The 2nd International Conference on Performance and Creativity: Historical Keyboard Music 1700–1850, Hong Kong, 27-29 May 2019

We take pleasure in inviting you to The 2nd International Conference on Performance and Creativity: Historical Keyboard Music 1700–1850. The Conference will be hosted by Hong Kong Baptist University from Monday 27 May to Wednesday 29 May, 2019.

In November 2016, the Department of Music has successfully organised the first International Conference on Performance and Creativity, attracting leading scholars and musicians from Asia, Europe and the United States to exchange ideas through a series of paper presentations, concerts, masterclass and round-table discussions. The 2nd International Conference on Performance and Creativity aims to bring together scholars and performer/scholars researching keyboard performance on 1700—1850 repertory and will explore current research foci and possible future developments in historical performance research. In particular, this conference will take full advantage of the historical keyboard collection of the Department of Music:

(1) Flemish double-manual harpsichord by Marc Ducornet (Paris, 2015), after J. Ruckers (Colmar, 1624), 2 x 8’, 1 x 4’, GG to dd
(2) French double-manual harpsichord by Andrew Garlick (London, 1992), after Goujon (Paris, 1749), 2 x 8’, 1 x 4, FF to f”’
(3) Unfretted clavichord by Karin Richter, Lewes 2009, after Hubert, 1771, FF to g”’
(4) Fortepiano by Chris Maene, Ruiselede, 2010, after Anton Walter (Vienna, 1795), FF to g”’
(5) Italian Harpsichord by Carey Beebe, Sydney, 1995, after Grimaldi (Italy, ca. 1700), 2 x 8⁠´, GG-d”’, A415/A440
(6) Fortepiano by Paul McNulty, Czech Republic, 2019 (scheduled to arrive at HKBU in Feb 2019, after Graf (ca. 1819, Op. 318), CC-F4, A442

Keynote participants include Professor John Rink (Cambridge University), Professor David Schulenberg (Wagner College) and Professor Joyce Lindorff (Temple University).

We welcome proposals that explore latest development in historically-informed performance:

  1. To research how an awareness of the original sources and contexts of performance could contribute to a contextualized understanding of the creative processes in music
  2. To investigate how understanding historical keyboard performance as a creative activity could allow modern performers to cultivate new approaches to interpretation
  3. To identify interdisciplinary approaches to revitalizing research on historical keyboard research in repertory up till 1850
  4. To evaluate how collaborative research has reshaped historically-informed performance (HIP) for the 21st century

The organizing committee invites proposals for:
• Individual presentations of 20 minutes in duration (followed by 5 minutes of discussion).
• Lecture-recitals of 30 minutes in duration (including 5 minutes of discussion)
• Workshops of 30 minutes in duration (including discussion)

Individuals may submit one proposal (in English) in the form of an abstract of not more than 250 words. Acceptance of proposals will be at the discretion of the organizing committee. Presenters will typically be grouped into themed sessions of three to four presentations per theme.

The abstract should include information under the following headings:
• Name
• Institutional affiliation
• Postal address
• Email Address
• Presentation type (paper, lecture–recital, etc.)
• Title

Abstracts (in Microsoft Word format) shall be emailed to:
The deadline for submission of abstracts is extended to 8 January 2019.
Presenters will be notified of the acceptance decision by 31 December 2018.

Please send all queries to
For more details of the conference, please visit