Submission of papers




Practices on different keyboard instruments and the challenges of the 21st century.


December 1 to 3, 2020

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Registration grants you access to the Internet link to follow the Symposium.




Performa Clavis Internacional 2020 on-line invites researchers, teachers, students, artists and music professionals to submit work proposals according to the specifications of this call.


About the Symposium


This year the Performa Clavis International Symposium celebrates its 10th anniversary. It was conceived as a trilateral cooperation activity between the Graduate Programs in Music of the three Universities of the State of São Paulo, based at the Arts Institute of the State University of Campinas (UNICAMP), at the Arts Institute of the State University of São Paulo (UNESP ) and at the School of Communications and Arts of the University of São Paulo (USP). Since its third edition, the symposium has had the participation of the Music Department of the Faculty of Philosophy, Sciences and Letters of Ribeirão Preto, at the University of São Paulo. Since the first event, in 2010, Performa Clavis Internacional has as a priority objective the strengthening, in the national academic and artistic scenario, of research and artistic practices and teaching in the area of ​​performance and interpretive practices, with emphasis on keyboard instruments, namely: piano, fortepiano, harpsichord, clavichord and organ. This sixth edition of Performa Clavis Internacional, online, proposes the theme Practices in different keyboard instruments and the challenges of the 21st century. It will be organized by the Music Department of FFCLRP-USP and the Music Department of ECA-USP and will include the participation of teachers of keyboard instruments from the three promoting institutions, as well as seven international guests: the pianist and musicologist Luca Chiantore (Escola Superior de Música de Catalunya, Spain), pianist Eliane Rodrigues (Royal Conservatoire of Antwerp, Belgium), organist Martin Gester (Académie Supérieure de Musique de Strasbourg, France), harpsichordist Aline Zylberajch (Académie Supérieure de Musique de Strasbourg, France), pianist Albert Nieto (Spain), pianist / fortepianist Chi-Chen Wu (University of Wyoming, USA) and pianist Jerico Vasquez (Shorter University, USA). In its biennial editions, the symposium has fulfilled its proposal to bring together researchers, artists, teachers and students in the area in an environment of scientific cooperation and artistic collaboration, in which reflective, theoretical and critical studies, artistic and teaching practices reveal themselves as complementary territories.

Symposium structure


The Symposium will be structured based on the following activities:




Their purpose is to encourage the discussion of the general theme of the Symposium by researchers of international recognition. The speakers and invited speakers of this edition will be:


  • Luca Chiantore ( School of Music of Catalunya , Spain) - piano

  • Martin Gester ( Académie Supérieure de Musique de Strasbourg , France) - organ

  • Aline Zylberajch ( Académie Supérieure de Musique de Strasbourg , France)




  • Albert Nieto - (Spain) - piano

  • Fernando Corvisier - Tribute to Almeida Prado (in the 10 years of his death) - piano

  • Chi-Chen Wu ( University of Wyoming , USA) - piano




They aim to address the theme of the Symposium from different perspectives of analysis, by invited researchers.



Their purpose is to introduce the professors of the institutions promoting the symposium and invited professors, and will be coordinated by the Artistic Commission.





Their purpose is to present scientific papers submitted to the event, analyzed, selected and organized by the Scientific Committee.




Their purpose is to discuss the interpretation of works in the repertoire of each of the instruments involved, through the execution of students, under the coordination of one of the invited professors from abroad. Proposals entered in this category will be analyzed, selected and organized by the Artistic Commission.



Proposal submissions for all categories are free. However, authors selected in any of the categories must register for the event so that, with permission to access the event's transmission platform on the internet, they can present their communications or participate in the masterclasses.

Proposals for two categories will be accepted:


1 - Communications

1.1. The period for submission of EXPANDED ABSTRACTS proposals will be open from October 5, 2020 to November 11, 2020.


1.2. Submissions must be sent exclusively by e-mail to:


1.3. EXPANDED ABSTRACTS must be unpublished (that is, prepared exclusively for participation in Performa Clavis 2020; they cannot have been presented in previous events or published in periodicals, books or annals).


1.4. EXPANDED ABSTRACTS linked to the theme of Performa Clavis 2020 will be accepted. Papers must be edited in .doc or .docx format. The official language of the Symposium is Portuguese, but papers in Spanish and English will also be accepted.


1.5. The submitted proposal must consist of work originating from research, artistic production or experience (teaching, cultural production, scientific dissemination or case report). The text of the EXPANDED ABSTRACTS should explain the problem, objectives, justification (pertinence and relevance of the work), theoretical references and procedures used, in addition to highlighting the final results (for completed works), or consistent preliminary analysis (for works in progress) and the conclusions reached.


1.6. The text must be between 10,000 to 11,000 characters (with spaces) and 5 keywords; and be presented in Times New Roman font, size 12, 1.5 spacing between lines and in compliance with ABNT standards (NBR 10.520, for citations, and NBR 6.023, for bibliographic references).


1.7. Title of the work, with only the first capital letter, the subtitle, if any, starting in lower case (size 14, single space, bold, centralized) The texts submitted for evaluation by the Scientific Committee must not contain name, institutional affiliation nor any other type of information that allows the identification of the author (s) or authors.


1.8. Each communication will have a duration of 30 minutes, 20 minutes for the presentation of the work, followed by up to 10 minutes of discussion.


1.9 The authors of approved submissions must send the final version of the text by November 22, 2020, following the "Instructions for Formatting Texts" presented in this call.



Each work will be evaluated (blind evaluation) by at least two reviewers, based on the parameters indicated below. Each parameter will be scored from 1 to 5, where: 1 = unsatisfactory; 2 = reasonable; 3 = satisfactory =; 4 = very good and 5 = excellent. The cutoff score is 35.


The requirements adopted by the Scientific Committee are:

1 - Importance of work (weight 3)


Aspects to be considered: suitability of the work; relevance of the subject; contributions brought by work for the advancement of knowledge (conceptual or empirical) in the area of ​​music; relationship of the work with the theme of the event.


2 - Content and structure of the expanded abstract (weight 5)


Aspects to be considered: clarity of the objective (s); clarity in the presentation of the theoretical-methodological approach; consistency between objectives and results and conclusions.


3 - References (weight 2)


Aspects to consider: communication with the production of the area / dialogue with other authors; consistency, timeliness and / or relevance of the referenced works.


The approved works will be announced on the Performa Clavis 2020 website on November 16, 2020.


The full version of the articles, for inclusion in the Electronic Proceedings of Performa Clavis, should be sent between December 7, 2020 to December 13, 2020, in the following format:


  1. The page must be configured in A4 size, left, right, top and bottom margins of 2.5 cm. The file must not exceed 5 MB.

  2. Title of the work, with only the first capital letter, the subtitle, if any, starting in lower case (size 14, single space, bold, centralized).

  3. Summary of the work with about 6 lines (size 10, single space, 2 centimeters of indentation in the left margin, justified).

  4. Three to five keywords, separated by a period, with only the initial of each of them in capital letters (size 10, single space, 2 centimeters of indentation in the left margin, justified; followed by a blank line).

  5. Title, abstract and keywords of the work, translated (size 10, single space, 2 cm indentation in the left margin, justified; followed by a blank line): the title, abstract and keywords must be presented in beginning of the text in the language used in the work. For works in Portuguese or Spanish, after these items, they must be translated into English (all title terms and all keywords must start with a capital letter); for papers in English, these items must be translated into Portuguese.

  6. The body of the text must use Times New Roman, size 12, 1.5 spacing between lines, without indentation, justified alignment and indentation of the first line of paragraph of 2 cm. The text must comply with ABNT standards (NBR 10,520, for citations, and NBR 6,023, for bibliographic references).

  7. If the text is subdivided into sections, their titles should be in bold, font size 12, 1.5 spacing, justified. Each work must have a length of up to 10 pages (including title, abstract, keywords and respective translations, notes and bibliographic references).

  8. Musical examples (Ex.), Figures (Fig.), Tables (Tab.) Etc. should be inserted in the text as a figure, in black gradations (“.tif” or “.jpg” format in 300 dpi), numbered and accompanied by a succinct and explanatory caption of no more than 3 lines (size 10, single space, centralized, inserted under the illustration).

  9. The initials of the names of musical notes must always be in capital letters (C, D, E, etc.). For specific symbols such as sharp, flat and bequadro, the BACH font may be used. The font can be downloaded at the following URL:

  10. Notes should be included only for complementary information and comments, in font size 10, with single spacing, justified, as an end note.

  11. Citations with up to three lines must be inserted in the body of the text (in quotation marks, in font size 12). Citations with more than three lines must be separated as a paragraph and with 4 cm indentation to the left (without quotes, font size 10, single space, justified alignment, without italics). Both must be followed by (AUTHOR, year, page number). Example: (RINK, 2010, p. 14).

  12. The accuracy of the references in the list at the end of the works as well as the correct citation throughout the text are the responsibility of the author or authors of the work.

  13. The publication of the text in the Electronic Proceedings will be subject to the presentation of the work at Performa Clavis 2020 and the delivery of a fully revised version (from a grammatical and formal point of view).

For any further questions on the Submissions of COMMUNICATION PROPOSALS, please send an e-mail to:

2 - Masterclasses


Those interested in participating as performers of the masterclasses should send a text file to the email containing:


  • brief resume

  • title and composer of the piece to be performed

  • minute of the piece (maximum 10 minutes)

  • unlisted Youtube link of the piece's own recording.


The artistic commission will have the autonomy to indicate which candidates will participate in the masterclasses. The selected proposals will be presented during the three days of the Symposium, always from 11 am to 12:30 pm, in the following order: piano (December 1), organ / harpsichord (December 2), harpsichord / fortepiano (December 3).



Posting videos for MASTERCLASSES


As the symposium will be on-line, the format of the masterclasses will not be the same as in normal, face-to-face conditions. Guests invited to teach masterclasses will review the accepted videos in real time, when the masterclass is broadcast on the internet. Due to the different conditions of internet connection, which can greatly affect the quality of musical performance on streaming platforms, students will be able to ask questions to the lecturers, to clear up any doubts regarding the suggestions offered, but they will not perform the pieces again in real time. The only presentation will be the pre-recorded and accepted video for the masterclass.


Each proposal will be evaluated by at least two referees, based on the parameters indicated below, where: 1 = unsatisfactory; 2 = reasonable; 3 = satisfactory; 4 = very good and 5 = excellent. The cut-off score is 9. It is important that the recordings sent are of sufficient quality to be properly evaluated and broadcast on the internet.


  1. Quality of performance: accuracy of reading, relevance of interpretative choices and technical proficiency, precision and clarity in the communication of elements

  2. Artistic qualities of the accepted work: relevance and pertinence of the work to the repertoire of accepted instruments.

  3. Quality of capture (audiovisual) of the material submitted: quality of the recording and its potential to provide a satisfactory evaluation.


* If the number of approved works exceeds the absorption capacity for the event's schedule, the Artistic and Scientific Commissions will define the works to be contemplated, complying with the scoring criteria.

For any further questions regarding the MASTERCLASSES, and the VIDEOS, please send an e-mail to:


Submission of proposals - 10/05/2020 to 11/11/2020

Evaluation by the committees - 11/11/2020 to 11/15/2020

Announcement of results - 11/16/2020

Submission of the final version of the expanded abstract (for communications) - 11/22/2020


Submission of the Full Text (communications) for publication in the Proceedings: 07/12/2020 to 12/13/2020





Organizing committee

Fátima CORVISIER, President - USP - Piano

Edmundo HORA - UNICAMP - Harpsichord and Fortepiano

Eduardo MONTEIRO - USP - Piano

Fernando CORVISIER - USP - Piano

Luciana Sayure SHIMABUCO - USP - Piano


Scientific committee:

Mario VIDEIRA - USP - Piano (coordinator)

Dorotea KERR - UNESP - Organ

Helena JANK - UNICAMP - Harpsichord

Luciana Sayure SHIMABUCO - USP - Piano

Rafael dos SANTOS - UNICAMP - Piano

Ricardo BALLESTERO - USP - Piano


Artistic committee:

Alexandre ZAMITH - UNICAMP - Piano (coordinator)

Anna Cláudia AGAZZI - UNESP - Piano

Edmundo HORA - UNICAMP - Harpsichord and Fortepiano

Fernando CORVISIER - USP - Piano

José Luís Prudente de AQUINO - USP - Organ

Mauricy MARTIN - UNICAMP - Piano

Nahim MARUM - UNESP - Piano


For more information, clarifications and questions in general, contact the Symposium Organizing Committee at


Expanded abstract and video submission

10/05 to 11/11/2020

Evaluation by


11/11 to 11/15/2020

Announcement of results



Expanded abstract

final version submission