so-called success in all life areas, including music.

Keywords: improvisation, artistic research, music as/without tunes, memory-based music, long aesthetics, sustainability in music

Biography

Among the pioneers of the Finnish contemporary folk music movement, Dr Kristiina Ilmonen is a performing musician, composer, educator, practice-based researcher, and folk music professional. She specialises in Finnish traditional music, wooden flutes, percussion, and improvisation. Ilmonen performs solo with folk winds and in various ensembles, has toured in over 20 countries and plays on over 30 CDs. Free improvisation, contemporary dance, and site-specific art, often in outdoor locations, have been essential themes in her career as a collaborating musician. She has received scholarships and national awards for her artistic work.

She was the Head of the Sibelius Academy Folk Music Department from 1998–2004 and has been developing the Department’s syllabus, educational philosophy, and methodology as one of the primary teachers since then. Ilmonen has worked since 2014 as the Professor of Folk Music at the Sibelius Academy, leading a doctoral education unit of currently 15 students. Ilmonen is a member of the University of the Arts Helsinki Board. She has served as Vice Head of the MuTri Doctoral School and Research Unit, as Vice Head of the Uniarts Helsinki Collegium, Head of the Professors’ Council, and as a member of the Steering group of the Centre for Artistic Research (CfAR).

Ilmonen graduated as a Doctor of Music from the Arts Study Programme at the Sibelius Academy in 2014, studying runosong culture, especially shepherd music and its instruments in Finland and Karelia and adapting the musical heritage to enrich her contemporary expression, while co-developing a new model of a pinewood folk flute. Her current research interests include artistic research, historically informed performance in folk music, improvisation, collaborative creativity, folk wind instruments, sustainability in music and folk music pedagogy. Ilmonen has founded and chaired the Finnish Folk Music Researchers’ Symposium since 2015 and founded the Journal of Finnish Folk Music Research Satasarvi in 2020. She is the Principal Investigator of the collaborative artistic research project Syvälle – Kansanmusiikin improvisaatiolaboratorio teoskeskeisyyden haastajana 2024-2026, funded by the KONE Foundation.


Inja Stanović
Inja Stanović

Dr. Inja Stanović (University of Surrey, Department of Music and Media):
Grasping the Style: Artistic research and historically informed performance

Historically informed performance practice is inherently complex, not only are instruments and playing styles relative to specific cultural, social and historical contexts, literary sources are often highly subjective and, as with the performances that they describe, a product of their own time. Fortunately, practice may be informed by the existence of early recordings, which serve to illuminate stylistic conventions of past eras; such conventions are rarely mentioned in written documents and, using recordings as a guide, the principles of previous performances and interpretations can be systematically studied and understood. Crucially, recordings do not merely offer a window into the sound-world of past performances, they also offer a wealth of information about the physical and tactile nature of performance, which may ultimately serve as a model, or exemplar, for contemporary performances of the same works.                                                     

This lecture-recital discusses the role of early recordings in artistic research, starting with a discussion of the project (Re)constructing Early Recordings: a guide for historically-informed performance, established to provide the first ever systematic study into mechanical recording processes. Throughout, (Re)constructing Early Recordings focussed on 1) practical experiments using early recording technologies to capture a series of musical performances; 2) analytical studies, including analysis of mechanical recordings, and a comparison between mechanical and digital recordings; 3) investigation of methods for the capturing, analysis and understanding of mechanical recording technologies that may substantially inform future research and scholarly enquiries. The usage of Edison phonographs and other various mechanical recording machines to produce wax cylinders and 10-inch discs highlighted a huge gap in contemporary understanding of the mechanical recording process, and early recordings. Since then, these experiments with mechanical recording techniques have included various settings: from research-oriented workshops with students and professionals, to historically informed (re)constructions of analogue sound carriers.   
                                                                                                              
Live performances will be used to explain how mechanical recording technologies informed performance-practice research, demonstrating certain key findings, shedding light on early recording practices, along with insights into romantic playing practices, styles and recording techniques of the early twentieth century. More broadly, this lecture-recital points out a long-standing gap in our contemporary understanding of mechanical recording sessions, the extent to which performing musicians adapted their practice when recording with mechanical technologies, and explores plethora of possibilities in early recording usage in artistic research.

Keywords: artistic research, historically informed performance practices, early recordings, mechanical recording technologies

Biography

Dr. Inja Stanović is a pianist and musicologist, whose areas of research include early recordings, historically-informed performance practices, and historical recording technologies. Through her previous research, she developed new research methods – historically informed recordings and mechanical recording workshops. As a pianist, Inja has performed throughout the world, and she is also a published author. Most recent publications include the co-edited (with Dr. Eva Moreda Rodríguez) volume Early Sound Recordings: Academic Research and Practice (Routledge, 2023), research album Austro-German revivals: (Re)constructing Acoustic Recordings (co-authored with Dr. David Milsom; University of Huddersfield Press, 2023) and the article for Music & Practice, ‘(Re)constructing Early Recordings: Reviving the Brave Belgians’ (co-authored with dr. Jeroen Billiet, 2023). A recent review from Music & Letters (June 2024), describes Inja’s writing as “a testament to the power of practice-based research [that] should be read by every scholar or student who seeks to draw upon early recordings in their work.”

Inja currently works as Surrey Future Senior Fellow, at the University of Surrey, where she is the Head of Performance, and directs the digital platform for historical recording research and practice – Early Recordings Association. ERA embodies forward-thinking research and serves to educate and inform researchers and students, generating innovative paths in the field of early recording research.

Programme 3 September 2025

09:30–10:45 Registration and coffee Lower Foyer (75 min)
10:45–11:15  Welcoming address Black Box (30 min)

  • Rector
  • Anu Lampela, chair of Organization Committee
  • Steering Committee

11:15–12:30 Keynote Inja Stanovic (University of Surrey, Department of Music and Media): Grasping the Style: Artistic research and historically informed performance
(Black Box, Chair Anne Kauppala, 75 min)

12:30–14  Lunch (90 min)

14–15:30 Sessions 1a–e (90 min)

1a Camerata
Chair Anu Lampela

  • Diana Zandberga (Jāzeps Vītols Latvian Academy of Music): Challenges of the Choreomusical Performance (Lecture recital)
  • Liliana Parisi (Conservatory of Milan): Gesture and the Pianist in Contemporary Music: An Artistic Investigation (Recital)

1b Black Box 
Chair TBA

  • Sebastian Dumitrescu (University of the Arts Helsinki Sibelius Academy): Using consonance and dissonance as compositional devices in microtonal music (Lecture recital)
  • Marco Ramelli (TU Dublin Conservatoire) and Enrica Savigni (TU Dublin Conservatoire): Time, Touch, and Creativity: Exploring Tactile Perception in Romantic Performance (Lecture recital)

1c Organo  
Chair Anne Kauppala

  • Connor Wilcox (Royal Irish Academy of Music): Reviving Roseingrave: harmony and interpretative opportunities in Thomas Roseingrave’s Harpsichord Suite No. 2 in C minor (Lecture recital)
  • Agata Meissner (University Mozarteum Salzburg): Alter Weiber Krieg am Wiener Graben by Alessandro Poglietti (early 17th c. – 1683) – structural and practical questions answered in performance (Lecture recital)

1d Auditorium
Chair Markus Mantere

  • Erno Aalto-Urantowka (University of the Arts Helsinki Sibelius Academy): Socially constructed musical gesture at the core of free improvisation pedagogy (Paper presentation)
  • Anastasios Zafeiropoulos (Orpheus Institute): “A hint of keyboard magic”: Clementi’s Sensational Fingerings in the Revisions of his Toccata and Sonatinas (Paper presentation)
  • Binyan Xu (Royal Academy of Music): Discover The ‘Unconfined’ Hand  The Practical Dilemma of  Small-Handed Pianists  and  Potential Solutions (Paper presentation)

15:30–16.00   Coffee (30 min)

16.00–17:30 Sessions 2a–e (90 min)

2a Camerata
Chair TBA

  • Julianna Siedler-Smuga (The Grazyna and Kiejstut Bacewicz University of Music in Łódź): Percussion music socially involved (Lecture recital)
  • Juho Laitinen (University of the Arts Helsinki Research Institute): Inhabiting liminal spaces – experi(m)ent(i)al music-making

2b Black Box 
Chair Pauliina Syrjälä

  • Elena Mindru (University of the Arts Helsinki Sibelius Academy): Exploring the second chorus in vocal jazz: a study of Sarah Vaughan’s melodic variation (Recital)
  • Niklas Lukassen (Royal Academy of Music): Exploring a novel hybrid instrument: The bass cello (Lecture recital)

2c Organo  
Chair Anne Kauppala

  • Vera Plosila (Leiden University) and Anastasios Zafeiropoulos: The Accompanied Keyboard Sonata on the Early Fortepiano and Traverso – Aesthetic and Practical Considerations from the Perspective of Performing Musicians (Recital)
  • Anna-Kaisa Meklin: „Grounding“  – Using historical performance practice to find new ways of composing and improvising for viola da gamba (Recital)


2d Auditorium
Chair Markus Mantere

  • Lora Kmieliauskaitė (Lithuanian Academy of Music and Theatre): The Group Genius Seeks an Individual Body (Paper presentation)
  • Ivan Moshchuk (Royal Academy of Music): The Edge of Musical Image (Paper presentation)
  • Gustavo Afonso (University of Aveiro/INET-md): (De)constructing the Ancient: collaborative experimentation and gender dynamics in the recreation of Medea (Paper presentation)

18.30–19.30  Conference reception, City of Helsinki, Empire Hall. Reception is hosted by the City of Helsinki.


Programme 4 September 2025

9.30–11 Sessions 3a–e (90 min)

3a Camerata
Chair TBA

  • Emil Gryesten (Royal Danish Academy of Music and Orpheus Institute): Somathemes and the Hammerklavier Sonata (Lecture recital)
  • Ettore Biagi (MdW – University for Music and Perfoming Arts Vienna) and Livia Schweizer: phædrus – ecological actions of resonance through uncharted music (Lecture recital)

3b Black Box
Chair TBA

  • Mercedes Krapovickas (University of the Arts Helsinki, Sibelius Academy): Bandoneon Resonances: Movement, Space, and Extended Techniques (Recital)
  • Dario Savino Doronzo (“Giuseppe Verdi” Conservatory of Music – Milan): The progressive didactic approach of Jean-Baptiste Arban in the Military School: Grande Méthode Complète de Cornet à Pistons et de Saxhorn composée pour le Conservatoire et l’Armée (Lecture recital)

3c Organo
Chair Pauliina Syrjälä

  • Emilia Lajunen (University of the Arts Helsinki Sibelius Academy) : Musician embodied knowledge and simultaneous playing and dancing as a method following silent voices of archive recordings
  • Arja Kastinen (University of the Arts Helsinki Sibelius Academy): How the unrecorded becomes reality through experience and why it matters (Recital)

3d Auditorium
Chair TBA

  • Seonhwa Lee (University of Music in Freiburg): A Performer’s Perspective on Interpreting Emilie Mayer’s Cello and Piano Sonatas (Paper presentation)
  • Blake Proehl (Orpheus Instituut and KU Leuven): A Tangible Difference: Defining a Classical Clavichord Idiom Amid the Rise of the Piano (Paper presentation)
  • John Yaffe (Ipsilon Music Press): Reviving the Robert De Cormier Yiddish Folksong Arrangement Archive: an examination of the question of ‘authenticity’ in modern-day performance of folksong arrangements (Paper presentation)

11:00–11:30  Coffee (30 min)

11:30–12.45 Keynote Kristiina Ilmonen (University of the Arts Helsinki Sibelius Academy): Expanding Inwards – Being in music without a tune (Black Box, Chair Pauliina Syrjälä, 75 min)

12:45–14  Lunch (75 min)

14–15:30 Sessions 4a–e (90 min)

4a Camerata
Chair TBA

  • Elisa Rumici (Hochschule für Musik Freiburg): Piano virtuosity in the 20th century: the Etudes on intervals by C. Debussy and E. Rautavaara (Lecture recital)
  • Marianne Abrahamyan (Royal Conservatoire of Scotland): The Role of Dexterity in György Ligeti’s Piano Etudes, Trio, and Concerto (Lecture recital)

4b Black Box
Chair Pauliina Syrjälä

  • Grace Sun Park (Royal Irish Academy of Music: From禪(zen) to 線(line) to仙(transcendence) Rethinking the piano: Avant-garde piano performance as re-creation of artistic identity (Lecture recital)
  • Jussi Reijonen (University of the Arts Helsinki Sibelius Academy): Weaving Connective Threads: Narrative Affordance of Aesthetically Diverse Musical Elements as a Cohesive Device in Transcultural Composition (Lecture recital)

4c Organo
Chair TBA

  • Tina Gelnere (Jazeps Vitols Latvian Academy of Music): Exploring Authenticity in Contemporary Vocal Performance (Lecture recital)
  • Corinna Eikmeier (Musikhochschule Lübeck): Bodyphonics (Lecture recital)

4d Auditorium
Chair TBA

  • Reetta Näätänen (University of the Arts Helsinki Sibelius Academy): Culturally informed performance practice: From harmful stereotyping towards cultural intelligence (Paper presentation)
  • Pilar Mirailles (University of the Arts Helsinki Sibelius Academy): Situating artistic practice; An attempt to remain despite the immediacy era (Paper presentation)

15:30–16 Coffee

16–17:30 Sessions 5a–e (90 min)

5a Camerata
Chair TBA

  • Helga Karen (University of the Arts Helsinki Sibelius Academy): Practicing out loud: A lesson in exploring the complex simplicities in Stockhausen’s “Klavierstück IX” (Lecture recital)
  • Neringa Valuntonyté (Lithuanian Academy of Music and Theatre): Embodied Stage Persona: Exploring the Interplay of Authenticity and Character Creation in Piano Performance (Lecture recital)

5b Black Box
Chair TBA

  • Maarika Autio (University of the Arts Helsinki Sibelius Academy): Approcreations, Subtitle: Exploring the creative freedom of a non-native musician with traditional instruments within riptides of cultural appropriation disputes (Recital)
  • Máire Caroll: Merged between East and West: A discovery of influences throughout Unsuk Chin’s work, as explored through her Piano Étude No.5, ‘Toccata’ (Lecture recital)

5c Organo
Chair TBA

  • Liubov Ulybysheva (Royal Academy of Music): Mieczyslaw Weinberg Sonata for cello solo No.4, Op.140: editorial challenges and possibilities (Lecture recital)
  • Sebastian Silén (University of the Arts Helsinki Sibelius Academy): Sibelius and the Nordic Musical Landscape: Folk Elements, Modal Harmony, and the Evocation of Nature (Lecture recital)

19:00–22:00  Conference dinner (Sokos Hotel Pier)

Programme 5 September 2025

9.30–11 Sessions 6a–e (90 min)

6a Camerata
Chair TBA

  • Vincenzo De Martino (Lithuanian Academy of Music and Theatre): Recurring Pianistic Techniques and Gestures in the Work of Lithuanian Composer Stasys Vainiūnas (Lecture recital)
  • Dobromir Tsenov (Royal Northern College of Music): The Evolution of Bulgarian Style in L’ubomir Pipkov’s 20th-Century Piano Works (Lecture recital)

6b Black Box
Chair TBA

  • Libero Mureddu (University of the Arts Helsinki Sibelius Academy): The Avatars and I’: fostering autonomy and mutual vulnerability in a digitally mediated free improvisation performance (Lecture recital)
  • Maija Turunen (University of the Arts Helsinki Sibelius Academy): Resonating with the Past: AI-Driven Restoration of Historical Singing (Paper presentation)
  • Elisa Järvi (University of the Arts Helsinki Sibelius Academy): Microtones & Resonances – The New Quarter-Tone Piano as a Creative Tool (Paper presentation

6c Organo
Chair TBA

  • Harri Saarinen (University of the Arts Helsinki Sibelius Academy): Bible and piano (Recital)
  • Matas Samulionis: Encoding and Decoding the Performance (Lecture recital)

11:00–12:00 Coffee and lunch (60 min)

12:00–13:30 Sessions 7a–e (90 min)

7a Camerata
Chair TBA

  • Órán Halligan (Royal Irish Academy of Music): The influence of traditional melody on the solo pianoforte works of Johann Bernhard Logier (Lecture recital)
  • Yusuke Ishii (Lithuanian Academy of Music and Theatre): Stylistic Plurality and Performance Practice in Vytautas Bacevičius’s Works for Piano (Lecture recital)

7b Black Box
Chair Anu Lampela

  • Mirka Malmi and Tiina Karakorpi (University of the Arts Helsinki Sibelius Academy): Amanda Maier-Röntgen and Musical Professionalism in Marriage in the 19th Century (Lecture recital)
  • Jenna Ristilä (University of the Arts Helsinki Sibelius Academy): Sex in Sonata Form: Laura Netzel’s Piano Sonata (Lecture recital)

13:30–13:40 Break (10 min)

13:40–14:40  PRIZE (Mieko Kanno represents the winner) (Black Box, 60 min)

14:40–15:00  Conclusion remarks (Black Box, 20 min)

Registration

The registration is open from 2 May to 24 August 2025. The event will be arranged in-person in Helsinki. Register to DIP2025 by paying the Registration Fee. The fee must be paid at the same time as you complete your registration, it cannot be paid later. All registration fees include the daily coffees, participation in all sessions: keynotes and all presentations and Helsinki City`s reception on 3 September at 6.30 – 7.30 PM.

Registration Fee Categories

  • 150€ Presenter and participant (including City of Helsinki reception and coffees)
  • 220€ Presenter and participant (including City of Helsinki reception, coffees and dinner)
  • 100€ Student presenter and student (a valid student ID is required, including City of Helsinki reception and coffees)
  • 170€ Student presenter and student (a valid student ID is required, including City of Helsinki reception, coffees and dinner)

We accept the following forms of payment

  • Finnish banks (verkkopankki)
  • Visa or Mastercard

After registration, you will receive a confirmation e-mail and also the receipt of the payment. You can update your information until the end of the registration time. Please, save your documents.

There are no free fees for Uniarts Helsinki staff or students. If your study program or Uniarts Helsinki pays your registration fee, please add the unit or project number for your payment in the registration form. The registration fees of Uniarts Helsinki’s members (presenters, staff and students) will be invoiced internally by the university’s Financial Services. Note that it is not possible to make a registration payment with an Uniarts Helsinki credit card.

Practical Information for participants

DIP2025 will take place in the facilities of Uniarts Helsinki’s Sibelius Academy`s Töölö campus (Helsinki Music Centre). Here you will find information about us and our venues as well as how to move around in Helsinki and where to visit.

Accommodation

The organisers have negotiated discount rates for conference attendees in Sokos Hotel Presidentti in central Helsinki, within walking distance from the conference venue and the main railway station.

As the conference participant you will get the 10 % discount for the reservation to Forenom Aparthotels. Forenom aparthotels offer you convenient accommodation in great locations. Getting around is easy, as you have access to main thoroughfares and public transportation.

Ask the discount codes: dip2025@uniarts.fi.

Getting around

The fastest and most economical way of reaching the city centre from the Helsinki-Vantaa airport is by commuter train. The I and P trains run regularly from the airport to the Helsinki Central Railway Station, and the journey takes about 30 minutes. A one-way ticket (ABC zones) can be purchased from an automat at the airport train station or from the HSL app. A taxi between the airport and the city takes 20 – 30 minutes and costs around 40 €.

Helsinki does, however, have an extensive public transport system with buses, two metro lines, city bikes, ferries and commuter trains. You can download the HSL app from your app store for free to buy tickets, find routes (Journey Planner) and stay up-to-date with any service changes: HSL website. The municipal Suomenlinna ferry operates between the Market Square and the Suomenlinna Sea Fortress all year around.

Good to know

  • See the latest weather forecast in Helsinki see: Finnish Meteorological Institute
  • The local currency in Finland is Euro (EUR) and all major credit cards are widely accepted. There are several ATM machines (e.g. OTTO machines) and foreign currency exchange points available around the city centre, e.g. Forex and Tavex.
  • General Emergency number for police, ambulance and fire department is 112.
  • Finland has two official languages, Finnish and Swedish. Street signs in Helsinki are in both languages.
  • The sign “Apteekki”, which means pharmacy in Finnish. It is safe to drink tap water in Helsinki.
  • The time zone in Helsinki is Eastern European Time (EET), 2 hours ahead of Greenwich Mean Time (GMT +2).
  • There are plenty of hotspots available in the city centre and at harbours. For the international research and education community, it is possible to use Eduroam service while in Helsinki.
  • Helsinki Tourist Information Office is located at Aleksanterinkatu 24. Read more: Tourist Information

Call for Proposals

The Call for Proposals in open between November 18, 2024 – February 28, 2025. Notices of acceptance will be sent in March 2025. The conference will be in-person only, in keeping with the performance focus of the event. 

Target group

The University of the Arts Helsinki invites music performers and researchers to take part in Doctors in Performance, the sixth festival conference of music performance and artistic research. 

The core idea of DIP is to promote performance and research, especially artistic research, by giving performers, composers and researchers the opportunity to present their research projects. DIP places the emphasis on performance itself and we particularly encourage recital and lecture recital submissions, although paper presentations on relevant fields of artistic research are also warmly welcome.    

Presentation formats and timing

Presentations may be proposed in one of three formats:  

  • a short recital with research introduction  
  • a lecture recital  
  • a research paper (including captured performance footage if appropriate)  

Timings for presentations are as follows, each followed by 10-minutes discussion:  

  • Recital + introduction: 30 minutes (including 5–10 mins of research introduction and set-up)  
  • Lecture recital: 30 minutes (including set-up)  
  • Paper presentation: 20 minutes  

 We can offer limited technical equipment and support during the presentations. Performance spaces will contain a grand piano, music stands and an A/V system with a screen and PA. We may be able to provide limited additional equipment on request, such as a mixing desk, stereo speakers and microphones. Please note that there will only be limited time for technical set-up and that we therefore cannot support complex events. Please let us know about your preliminary technical plans and we will try to allocate our resources accordingly.  

 The conference language is English, and all presentations should be in English.  

Those interested should fill the provided proposal template, which includes the following:  

  • name and title of the presenter/s  
  • type of presentation (recital, lecture recital or paper)  
  • title and abstract for the presentation (300 words maximum), including details of any works to be performed  
  • equipment needed for the presentation (instruments, technical requirements etc.)  
  • biography (100 words maximum) and contact information  
  • photo  
  • technical requirements  


Steering Committee

  • Dr. Anu Lampela, Chair (University of Arts Helsinki) 
  • Dr. Sarah Callis (Royal Academy of Music) 
  • Prof. Lina Navickaite-Martinelli (Lithuanian Academy of Music and Theatre) 
  • Prof. Denise Neary (Royal Irish Academy of Music) 
  • Dr. Theodore Parker (Estonian Academy of Music and Theatre)

Organization Committee

  • Dr. Anu Lampela, Chair (University of Arts Helsinki) 
  • Prof. Anne Kauppala 
  • Prof. Markus Mantere 
  • Dr. Pauliina Syrjälä 
  • Producer Eeva Hohti 
  • Coordinator Johanna Rauhaniemi

Contact

More information and questions: dip2025@uniarts.fi

Time

3.9.2025 at 10:00 – 5.9.2025 at 17:00

Location

Musiikkitalo

Töölönlahdenkatu 16

00100 Helsinki

Auditorium

Black Box

Camerata

Location on map

See directions