Turning the Tune Together: Experience the LEONARDO methodology
Monika Hegner + Jan Pfitzer + Ulrike Herzog, Nuremberg University of Music and the Academy of Fine Arts Nuremberg, Germany 
Break out Session 2: Thursday 24 November 16:30 - 17:30 (Helsinki Time)

Academic education at the intersections of technology, arts, science, and society is what lies at the heart of LEONARDO. LEONARDO, Centre for Creativity and Innovation, is a cooperation between the Nuremberg Institute of Technology, the Nuremberg University of Music, and the Academy of Fine Arts Nuremberg. Participants will be presented with its interdisciplinary methodology, projects, and the scientific findings LEONARDO is built on. LEONARDO supports interdisciplinary groups in their process of addressing both regional and global problems and consecutively developing answers to their challenges. In this workshop, participants will experience the way LEONARDO works—how interdisciplinarity can help to find answers to pressing questions of our time, and how art and technology can enrich each other and thereby create valuable achievements.

The Genre Spectrum of Audiovisual Interspace
Martin Klusak, Academy of Performing Arts in Prague, Czech Republic 
Break out Session 4: Friday25 November 11:30 - 12:30 (Helsinki Time)

Interactive session at the intersection of music composition and filmmaking. Knowing that both music composer and film director have the means to create experimental ‘audiovisual music’ films, what is the possible genre spectrum that emerges from the confrontation of the two academically different views? Can one approach genre and format of a time-based work as a parameter to be consciously worked with and changed over time within the piece? If yes, what are possible compositional shapes of such an approach?

Plastic Extension of Music

Bertrand Chavarria-Aldrete, Malmö Academy of Music, Lund University, Sweden 
Break out Session 4: Friday25 November 11:30 - 12:30 (Helsinki Time)

This form of creative criticism/intervention is a plastic extension of music that takes the instrumental interpretation (praxis) of a work as a poietic process preceding plasticity. Considering musical performance as an incompleteness that creates a recollection of material—impressions, technical hacks, muscle memory, and more subjective information—generated during the physical work with the instrument along in the exegetical study and the musical interpretation.