Page 1


Research Festival



Artistic Experimentation

from Hades

to Heaven

Orpheus Institute

1 Ghent

2—4 October, 2013

Index 5 On ORCiM 7 Introduction to the Festival 8 List of Presenters, Guests and Performers 9 List of Presentations 10




29 Bio’s 30 Festival Guests 38 ORCiM Researchers 42 47

Orpheus Institute Series (NEW!) On Orpheus Institute


On ORCiM The mission of the Orpheus Research Centre in Music [ORCiM] is to produce and promote the highest quality research into music, into the processes of music making, and into our understanding of these. By bringing together an international team, ORCiM creates a strong and supportive research environment dedicated to the generation of new knowledge by artist-researchers. ORCiM invigorates their practice, deepens understanding and promotes new ways of expressing to the wider world the richness and profundity of knowledge that is embedded in music. ORCiM is the first centre of its kind to focus its research questions through the perspectives of the artist-researcher. International in its scope, it aims to serve as a magnet not only for Flemish researchers and music conservatoires and universities, but also for all individuals and institutions in Europe and overseas looking for guidance and collaboration in the new discipline of research in-and-through musical practice. ORCiM comprises a group of approximately fourteen musicianscholars (Research Fellows), who focus upon furthering the knowledge and understanding that is generated through (live) musical performance and creation. The international ORCiM Research team also includes doctoral students (ORCiM Doctoral Researchers) and selected international visiting musicians and scholars (ORCiM Visiting Researchers). Hans Roels (Belgium) Anna Scott (Canada/The Netherlands) Michael Schwab (Germany/United Kingdom) Luk Vaes (Belgium) Bart Vanhecke (Belgium)

Paulo de Assis (Portugal/Belgium) William Brooks (United Kingdom) Kathleen Coessens (Belgium) Einar Einarsson (Iceland) Bob Gilmore (Northern Ireland) Valentin Gloor (Switzerland) Catherine Laws (United Kingdom) Tiziano Manca (Italy) Gerhard Nierhaus (Austria) Stefan Östersjö (Sweden) Juan Parra Cancino (Chile/Belgium)

Anne Douglas (United Kingdom) – Associate Researcher 2013

Vanessa Tomlinson (Australia) – Visiting Researcher (12/2013)


Introduction to the Festival The Orpheus Research Centre in Music [ORCiM] welcomes you to its Fifth Annual Research Festival. The 2013 edition of the ORCiM Research Festival will explore the challenging paths to Artistic Identity, tracking Artistic Experimentation from Hades to Heaven, and back. This year’s Research Festival represents the culmination of the centre’s three-year long concentration on the theme of Artistic Experimentation in Music. ORCiM has been using the concept of Artistic Experimentation as a catalyst for creating new understanding in Artistic Research across the artistic disciplines. Processes of Artistic Experimentation in musical practice may provide novel ways of illuminating the new knowledge that arises through the experience of art making: generating novel concepts, developing atypical performances, encouraging new technologies and innovative research outputs – most relevant factors of the individual and the collective artistic identity. The Festival will present a series of interwoven outcomes, using the architecture and layout of the Orpheus Institute itself as a part of the ‘experimental system’. From its basement rooms to its recently completed rooftop additions, it is intended to generate a multi-layered environment of experimentation, engaging and involving audiences in a range of types and levels of discussion and participatory workshop activity. We wish you all three days full of rich and challenging experiences. The Festival organisation team. Valentin Gloor and Juan Parra.


List of Presenters, Guests and Performers ORCiM Researchers

Festival Guests

Paulo de Assis William Brooks Kathleen Coessens Bob Gilmore Valentin Gloor Catherine Laws Gerhard Nierhaus Stefan Östersjö Juan Parra Cancino Hans Roels Michael Schwab Anna Scott Luk Vaes Bart Vanhecke

Benjamin Glorieux Andrew Lawrence-King Kai Köpp Festival Performers Geert Callaert Daniel Mayer Hanns Holger Rutz Ensemble Modelo62 Justin Christensen Rebecca Huber Santiago Lascurain Ezequiel Menalled Enric Sans i Morera Vasilis Stefanopoulos Teodora Stepancic Gemma Tripiana Muñoz Jan Willem Troost The Six Tones Ngô Trà My Nguyê͂n Thanh Thủy Stefan Östersjö Trio Scordatura Bob Gilmore Alfrun Schmid Elisabeth Smalt


List of Presentations Con Luigi Nono: Towards Unlimited Possibilities | P. de Assis | p. 16 Five Maps of the Experimental World | B. Gilmore | p. 17 Rheinberger’s Experimental Systems | M. Schwab | p. 17 Goethe’s Concept of Exploratory Experimentation | K. Coessens | p. 18 Go to Hell: Gesture and Sound on the Threshold | S. Östersjö | p. 19 To Perform Kagel’s Tactil and Unter Strom: Adventures in Output | L. Vaes | p. 20 Ceci n’est pas une pianiste? | C. Laws | p. 20 Experimenting with Sounding Historical Traces and the Unraveling of Brahmsian Identities | A. Scott | p. 21 Expertise through Embodiment – Experimental Methods in Interpretation Research | K. Köpp | p. 22 What’s the Score? | W. Brooks | p. 22 In the Image of the Composer: Algorithmic Exploration of the Composer’s Creativity | B. Vanhecke, G. Nierhaus | p. 23 Some Bach Cello Solo Suites | B. Glorieux | p. 23 Performing the Creative Process of a Music Composition | H. Roels | p. 24 Multiple Paths | J. Parra (with Modelo62) | p. 24 American Experimental Tradition | B. Gilmore, W. Brooks | p. 25 Orpheus Points: Gesture in 17th century Musical Action | A. Lawrence-King | p. 26 “No success like failure”: Some Unsuccesful Experiments in Twentieth-Century Music | B. Gilmore | p. 27



Wednesday October 2

13:00 – 14:00


14:00 – 14:30

WELCOME | P. Dejans, V. Gloor

14:45 – 16:45

Conceptual Frameworks Auditorium CHAIRS: V. Gloor, W. Brooks

Entrance Hall Roof Room

“…..sofferte onde serene…” for piano and tape & more P. de Assis | p. 16

Five Maps of the Experimental World B. Gilmore | p. 17

Rheinberger’s Experimental Systems M. Schwab | p. 17

Goethe’s Concept of Exploratory Experimentation K. Coessens | p. 18

16:45 – 17:15


17:15 – 19:00

Insights on Outputs CHAIR: W. Brooks

Dining Hall Concert Hall

Go to Hell: Gesture and Sound on the Threshold S. Östersjö | p. 19

To Perform Mauricio Kagel’s Tactil and Unter Strom L. Vaes | p. 20

Experimental Systems: Future Knowledge in Artistic Research M. Schwab | p. 17

Con Luigi Nono: Towards Unlimited Possibilities P. de Assis | p. 16

19:00 – 20:15


Dining Hall

20:15 – 21:30

Sound and Gesture CHAIRS: W. Brooks, V. Gloor

Presentations take place twice for rotating groups a & b: Ceci n’est pas une pianiste? C. Laws | p. 20

Go to Hell S. Östersjö | p. 19


Concert Hall

Thursday October 3 09:30 – 11:00

Performance Studies and more I CHAIR: C. Laws

Concert Hall

Experimenting with Sounding Historical Traces and the Unraveling of Brahmsian Identities A. Scott | p. 21

To Perform Mauricio Kagel’s Tactil and Unter Strom L. Vaes | p. 20 11:00 – 11:30


Dining Hall

11:30 – 13:00

Performance Studies and more II Auditorium CHAIR: V. Gloor

Expertise through Embodiment K. Köpp | p. 22

What’s the Score? W. Brooks, C. Laws, A. Scott, Modelo62, J. Parra | p. 22

13:00 – 14:30

Dining Hall


Red Room

During lunch for group 1: 13:30 – 13:45 Breaking Waves: re-listening to “…..sofferte onde serene…” | P. de Assis | p. 16 14:30 – 16:30

The Composer’s Identity CHAIR: K. Coessens

Concert Hall

In the Image of the Composer B. Vanhecke, G. Nierhaus | p. 23

Some Bach Cello Solo Suites B. Glorieux | p. 23 16:30 – 17:00

Performing the Creative Process of a Music Composition H. Roels | p. 24 Dining Hall


During coffee break for group 2: 16:30 – 16:45 Breaking Waves: re-listening to “…..sofferte onde serene…” | P. de Assis | p. 16


Red Room

Thursday October 3 17:00 – 18:30

Experimentation in Action Auditorium CHAIR: B. Vanhecke

17:00 – 17:30 Multiple Paths J. Parra | p. 24 Free choice of 2 out of 5 practical sessions (all sessions presented twice) 17:30 – 17:55 American Experimental Tradition Yellow Room 18:00 – 18:25 B. Gilmore, W. Brooks | p. 25

Experimenting with Sounding Historical Traces and the Unraveling of Brahmsian Identities A. Scott | p. 21

Goethe’s Exploratory Experimentation K. Coessens | p. 18

Red Room

Concert Hall

Multiple Paths Auditorium J. Parra | p. 24

Experimental Systems in Action M. Schwab | p. 17

17:30 – 18:30 Algorithmic Experimentation G. Nierhaus, D. Mayer, H. H. Rutz | p. 23 (enter at any time) 18:45 – 19:15

Amuse-bouche and discussion CHAIR: C. Laws

19:15 – 19:45

Blue Room

Concert Hall

James Tenney: Harmonium #1 Trio Scordatura


During Festival Cava Reception for group 3: Breaking Waves: re-listening to “…..sofferte onde serene…” | P. de Assis | p. 16 19:30 – 22:00

Presidential Room

Entrance Hall Red Room

Dining Hall



Friday October 4 09:30 – 10:30

Gesture in Music CHAIR: V. Gloor

Concert Hall

Orpheus Points: Gesture in 17th century Musical Action A. Lawrence-King | p. 26 10:30 – 11:15

Music in Action CHAIR: L. Vaes

Concert Hall

Multiple Paths J. Parra, Modelo62, Trio Scordatura, ORCiM fellows | p. 24 11:15 – 11:45


11:45 – 12:30

No more Experiments without Experimentation CHAIR: W. Brooks

12:30 – 13:15

Dining Hall

“No success like failure” B. Gilmore | p. 27

Future Paths of ORCiM CHAIR: P. Dejans

Concert Hall

Concert Hall

Building up the ORCiM Clusters ORCiM Cluster Leaders

13:15 – 13:30 FAREWELL | P. Dejans, V. Gloor


Concert Hall



Con Luigi Nono: towards unlimited possibilities… Paulo de Assis .....sofferte onde serene… for piano and tape was composed by Luigi Nono in 1976, signalising the beginning of his late creative period. One crucial aspect of this piece consists in the use of ‘shadow’ sounds, ambiguous sonorities that come sometimes from the piano, sometimes from the tape and that generate a perceptual (con)fusion for the listener. This (con)fusion is enhanced by flexible time relations between piano-live and piano-on-the-tape, allowing the performer on the piano and the performer of the tape to establish various kinds of concrete sonic rapports. The study of this relatively “young” piece (only 36 years old), revealed the existence of an already extremely high amount of “documents” or “things” related to it: sketches, drafts, working-tapes, two copies of the tape, two official editions plus one research-edition, articles, one book, and numerous recordings. The research conducted by the team musicexperiment21 scrutinised all these diverse materials with an archaeological precision. This archaeology allows not only the bare exposition of things, but – more importantly – it enables a better understanding of the place(s) where from they were retrieved. In a second moment, all these things are problematised and brought together in new modes of appearance, revealing new potentialities and expanding their capacity of being productive here and now. The generation of whole new assemblages becomes not only possible, but also crucial, disclosing central aspects of artistic research procedures. During the Festival, the findings and creations that emerged out of this research project will be presented in four different modes of exposition: a concert performance, a lecture highlighting the outputs, the display of palpable and web-based outputs and three sessions (“Breaking Waves”) that will offer unique insights into the sonic materials and the performance history of Luigi Nono’s ..... sofferte onde serene… Output presentation + performance + waves Wednesday October 2 Wednesday October 2 Thursday October 3 Thursday October 3 Thursday October 3

14:45 Auditorium 18:15 Concert hall 13:30 Red Room 16:30 Red Room 19:15 Red Room


Five maps of the experimental world Bob Gilmore John Cage’s famous definition of an experimental action, “an action the outcome of which is not foreseen”, has been variously embraced, expanded upon, qualified, and rejected by the several generations of experimental musicians who have come after him. Cage may not have coined the term “experimental music” but for several decades he was its most enthusiastic and celebrated proponent. He was also one of its earliest chroniclers, seeking to establish what the historian Eric Hobsbawm called an “invented tradition” of which he himself was a part. By the 1970s the idea of an “experimental tradition” in music, however oxymoronic it sounds, was firmly established in the minds of composers, performers and, a little later, audiences. In this lecture I discuss five possible definitions of the term “experimental” as applied to music over the past half-century and challenge listeners to propose a sixth. Lecture Wednesday Oct 2

15:00 Auditorium

Rheinberger’s Experimental Systems / Distance Circles Michael Schwab The historian of science Hans-Jörg Rheinberger has developed a theory of ‘experimental systems’ in order to better understand the practice of experimentation in science, particularly in molecular biology. Experimental systems describe a dialectics between the emergence of material research questions through experimentation in the laboratory (so called “epistemic things”) and the conceptual and material knowledge that is produced as those questions are settled (so called “technical object”). While some artists, art historians and critics have made reference to Rheinberger’s work, it has hardly been discussed in relation to artistic research. Over the last 3 years, a group of researchers at ORCiM has engaged with Rheinberger’s work, through his writings and a study day at the Orpheus Institute where Rheinberger responded to questions. Additionally, a questionnaire was devised in order to interrogate the research of some fellows at the centre, highlighting great affinities but also substantial differences between artistic and scientific approaches 17

to research. An edited book, Experimental Systems: Future Knowledge in Artistic Research, which brings together texts by artists and theoreticians from all disciples will be released during the festival. The presentation will introduce key aspects of Rheinberger’s theory and explain what kind of epistemological and methodological framework based on ‘experimental systems’ could be sketched that is workable for artistic research, all applied in a workshop session on day 2. The installation related to the research project – named Distance Circles – is a site-specific installation that marks a number of transitory spaces throughout the Orpheus Institute. Each circle offers a map of the surrounding space as a means to create different orientations and vistas of spaces that usually do not invite contemplation and observation. To some extent, the circles are experimental agents since they raise awareness within a space of encounter: the Research Festival. Presentation + workshop + installation Wednesday Oct 2 Wednesday Oct 2 Thursday Oct 3 Thursday Oct 3

15:30 Auditorium 18:00 Concert hall 17:30 Presidential Room 18:00 Presidential Room

Goethe’s Concept of Exploratory Experimentation Kathleen Coessens In search for methodological tools in artistic research, the author will propose Goethe’s exploratory-oriented experimentation as a method in and for music creation, both for performance and composition. Goethe developed a method of experimentation that is embedded in an observational and experiential exploration of the outer world, and more specifically of the relation between subject and object. This approach is grounded in both experience and aesthesis. The object of interest is investigated in an active way through the meticulous steps of observation, exploration, systematic experimental variation, sensorial imagination and presentation. Goethe’s method departs from cognitive or theory-oriented approaches of experimentation in the sciences. It has been of some interest to philosophers of science and visual artists. By moving from a scientific and visual arts perspective to the auditive realm of sensorial experience in music, the aesthetic and epistemic potential of this experience-based method for the music arts will be discussed. How can we apply Goethe’s exploratory-oriented experimentation as 18

a method in and for music creation? Tracing the notions of the lecture Goethe’s Concept of Exploratory Experimentation (day 1), some tentative propositions will be explored and discussed with the group, in this lecture workshop (day 2). We will outline both the retrospective and the prospective potential of exploratory experimentation from the point of view of music experience and creation, by re-considering the five steps (active observation, exploration, variation, sensorial imagination, presentation). We hope to realise this in an open collective discussion as to how the notions of Goethe’s rather visual and scientific approach can be translated into the auditive and musical realm, relying on proposed experiential examples. Lecture + workshop Wednesday Oct 2 Thursday Oct 3 Thursday Oct 3

16:00 Auditorium 17:30 Concert Hall 18:00 Concert Hall

Go to Hell: Gesture and Sound on the Threshold Nguyê͂n Thanh Thủy, Ngô Trà My and Stefan Östersjö

Go to Hell is an installation and performance work set on the threshold between gesture and sound and between the worlds of the dead and the living. The choreographies and video art all relate to the gestural and conceptual content of Toccata Orpheus, a composition for guitar solo by the German composer Rolf Riehm. In Toccata Orpheus it is the radical expression of the lyre player’s art that threatens the order of the underworld. Orpheus plays a high-risk game and exposes all the tricks of his musical and scenic skills expressed in intense choreographies of hand and arm movements. A new video work, by Anders Elberling and Henrik Frisk, and the electronic soundscape in the space are derived from analysis of video recordings and of motion tracking data from performance of Riehm’s composition. The fragile plucked sounds and the details of gesture are transposed into an interactive multimedia composition of light, video, sound and movement in Go To Hell. Installation and performance with The Six Tones. Choreography by Marie Fahlin. Video by Anders Elberling and Jörgen Dahlqvist. Music by Rolf Riehm, Henrik Frisk, Richard Karpen and The Six Tones.

Lecture + performance Wednesday Oct 2 Wednesday Oct 2 Wednesday Oct 2

17:15 20:15 20:45


Concert hall Cellar Cellar

To Perform Mauricio Kagel’s Tactil and Unter Strom Luk Vaes The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences. As a report of the reconstructing adventure, the presentation will elaborate on particulars of the projected output. The lecture Reconstructing a historically experimental process – on day 2 –, will share a more detailed retrospect on conclusions, conundrums and pitfalls of the finished research project. Output presentation + lecture Wednesday Oct 2 Thursday Oct 3

17:30 10:00

Concert hall Concert hall

Ceci n’est pas une pianiste? Catherine Laws This presentation forms a starting point within the research project ‘Performance, Subjectivity and Experimentation’, begun this year at the Orpheus Research Centre in Music and the University of York. The project examines how subjectivity is constituted through musical performance: who is the ‘I’ that performs, and how is that ‘I’ embodied in performance? Subjectivity and identity formation have recently been matters of increasing concern in theories of artistic practice. Musicological perspectives emerged in the 1980s, with the focus gradually shifting away from the composer towards reception and the listener. However, musical performance remains a neglected area. Moreover, there is very little practice-led, artistic research explicitly concerned with subjectivity. This project takes the performer as the locus of the research, integrating conceptual models. This presentation includes a new version of Annea Lockwood’s Ceci n’est pas un piano (originally 2002, for piano, electronics and video), reworked 20

by Lockwood with a text written by the performer. The piece is in part concerned with the performer’s relationship to her instrument and the development of artistic identity. Performance-presentation Wednesday Oct 2 Wednesday Oct 2

20:15 20:45

Concert hall Concert hall

Experimentation with Sounding Historical Traces and the Unraveling of Brahmsian Identities Anna Scott As elements of late-Romantic pianism captured on historical recordings are increasingly being heard in modern performances of late-nineteenth-century repertoires, performers celebrate both the opportunity to hear old music anew, and a certain reinstatement of ephemerality and agency in their musical activities. But how experimental are the processes by which this evidence is applied, and are their sounding results as radical as the evidence itself – especially as related to what these sounds say about the identities of canonic composers? With reference to the recordings of the Brahms circle of pianists, these presentations aim to demonstrate that such processes are often mediated by a pre-structuring aesthetic ideology that reinforces entrenched beliefs about Brahmsian pianism and identity. By encouraging the evidence to unravel such structures in ways that are as historically valid as they are confronting, radical modes of Brahms performance are revealed, as are performers’ investment in an ideology that resists rather than invites experimentation. By shifting from a predetermined approach to one that is experimental and whose outcomes are largely unknown, the identities of composers, performers and audiences are also allowed to shift, as they are irreversibly pulled into the open-ended and destabilising gravitational orbit of artistic experimentation. Lecture + workshop Thursday Oct 3 Thursday Oct 3 Thursday Oct 3

09:30 17:30 18:00


Concert hall Red Room Red Room

Expertise through Embodiment: Experimental methods in interpretation research Kai Köpp Performing musical repertoire of the past requires bridging a historical distance – however short it may be. More often than not, historical distance also means cultural distance. Since concert hall audiences still seem to take for granted that an interpretation should accord with the original composer’s intentions, it has long been understood that the performer should be an informed one – therefore expertise is valued on the market. Scholarly research has greatly increased information about music history. However, this information is mainly based on text, while non-textual sources have been neglected, and adequate methods of research (e.g. computer based tools) have been developed only recently. This presentation proposes examples of research in non-textual musical sources such as piano rolls, sound documents and instrumental interfaces and argues that the concept of embodiment is especially useful to empirically generate information on musical performance and the process of taking informed decisions understood as expertise. Lecture Thursday Oct 3

11:30 Auditorium

What’s the Score? William Brooks Is a score a material artifact? A set of instructions? A description of an event, past or future? How is our understanding of “score” affected by the artifact we hold? And to what extent can we assess value or correctness through analysis of a “score”? These and related questions will be raised (not answered!) with respect to two scores from the 1950s. Performances of both will follow. Lecture Thursday Oct 3

12:15 Auditorium


In the Image of the Composer: Algorithmic Exploration of the Composer’s Creativity Gerhard Nierhaus and Bart Vanhecke (with Geert Callaert) The “Patterns of Intuition” (POINT) project aims at investigating the creative aspects of compositional processes by means of algorithmic research procedures. Within the framework of an “artistic laboratory”, composers, a project leader, and a programmer enter a manifold dialog in order to explore intuition in musical creativity. In the project, composers work within their own creative framework in order to realize a piece for chamber music setting. In a creative and evaluative cycle, compositional strategies, creative choices, and constraints are discussed, algorithmic formalisation strategies of compositional processes are developed, the output of which is then evaluated by the composers in the light of their own creative strategies in order to fine-tune the formalization strategies. The approach of this project tries to illuminate subjective knowledge-generating elements from a scientific external point of view. In this joint presentation, the POINT project is explained in general with additional focus on one approach, which resulted in the composition of two piano pieces, addressing questions about the aesthetic and ethical limits of the project itself. Lecture-performance + workshop Thursday Oct 3 Thursday Oct 3

14:30 17:30

Concert hall Blue Room

Some Bach Cello Solo Suites Benjamin Glorieux How unique are Bach’s Suites for cello? Can I, in order to better understand his way of composing, construct a Suite myself? Using existing compositions by J. S. Bach and transcribing them for cello, I soon encountered huge difficulties: it was very tempting to fly that high, but even if some part of this experiment was highly (!) nourishing, the heat of Bach’s sunlight nearly melted the wax on my wings! Lecture-performance Thursday Oct 3



Concert hall

Performing the Creative Process of a Music Composition Hans Roels The results of a self-study on my practice of composing music have made me increasingly aware of the dynamic and transient nature of composition concepts and problems. Situated knowledge and experience change dynamically during the creative process of music composition. On the one hand they are closely tied to preceding thoughts and actions and to, on the other hand, characteristics of the compositional material and individual aspirations. To understand and communicate this situated knowledge, a representation of the creative process is necessary. Currently these representations are text-based, with some extra visual illustrations like diagrams or sketch fragments. Even though the creative process itself is truly multimodal with its mixture of ideas, motivations, feelings, actions and music, multimedia representations are rare. In this presentation I will demonstrate the creative process of my composition Centra and compress this nine-month process into a short multi-media performance. This demonstration will be used to discuss the dynamic nature of situated knowledge and the influence it has had on my identity as a composer. Performance-lecture Thursday Oct 3


Concert hall

Multiple Paths Juan Parra Cancino (with Ensemble Modelo62) Focusing on the transformation of the physical space over time and the non-linear relationship between physical action and sonic manifestation in live computer music, Multiple paths seek to highlight trough performance these aspects of Live Computer music that have become the core of the author’s research. The lecture part of this presentation will lay out the analysis made by the author of these aspects of live electronic music in the work of Luigi Nono, and how Nono’s choices influenced the developing process for the various iterations of Multiple Paths (omaggio a Nono). The workshop will showcase the computer and controller system developed by the author in collaboration with Lex van den Broek, Head of 24

the Electronic Workshop at the Royal Conservatory of The Hague, and used to manipulate spatial transformation parameters in live concert situations. These notions will then be explored in the performance part of this presentation through arrangements of existent repertoire (J. S. Bach and Tenney) as well as through Multiple Paths (omaggio a Nono), a piece developed by the author in collaboration with Chris Chafe and Brice Soniano, this time reworked and expanded for Ensemble Modelo62. Performance program: Multiple Paths (omaggio a Nono), J. Parra. J. Parra (with Ensemble Modelo62) / Ricercare a 6 J.S. Bach, (arr. J. Parra). J. Parra (with Ensemble Modelo62) / Critical Band, J. Tenney. J. Parra (with Ensemble Modelo62 and Trio Scordatura)

Lecture + workshop + performance Thursday Oct 3 Thursday Oct 3 Thursday Oct 3 Friday Oct 4

17:00 Auditorium 17:30 Auditorium 18:00 Auditorium 10:30 Concert hall

American Experimental Tradition William Brooks and Bob Gilmore John Cage’s famous definition of an experimental action, “an action the outcome of which is not foreseen”, has been variously embraced, expanded upon, qualified, and rejected by the several generations of experimental musicians who have come after him. In this workshop session, six possible definitions of the term “experimental” as applied to music over the past half-century are brought to discussion. Workshop Thursday Oct 3 Thursday Oct 3

17:30 18:00


Yellow Room Yellow Room

Orpheus Points: Gestures in 17th-century Musical Action Andrew Lawrence-King ‘Ecco Orfeo!’ 1 Early Music performers seek to bring notation to life in ‘Musical Gesture’, realising black and white symbols in glorious colours of varied articulations and passionate rhythm. At best, this can be artistically transforming: at worst an excuse for ill-disciplined self-indulgence. In Early Opera, ‘Baroque Gesture’ has become a code for Historically Informed Staging. At best, gesture can be powerfully communicative: at worst a museum-piece, a beautiful hand-ballet with no connection to the performer’s text, the composer’s rhythms or the audience’s emotions. In any case, Gesture alone is not sufficient. Audience members are quick to spot a ‘mere gesture’. The period term is Action, suited (as Shakespeare reminds us) to the Word. For Music Psychologists, ‘Musical Gesture’ refers to semi-voluntary movements made as part of a performance, the pianist’s elegantly flowing hand, the rock star pumping his guitar, the violinist’s swaying shoulders, and all manner of head-tossing, facial contortions or shifts of posture. Of course, these meanings are linked both in modern scholarship and in the historical Art of Gesture.2 Can the current fashion for Gesture Studies point 3 us towards fundamental questions about period performance practice? 1  “Look, there is Orpheus!” Striggio/Monteverdi L’Orfeo (1607), final chorus of Act I 2  Dene Barnett The Art of Gesture: The Practices and Principles of 18th-century Acting (1987) 3 Mauro Calcagno Monteverdi’s parole sceniche Journal of Seventeenth Century Music Vol 9 No 1 (2003)

Lecture-performance Friday Oct 4



Concert hall

“No success like failure”: Some Unsuccessful Experiments in Twentieth-Century Music Bob Gilmore Logically speaking an experimental approach to the arts, as with the sciences, should be able to embrace both success and failure. An experiment that could only have a positive outcome is, we could say, not really an experiment at all. Yet in the arts we are highly reluctant to talk in terms of “failure”, as though such an admission would somehow discredit our integrity and our whole reputation. In this paper I explore what seem to me some unsuccessful experiments in music of the past century – all of them highly contentious – and suggest that “failure” may be one of the more interesting, and certainly one of the more underrated, qualities in the creative arts. Lecture Friday Oct 4



Concert hall



Festival Guest Geert Callaert

Geert Callaert has studied at the Lemmens Institute (LUCA-Arts, Leuven) obtaining the Laureate and Higher Diplomes for piano (with Jan Vermeulen), chamber music and piano accompaniment and the special Prize “Lemmens-Tinel” (piano, chamber music, advanced musical analysis, piano accompaniment, conducting, composition).

He fulfilled the post Master programme at the Orpheus Institute (Ghent, Belgium) studying the piano and chamber music by Stockhausen, Xenakis and Wuorinen. He is a professor at the Lemmens Institute and conductor of the academy for New Music Lemmensinstituut, which has released a first CD “Mysterious Morning” with Pavane Records. A master tape for a second is CD is almost accomplished. As a very active pianist and chamber musician he has performed many first performances of several composers worldwide. Some works are written and dedicated to him. The DVD Avantgarde “Surrealism and experiment in Belgian Cinema” contains two of his compositions accompanying two surrealist movies (www. He is a founding member of Belgische Kamerfilharmonie and the HERMESensemble. He participated and fulfilled a research project together with prof. dr. Mark Delaere featuring a methodology in contemporary performance practice by means of the piano compositions by Charles Wuorinen.


Festival Guest Benjamin Glorieux

© Virginie Schreyen

‘Most promising Young Artist’. Additionally, he is a laureate of the Belgian foundation ‘Stichting Roeping – Emile Bernheim’ (2009) and has also received an Erasmus scholarship to study at the Conservatoire de Genève. In the field of early music he has appeared with Ensemble Ausonia, Il Gardellino, B’Rock and Itinéraire Baroque, the Festival curated by Ton Koopman. For contemporary classical and experimental music he works with his own ensemble Aton’&Armide, the ensembles Ictus, Champ d’Action, and Nadar, and played with jazz-musicians such as Marc Ribot, Fulko Ottervanger. He is the founder of the Maeterlinck Quartet and Maeterlinck Trio, performing music from the late Romanticism up to the 1950s with historical setups, and, with pianist Sara Picavet, Aton’& Armide, a contemporary music ensemble with a special focus on premieres. From 2012 on, Benjamin is more and more active as a conductor. He is leading several concerts of the chamber-opera ‘L’Algerino in Italia’ by Joris Blanckaert at De Bijloke, Ghent and a series of performances of ‘Pierrot Lunaire’ by Arnold Schönberg. Benjamin Glorieux plays a 17th-century anonymous Bohemian instrument and a 19th-century French ‘Vuillaume’ cello lent by H. Devos, Waregem.

Born into an artistic family in Belgium, he studied ballet, choir-singing, cello and piano from an early age: eventually it was cello to become the chosen topic. He holds a Baccalaureate degree from the Koninklijk Conservatorium in Ghent and a Master’s degree (cum laude) from the Koninklijk Conservatorium in Brussel, studying with Viviane Spanoghe and Jeroen Reuling. Further studies at the Conservatoire de Genève (with François Guye) and the Musikhochschule Köln (Alban Berg Quartett) followed, next to studying at the Chapelle Reine Elisabeth (Artemis Quartett and many others), in addition to master-classes with the Kronos Quartet, Danel Quartet, Hagen Quartett and Gary Hoffman. At the 2010 Klara Awards in Brussels Benjamin Glorieux was awarded


Festival Guest Kai Köpp

d’amore), he was member of leading ensembles specializing in 18th and 19th century repertoire (Concerto Köln, Cappella Coloniensis des WDR, Nova Stravaganza). Having taught at Zurich and Trossingen, he entered the Bern University of the Arts (BUA) in 2008 as music lecturer and teacher of interpretation practices, directing several publicly funded research projects since. After a guest professorship 2009/10 at the transdisciplinary research institute of the BUA he was appointed Swiss National Science Foundation Professor for applied interpretation research in 2011, focussing on repertoire from Beethoven to Mahler. His latest book, ‘Handbuch historische Orchesterpraxis’, deals with orchestral interpretation strategies from the Baroque to the Romantic eras.

Kai Köpp, born in1969, studied musicology, history of art, and law at the universities of Bonn and Freiburg (Master on Hindemith, PhD). After parallel studies at the Staatliche Hochschule für Musik in Freiburg (Viola) and three years at the Schola Cantorum Basiliensis (also viola


Festival Guest Andrew Lawrence-King

Andrew Lawrence-King is one of the world’s leading performers of Early Music and the most recorded harpist of all time. His ensemble, The Harp Consort and historical production company Il Corago combine state-of-the art early music performance with stylish improvisation and passionate stage presentation. In 2012, Andrew Lawrence-King’s musical direction of the first opera, Cavalieri’s Anima e Corpo for the Natalya Satz theatre, Moscow won the Golden Mask, Russia’s top theatrical award. This year, he produced the first Spanish performance in modern times of the earliest surviving Spanish Oratorio. As harp soloist, he won the 2011 Grammy for Dinastia Borgia directed by Jordi Savall: their duo recital won Australia’s prestigious Helpmann Award. As Senior Visiting Research Fellow for the Australian Centre of Excellence for the History of Emotions, he is investigating medieval musicdrama and early opera.

Baroque opera & orchestral director, Early Harp virtuoso, imaginative continuo-player, specialist in Historical Action,


Festival Guest Ensemble Modelo62

ers with works by a more established generation. The group has commissioned pieces by Janco Verduin, Larry Sitsky, Michael Finnissy, Kate Moore, Angel Arranz Moreno, Joanna Bailie en Alexander Sigman et al. Stimulating the development of young composers, Ensemble Modelo62 organizes workshops and concerts for students of the Composition and Sonology departments of the Royal Conservatorium. The ensemble has performed at a number of festivals including the New Works Festival (Southampton, UK); Toonzetters 2010 (Amsterdam); Darmstadt Festival f端r Neue Music (Darmstadt, Germany); Dag in de Branding (Den Haag); November Music (Den Bosch) and Gaudeamus Muziekweek (Amsterdam). Members: Emma Tripiana Mu単oz (flute), Enric Sans i Morera (clarinet), Justin Christensen (trumpet), Teodora Stepancic (piano), Santiago Lascurain (guitar), Rebecca Huber (violin), Jan Willem Troost (violoncello), Vasilis Stefanopoulos (double bass), Ezequiel Menalled (conductor).

The Royal Conservatorium of Den Haag is an epicentre for new music and attracts creative players from all over the world. It was here that Ensemble Modelo62 was founded: a group of young talented musicians with roots hailing from Argentina to Serbia and from the Netherlands to Canada. All of them having an extraordinary dedication to contemporary music. With a number of the musicians being composers as well performers, this is a group of serious specialists! With its eager and energetic performances Modelo62 makes people enjoy the newest contemporary music. Ensemble Modelo62 combines commissions for young upcoming compos-


Festival Guest The Six Tones

with The Six Tones is to create a foundation for a meeting between two distinct musical cultures on equal terms. Building on a concept of mutual learning, musical traditions from Viet Nam and Europe are brought together into music that aims to reach beyond a mere collage-like superimposition of elements and strive for a more complex and experimentally oriented sound. The name of the group relates to the fact that the Vietnamese language is a tonal language using six tones or intonations. Since 2006 the group has toured Asia, the US and in Europe.

The Six Tones are Nguyê͂n Thanh Thủ y, (who plays dàn tranh), Ngô Trà My (who plays dàn bâ`u) – two Vietnamese master performers – and the guitarist Stefan Östersjö. The main ambition


Festival Guest Trio Scordatura

composers and sound artists that looks toward new tuning systems and micro­ tonality as a way of expanding the harmonic vocabulary of music. The basic soundworld of female voice, viola and MIDI keyboard is expanded by other sonorities depending on musical context. Their concerts feature “classics” from the worlds of microtonal and spectral music together with new commissions. Sometimes this crosses over into work in multimedia, involving text, video, dance, and light. Members: Bob Gilmore, Elisabeth Smalt & Alfrun Schmid

Since its inception in spring 2006, Amsterdam-based new music ensemble Trio Scordatura has presented exploratory music by a range of contemporary


ORCiM Researchers

Paulo de Assis Paulo de Assis is an artist-researcher with transdisciplinary interests on Philosophy, French Post-Structuralism, and Epistemology. He studied Piano with Vitaly Margulis and Alexis Weissenberg (a.o.) and Musicology with Jürg Stenzl and André Richard (a.o.), receiving a PhD and a post-doctoral appointment on the works of Luigi Nono. Commissioned by the Foundation Giorgio Cini (Venice, 2003), he completed Camillo Togni’s Piano concerto – a piece that remained unfinished at the composer’s death. Between 2009 and 2012 he was Senior Researcher at the Centre for the Aesthetics and Sociology of Music (CESEM) at the University Nova Lisbon and Research Fellow at the Orpheus Research Centre in Music [ORCiM]. For the period 2013–2018 he was granted a European Research Council Starting

Grant for the project “Experimentation versus Interpretation: exploring new paths in music performance in the twenty-first century,” hosted at the Orpheus Institute, in Ghent (Belgium). He has authored two books (on the music of Luigi Nono and Camillo Togni) and edited four others (on music notation and on contemporary composers).

encompasses topics from experimental music to film musicals. Recent works includes In re: Experimental Music (Contemporary Music Review); Tracce, for four singers (premiered in Septemember at the Late Music Festival, York), and A Walk to the Tarn, for pianist (scheduled for performance later this month).

Kathleen Coessens William Brooks William Brooks has degrees from Wesleyan University (BA 1965) and the University of Illinois (musicology, MM 1971; composition-theory, DMA 1976). Currently Professor at the University of York, UK, and Emeritus Professor at the University of Illinois, he is also Senior Research Fellow and Series Editor at the Orpheus Research Centre in Music, Belgium. A composer and scholar, his work

Kathleen Coessens is a philosopher and artist, exploring the crossings of science and art, human creativity and cultural representations, embodiment and epistemology. She graduated in piano and chamber music in Paris and Brussels and subsequently studied philosophy, sociology and psychology. She doctorated in philosophy with research on cartography and mapping as fundamental aspects of the human condition. She works as a professor


and researcher at the Vrije Universiteit Brussel (Centre for Logic and Philosophy of Science-CLWF), the Orpheus Research Centre in Music (ORCiM), Ghent, and the Conservatory for music, dance and drama, Antwerp. She publishes philosophical and artistic research, recently in The Artistic Turn (2009 Coessens, Crispin and Douglas). She creates, performs and collaborates in artistic projects (with Champ d’Action, Antwerp; Grays School of art, Aberdeen; ORCiM, Ghent), merging visual and performance arts and exploring the boundaries between the cultural and the ecological, between the arts and life.

Bob Gilmore Bob Gilmore is a musicologist and keyboard player born in Northern Ireland and presently living in Amsterdam. He has taught at Queens

ORCiM Researchers University Belfast, Dartington College of Arts and Brunel University, London. He writes about recent contemporary music in western and central Europe and north America, and has published widely in the categories of composer biography, music theory and analysis, and the critical historiography of music. He is a Research Fellow at the Orpheus Institute, Editor of Tempo: A Quarterly Review of New Music, and artistic director of Trio Scordatura.

Valentin Gloor Valentin Gloor (tenor) achieved his diplomas at the Music University Winterthur-Zurich (P. Steiner) and at the University of Music and Dramatic Arts Graz (U. Bästlein) with distinction and got a prize of appreciation for outstanding performance at Graz.

He attended master classes by Charles Spencer, Norman Shetler, Brigitte Fassbaender, Dietrich Fischer-Dieskau and others. In around 80 to 100 concerts a year he performs a broad repertoire, starting in the Renaissance and leading up to a number of premières. He achieved further specialization in lied and oratorio, and he participates in opera projects. He has released a number of CD recordings and he sang on tours to the US, to South Korea, Hongkong, Mainland China and Brazil. He is about to complete his doctoral studies at the University of Music and Dramatic Arts Graz, and since summer 2013 he carries on his research work on performance concepts as ORCiM Research Fellow.

Catherine Laws Catherine Laws is a pianist and musicologist. She is a Senior Lecturer in Music at

the University of York and a Senior Research Fellow at the Orpheus Institute, Ghent. As a performer, Catherine specializes in contemporary music, often working collaboratively with composers to explore the wide and subtle variations of touch, tone, dynamic and texture possible on the modern piano, and the innate drama of interactions between performer, instruments and audience. Catherine also performs with two ensembles: the music theatre group Black Hair and amplified experimental ensemble [rout]. Most of Catherine’s research lies in two areas: contemporary music performance practices and the relationship between music and language. Current practice-based projects are concerned with: 1) embodiment and subjectivity in contemporary music performance; 2) processes of collaboration between composers and performers. Much of Catherine’s published musicology examines the relationship between music, language and meaning. She is currently completing a book on music in the work of


Samuel Beckett and composers’ responses to his work.

Gerhard Nierhaus Gerhard Nierhaus is a composer working as senior scientist and lecturer at KUG's Institute of Electronic Music and Acoustics (IEM). His major scientific interest is in Algorithmic Composition, his book “Algorithmic Composition: Paradigms of Automated Music Generation” was published with Springer Wien/NewYork in 2009. In 2011 he acted as a reviewer for the European Research Council and was selected as Research Fellow of the Orpheus Research Center in Music (ORCiM). He is project leader of the Patterns of Intuition research project (KUG), investigating the creative process of composing by means of algorithmic composition.

ORCiM Researchers research fellow at the Orpheus Institute in Ghent, Belgium.

Stefan Östersjö Dr. Stefan Östersjö is one of the most prominent soloists within new music in Sweden. Since his debut CD (Swedish Grammy in 1997) he has recorded extensively and toured Europe, the US and Asia. His special fields of interest are the interaction with electronics, and experimental work with different kinds of stringed instruments other than the classical guitar. As a soloist he has cooperated with conductors such as Lothar Zagrosek, Peter Eötvös, Pierre André Valade, Mario Venzago, Franck Ollu, Andrew Manze and Tuomas Ollila. His thesis SHUT UP ‘N’ PLAY! Negotiating the Musical Work is published by Lund University. He is at present engaged in artistic research on improvisation in different cultural contexts at the Malmö Academy of Music and, since 2009, engaged as a

Hans Roels

Juan Parra Cancino Juan Parra Studied Composition at the Catholic University of Chile and Sonology at The Royal Conservatory of The Hague (NL) Part of several ensembles related to Guitar Craft, a school founded by Robert Fripp. He is a regular collaborator of artists like Frances Marie Uitti, Richard Craig and KLANG. Juan is founder and active member of The Electronic Hammer, a Computer and Percussion trio and Wiregriot, (voice & electronics). He is currently a PhD candidate of Leiden University (NL) focused on performance practice in Computer Music, supported by the Prins Bernhard Cultuur Fonds. He is also a researcher at the Orpheus Institute in Ghent, Belgium.

Hans Roels (°1971) is a composer and artistic researcher. Currently he is working on a Ph.D. in the School of Arts, University College Ghent, Belgium, where he teaches live electronic music. Since 2010 he also works as a researcher in the Orpheus Research Centre in Music (ORCiM). Hans Roels studied piano and composition and since he was active as a professional composer his works were played by ensembles such as Champ d'Action, Spectra ensemble, the electric guitar quartet Zwerm and Trio Scordatura in Belgium, The Netherlands, France, Germany, Spain, Denmark, the UK and the USA. Between 2001 and 2008 he was responsible for the concert programming in the Logos Foundation, a centre for experimental audio arts.


Michael Schwab Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He holds a PhD in photography from the Royal College of Art that focuses on post-conceptual post-photography and artistic research methodology. He is a tutor at the Royal College of Art, London, and at the Zurich University of the Arts, Switzerland, as well as research fellow at the Orpheus Institute, Ghent. He has presented his art and research in a number of publications, exhibitions, invited keynote lectures, conference papers and seminars. Since 2003 his exhibitions and associated events have increasingly focused on artistic research, and he has been a collaborator and advisor on

ORCiM Researchers a number of research projects. He is co-initiator and inaugural Editor-in-Chief of JAR, the Journal for Artistic Research.

Anna Scott Anna Scott is a Canadian pianist-researcher interested in using the early-twentieth-century recordings of the Brahms circle of pianists to question the persistent gaps between the loci of performer knowledge, ethics, and act in both mainstream and historically informed approaches to Brahms’s late piano works. Far from advocating more historically accurate performances in general, Anna’s off-the-record experiments both elucidate and disturb modern constructions of Brahms’s “hale and hearty” Classicist canonic identity by encouraging the emergence of the corporeal and psychological conundrums more characteristically associated with Romantic pianism.

Anna is currently pursuing a practice-based doctoral degree at the Orpheus Institute in Ghent under the supervision of Daniel Leech-Wilkinson (King’s College, London), Naum Grubert (Conservatories of The Hague and Amsterdam), and Frans de Ruiter (Leiden University, NL), and she is also a doctoral artistic researcher at the Orpheus Research Center in Music (ORCiM).

(through the docARTES programme) with a dissertation on the theory, history and performance practice of extended piano techniques. Currently he is fellow in artistic research of the ORCiM research group, coordinates the doctoral program for artists at the Orpheus Institute and the Royal Conservatory in The Hague.

Luk Vaes

Bart Vanhecke

Luk Vaes studied piano with a.o. Claude Coppens (Belgium), Aloys Kontarsky (Germany) and Yvar Mikhashoff (US), won first prizes in several international competitions and concertized with musicians such as Uri Caine and Thomas Quasthoff at the most renowned festivals in the EU and US. His recordings of piano works of Mauricio Kagel (Winter & Winter) won nine international prizes. In 2009 he obtained his doctorate at Leiden University

Bart Vanhecke studied composition with André Laporte and Franco Donatoni. Since 2009 he is researching the systematisation of atonality and dissonance in amotivic serial composition at the Orpheus Institute and the University of Leuven. In 2010 he received a doctoral research grant from the University of Leuven and he became a doctoral researcher at ORCiM. His works have been performed by ensembles and


soloists such as the Neue Vocalsolisten Stuttgart, Ensemble Recherche, Ensemble Phœnix Basel, the Belgian National Orchestra, Het Collectief, Walpurgis, the Spectra Ensemble, Jan Michiels, the Danel Quartet and many others.

The Orpheus Institute Series  NEW The Orpheus Institute Series encompasses monographs by fellows and associates of the Orpheus Institute, compilations of lectures and texts from seminars and study days, and edited volumes on topics arising from work at the Institute. Research can be presented in digital media as well as printed texts. As a whole, the series is meant to enhance and advance discourse in the field of artistic research in music and to generate future work in this emerging and vital area of study. The Orpheus Institute Series combines the previous series ‘Collected Writings of the Orpheus Institute’ and the subseries ‘Orpheus Research Centre in Music Series (ORCiM)’. About the Orpheus Institute Throughout the Institute’s various activities there is a clear focus on the development of a new research discipline in the arts: one that addresses questions and topics that are at the heart of musical practice, building on the unique expertise and perspectives of musicians and constantly dialoguing with more established research disciplines. Within this context, the Orpheus Institute launched an international Research Centre in 2007. The Orpheus Research Centre in Music [ORCiM] is a place where musical artists can fruitfully conduct individual and collaborative research on issues that are of concern to all involved in artistic practice. The development of a discipline-specific discourse in the field of artistic research in music is the core mission of ORCiM.


Sound and Score Essays on Sound, Score and Notation Paulo de Assis, Bill Brooks, Kathleen Coessens (eds) Paulo de Assis is Senior Researcher at Orpheus Institute Ghent. Bill Brooks is Senior Researcher and Editorial Board Officer at the Orpheus Institute Ghent and Professor at the University of York. Kathleen Coessens is Senior Researcher at Orpheus Institute Ghent and Professor and Postdoctoral Researcher at Vrije Universiteit Brussel. ¤ 39,50 / £ 35.00 isbn 978 90 5867 976 5

November 2013 Paperback, 19 x 28,5 cm 224 p. 56 b&w figures, 2 tables English Orpheus Institute Series

Exploring the complex and intimate relations between sound, score and notation Sound and Score brings together music expertise from prominent international researchers and performers exploring the intimate relations between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Considering ‘notation’ as the totality of words, signs, and symbols encountered on the road to an accurate and effective performance of music, this book embraces different styles and periods in a comprehensive understanding of the complex relations between invisible sound and mute notation, between aural perception and visual representation, and between the concreteness of sound and the iconic essence of notation. Three main perspectives structure the analysis: a conceptual approach that offers contributions from different fields of enquiry (history, musicology, semiotics), a practical one that takes the skilled body as its point of departure (written by performers), and finally an experimental perspective that challenges state-of-the-art practices, including transdisciplinary approaches in the crossroads to visual arts and dance. 43

Experimental Systems Future Knowledge in Artistic Research Michael Schwab (ed.) Michael Schwab teaches at the Royal College of Art in London and the Zurich University of the Arts. He is Researcher at Orpheus Institute Ghent as well as the founding Editor-in-Chief of the Journal for Artistic Research (JAR). ¤ 39,50 / £ 35.00 isbn 978 90 5867 973 4 October 2013 Paperback, 19 x 28,5 cm 235 p. English Orpheus Institute Series

The experimental approach of science applied to artistic research We don’t know what we don’t know. This makes it difficult to imagine research that will produce new knowledge. In the sciences, the experimental approach has proved its worth in generating what subsequently requires understanding. Can the field of artistic research be inspired by recent thinking about the history and workings of science? How can artists engage with experimentation to extend artistic values and deliver future knowledge? In this book fourteen contemporary artists, musicians, and theorists engage with Hans-Jörg Rheinberger’s theory of experimental systems to determine how experimentation can be put to work in the arts. An interview with Rheinberger himself probes research as a potentially shared space between the otherwise different activities of art and science.


Composing under the Skin The Music-making Body at the Composer’s Desk Paul Craenen Paul Craenen obtained a PhD in the docARTES programme at Leiden University in 2011. He is director of Musica, Impulse Centre for Music. ¤ 39,50 / £ 35.00 isbn 978 90 5867 974 1 November 2013 Paperback, 19 x 28,5 cm 260 p. 20 black & white images English Orpheus Institute Series

A revealing study of the physical presence of the musician in musical performance Fingers slipping over guitar strings, the tap of a bow against the body of a cello, a pianist humming along to the music: contemporary composers often work with parasitic, non-conventional sounds such as these. Are they to be perceived as musical elements or do they shift attention to the physical effort of music-making, contact between a body and an instrument? Composer Paul Craenen explores ways in which the musician’s body is revealed in musical performance. He leads us from Cage, Lachenmann, Kagel and their contemporaries to a discussion of how today’s generation of young composers is writing a body paradigm into composition itself. Micro-temporal physical gestures and instrumental timbre provide the key to unveiling the physical presence of both a musician and a ‘composing body’. The author’s concept of ‘intercorporeality’, along with the idea of an alternating linear and non-linear relationship of the composing body to time, casts new light on the relationship between musicians, composers, and music consumers. 45

The Orpheus Research Centre in Music [ORCiM] is based at the Orpheus Institute in Ghent, Belgium. The Orpheus Institute houses Advanced Studies and Research in Music, and is a pioneer in the world of Artistic Research (delineated as research from the perspective of the artist-practitioner). It has been providing postgraduate education for musicians since 1996, and introduced the first doctoral programme for composers and performers in 2004, called docARTES. In 2007, the Orpheus Research Center in Music [ORCiM] was created to support research that is embedded in, and incorporates, musical practice, primarily guided by artistic objectives and aesthetic interests. Peter Dejans Hans Roels Kathleen Snyers Jonas Tavernier Luk Vaes Heike Vermeire

Orpheus Institute Korte Meer 12 9000 Ghent, Belgium +32(0)9 330 40 81

Director Research Staff Member Project Manager Communications & Activities Manager Programme Coordinator docARTES Office Management

Redactie Jonas Tavernier, Juan Parra Grafisch ontwerp Studio Luc Derycke Verantwoordelijke Uitgever Peter Dejans, Korte Meer 12, 9000 Gent


Welcome to an Experiment

Welcome. Welcome to the experiment. Welcome to the presentations. Welcome to the presentations on experimentation and to an experiment on presentations. Welcome to the experimental presentation of the presentations on experimentation. Welcome. Enjoy the path. Follow the pathway. Find the gateway. Enjoy the gate. [ORCiM]

Programme Booklet ORCiM Research Festival 2013  
Programme Booklet ORCiM Research Festival 2013