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).
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.
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.
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
- for recital and lecture-recital proposals, please include a link to recent video footage of you performing live (at least 5 mins); the repertoire does not need to be relevant to the proposal
- equipment needed for the presentation (instruments, technical requirements etc.)
- biography (100 words maximum) and contact information
- photo
- technical requirements
Registration
The registration will be opened in 2 May 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.
Registration Fee Categories
- 150 € Presenters and participants (including participation Wed – Fri, materials, City of Helsinki reception and coffees)
- 100 € Student presenters and students (a valid student ID is required, including participation Wed – Fri, materials, City of Helsinki reception and coffees)
- 220 € Presenters and participants (including participation Wed – Fri, materials, City of Helsinki reception, coffees and dinner)
- 170 € Student presenters and students (a valid student ID is required, including participation Wed – Fri, materials, 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.
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 code: 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 (mostly every 10–15 minutes) 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 €.
Our conference venue is situated in central Helsinki, and the city centre can be thoroughly explored on foot. Most of the signs are within convenient walking distance of the city centre.
Helsinki does, however, have an extensive public transport system with buses, two metro lines, city bikes, ferries and commuter trains. Trams are the main mode of public transport in the inner city. The single public transport tickets can be purchased from ticket machines at the metro stations or the railway stations. 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. Tickets can be purchased from a ticket machine at the Market Square.
Good to know
Helsinki climate combines characteristics of both a maritime and a continental climate. Days are at their longest in the second half of June, the sun stays above the horizon for 19 hours. For 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 in Finland. 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. English is widely spoken and most Finns also master one or two other foreign languages.
There are a number of pharmacies around the city. Look for 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. You can also connect your laptop or mobile phone to a wireless network in many places throughout the city centre e.g. in several cafes, restaurants and libraries. In addition, most hotels offer their guests a free internet connection. For theinternational research and education community, it is possible to use Eduroam service while in Helsinki.
Helsinki Tourist Information provides free information about the city, main attractions, events, and services. The Tourist Information provides tips and advice for making the most of your visit. At the same time you can pick up brochures and maps. The Tourist Information Office is located at Aleksanterinkatu 24, in the corner of Aleksanterinkatu street. Read more: Tourist Information
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
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).
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.
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.
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
- for recital and lecture-recital proposals, please include a link to recent video footage of you performing live (at least 5 mins); the repertoire does not need to be relevant to the proposal
- equipment needed for the presentation (instruments, technical requirements etc.)
- biography (100 words maximum) and contact information
- photo
- technical requirements
Registration
The registration will be opened in 2 May 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.
Registration Fee Categories
- 150 € Presenters and participants (including participation Wed – Fri, materials, City of Helsinki reception and coffees)
- 100 € Student presenters and students (a valid student ID is required, including participation Wed – Fri, materials, City of Helsinki reception and coffees)
- 220 € Presenters and participants (including participation Wed – Fri, materials, City of Helsinki reception, coffees and dinner)
- 170 € Student presenters and students (a valid student ID is required, including participation Wed – Fri, materials, 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.
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 code: 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 (mostly every 10–15 minutes) 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 €.
Our conference venue is situated in central Helsinki, and the city centre can be thoroughly explored on foot. Most of the signs are within convenient walking distance of the city centre.
Helsinki does, however, have an extensive public transport system with buses, two metro lines, city bikes, ferries and commuter trains. Trams are the main mode of public transport in the inner city. The single public transport tickets can be purchased from ticket machines at the metro stations or the railway stations. 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. Tickets can be purchased from a ticket machine at the Market Square.
Good to know
Helsinki climate combines characteristics of both a maritime and a continental climate. Days are at their longest in the second half of June, the sun stays above the horizon for 19 hours. For 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 in Finland. 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. English is widely spoken and most Finns also master one or two other foreign languages.
There are a number of pharmacies around the city. Look for 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. You can also connect your laptop or mobile phone to a wireless network in many places throughout the city centre e.g. in several cafes, restaurants and libraries. In addition, most hotels offer their guests a free internet connection. For theinternational research and education community, it is possible to use Eduroam service while in Helsinki.
Helsinki Tourist Information provides free information about the city, main attractions, events, and services. The Tourist Information provides tips and advice for making the most of your visit. At the same time you can pick up brochures and maps. The Tourist Information Office is located at Aleksanterinkatu 24, in the corner of Aleksanterinkatu street. Read more: Tourist Information
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