X nt e m i r pe
dialo a experrtistic gue on iment a
showcase of research in-and-through musical practice
In collaboration with PENTACON
5-8 October 2011 Orpheus Institute, Ghent, Belgium
FESTIVAL of RESEARCH, MUSIC and IDEAS The Orpheus Research Centre in Music [ORCiM] is celebrating its Third Annual Research Festival. This Festival will focus upon Artistic Experimentation and promises an unprecedented atmosphere of exciting and stimulating interaction, celebrating what is happening in artistic research in music on a global scale. ORCiM has opened up this yearâ€™s Festival into a shared creative and critical forum with the Pentacon Group *. Besides offering valuable inspiration to musician-scholars keen to attend and experience the fresh understanding and new questions that artistic research generates, the Festival will help to delineate future directions for ORCiM as it moves towards the culmination of its artistic experimentation project and looks beyond it to new opportunities to bring artistic researchers together. *Initiated in 2010, Pentacon is a strategic collaboration between five forward-looking conservatoires on three continents. By defining five domains of action (New Pedagogies, Professional Development, Engaging Communities, Artistic Research and Music Technologies), Pentacon seeks to: - Identify and implement appropriate pedagogical approaches for the 21st century - Prepare students for successful professional lives in contemporary musical environments - Engage communities, responding to the many relationships between music & people - Develop & implement research agendas with both academic rigour and artistic integrity - Optimise the use of technology for creating, learning, researching & disseminating music. PENTACON - Partner institutions Guildhall School of Music & Drama (London, U.K.) Schulich School of Music, McGill University (Montreal, Canada) Royal Conservatoire The Hague (The Netherlands) with its link to the Orpheus Institute (Ghent, Belgium) Sibelius Academy (Helsinki, Finland) Queensland Conservatorium Griffith University (Brisbane, Australia)
X-PERIMENT an international dialogue on artistic experimentation in music ABOUT ARTISTIC EXPERIMENTATION: The Orpheus Research Centre in Musicâ€˜s current three-year theme of Artistic Experimentation is at the heart of the Research Festival. Experimentation is omnipresent in artistic practice, not least in the processes of music-making. Artistic experimentation encompasses the actions that an artist undertakes in developing and constantly renewing his or her personal artistic identity and expertise. Exploring this field has the potential to give greater insight into how art originates and unfolds, and opens new possibilities for artistic practice and reception.
Research at ORCiM is inspired by the following fundamental questions, which we will explore in this Festival: What is the character, function and potential of experimentation in musical practice? How does experimentation shape artistic identity and expertise, and how can it disclose aspects of embodied knowledge? How does artistic experimentation affect the development of musical practices? How does artistic experimentation in music relate to other fields of human activity? The joint ORCiM/Pentacon Festival will celebrate a unique interaction of ORCiM researchers with guest presenters and performers from the five Pentacon institutions. Research Fellows from ORCiM, as well as guest speakers, will share aspects of their latest artistic developments and insights, and will draw fresh stimulus from the cross-fertilization of ideas that emerge. The Pentacon members have been invited to reflect upon, and react to, ORCiMâ€™s research agenda of artistic experimentation, but refracting this through their own, particular research strengths. This will take the form of Presentations Panels Concerts
Orpheus Research Centre in Music @ Orpheus Instituut Korte Meer 12 9000 Ghent, Belgium, Europe T: 0032 (0) 9 330 40 81 F: 0032 (0) 9 330 40 82 email@example.com www.orpheusinstituut.be www.orcim.be The ORCiM Research Festival 2011 was made possible thanks to the support of:
WEDNESDAY OCTOBER 5, 2011 12:30 -13:00 Registration 13:00 - 13:10 Welcome Peter Dejans, Darla Crispin 13:10 - 13:20 Introduction Kathleen Coessens, Erik Myin (Scientific Committee) The Foundation for Scientific Research Belgium (FWO) granted funding assistance for the organisation of this International Research Festival.
13:20 - 14:20 Keynote Speech Larry Polansky - â€˜Why not use a pencilâ€™: A lifetime of thoughts on purpose, futility, and drawing a bass clef As a composer my inclination has been to search beyond the easy and obvious for answers to questions not yet asked. I see it as part of my job to make things harder. Mainly, I try to make things harder for myself. In a complex of transparency, honesty, humility and difficulty we try to do something beautiful. I feel that the flux of collision between productivity, invention, practicality, vision, and just plain cantankerousness makes us invent and reinvent our basic principles, ways of working, ways of being. In this talk, I trace, mostly through examples of my own work, some of the ways that technology and stubbornly complex ideas shape the music I have made and the way I have made it.
14:20 - 14:40 Coffee break
This presentation will revisit some of the particulars of a project that started off as yet another ‘complete works of’ recording, but which ended up opening new avenues in historically-informed performance, high-definition recording techniques, and virtual acoustics technology. New readings of deceptively familiar scores were recorded in various virtual rooms on newly crafted and hitherto unavailable replicas of historical keyboards. Inviting the listener/user to expand her senses from the aural to the visual and promoting the argument that sociocultural context is essential also for modern-day interpretation and performance, the final presentation on Blu-ray aims to convey complex historical realities of instruments, rooms, and people. The presentation will also outline the next exciting phase: how this experience will be brought to a live concert platform. 15:15 -15:45 Paulo de Assis, Michael Schwab (ORCiM) Experiment! – On conjunctures, hybridizations and bifurcations ‘Rasch’: Schumann’s Body without Organs, for piano, 4-channels tape and data-projector is an experimental performance, and a critical reading of Robert Schumann’s Kreisleriana Op. 16 (1838). Taking a well-known article by Roland Barthes on this work and the performance of its first three pieces as starting points, and connecting this with the ‘Deleuzian Body without Organs’ (BwO), this performance project, to be heard in this evening’s concert, is a radical reflection on the bodies of Schumann, of the performer, and of the listener.
14:45 -15:15 Tom Beghin (McGill University) The Virtual Haydn: An Experiment in Recording, Performing, and Publishing Since its release in 2009, The Virtual Haydn (a Blu-Ray boxed set of Haydn’s complete works for solo keyboard) has soared to international prominence as a recording project that boldly combines historically-informed performance with the newest technologies of virtual acoustics. Brainchild of performer and musicologist Tom Beghin, Tonmeister and producer Martha de Francisco, and recording engineer and aural architect Wieslaw Woszczyk, the project has also become a ‘poster child’ for the kind of interdisciplinary work that happens at the laboratories of CIRMMT.
This joint presentation will elaborate the topics mentioned above, entering a dialogue with Hans-Jörg Rheinberger’s epistemological and experimental theories. Particular attention will be given to the concepts of ‘experimental systems’, ‘epistemic things’, and ‘technical objects’. The main goal is to create interrelations between Rheinberger and Deleuze/Barthes, not always quoting them directly, but making a dialogue of two positions that will be moved into proximity. 15:45 -16:15 Laura Roberts (Guildhall School of Music) The work of Clara Schumann: artistic innovation in the Romantic era In this paper I will connect the Orpheus Institute’s Festival theme of artistic experimentation with my research into the work of Clara Schumann. As a performing artist, composer and teacher Clara Schumann was at the forefront of musical life in Europe from 1828, when she gave her Leipzig Gewandhaus debut, to her death in 1896: examination of her career gives an insight into the journey from the post-classical composer-pianist era to a far more modern concept of the concert pianist, which largely endures today. Her training shows her father and teacher Friedrich Wieck adopting and developing the most innovative educational approaches; her early career finds her leading the way in interpreting and performing avant-garde and historic repertoire for the public; the emergence of her compositional talent and her collaboration with Robert Schumann prompts one to ask how her creative and interpretive sides blended and influenced each other, his journalistic writing giving us a picture of Romantic imaginative notions of the musical world and Clara’s place within it. Did Clara Schumann’s married life bring a retreat into domesticity or a period of study, reflection and growth and what does her later career tell us about her own sense of artistic identity independent of father and husband? Inevitably of most enduring fascination is the shared thematic material of Clara and Robert Schumann’s compositions, a musical conversation which shows artistic experimentation at the most inspired and personal level. I will show how my research into this has led me to develop my own interpretive reading of their music. 16:15 -16:30 Response (Darla Crispin)
17:00 - 18:00 Re-imagining the Body: Gestures, materials and interactions (ORCiM) - William Brooks, Alessandro Cervino, Kathleen Coessens, Anne Douglas, Catherine Laws, Juan Parra The study of the body in music is concerned with the relationship between sound, movement and the production of meaning. Extension – objectively conceived as movement in space – is measureable. However, intention is complex, especially from the perspective of the performer. It is a matter for/of the imagination configured both in relation to the performer’s inner world and embodied experience; operating across and between different modes of conceptualisation and embodiment. In practiceled approaches the complexity of the body comes to the fore – as subject as well as object, apparently individual in its agency yet constructed and constrained by its training, through cultural interaction, and by the specific demands of the repertoire in hand. By understanding the relationship of sound and gesture more deeply, it becomes possible for the performer to enrich the field of creative possibilities, and to explore the body as a site of imaginative production for both performer and listener. Starting from the above, we will present current practice-led research projects at ORCiM that are addressing the following questions: - how can practice-led experimentation develop our understanding of the relationship between sound and gesture? - in what ways might starting from the body as a site of tacit knowledge and experience expand the possibilities for a performer approaching a score? - how can non-sounding aspects of performance inform music creation, practitioners and audiences?
18:00 - 20:00 Dinner break (own arrangements)
16:30 - 17:00 Coffee break
20:00 - 21:15 Concert I: International, Inter-institutional collaborations (First half, Auditorium 3rd Floor, Second half, Concert Hall) 20:00 - 20:15 Disjointed: Prelude, Canon (William Brooks) Catherine Laws, piano - Damien Harron, percussion 20:20 - 20:40 A day in my Life (Kathleen Coessens) Kim Cunio, hurdy-gurdy - Vanessa Tomlinson, percussion - Eliot Britton, electronics Erika Donald, electric cello - Ben Duinker, percussion - Juan Parra, guitar & electronics - Catherine Laws, piano - Damien Harron, percussion 20:40 - 20:50 Break (and move to the concert hall) 20:50 - 21:15 Fantasies for piano op. 116 (Johannes Brahms) Alessandro Cervino, piano
09:30 - 10:40 Presentations II: Music, experimentation and the environment Chair: Bart Vanhecke 09:30 - 10:00 Vanessa Tomlinson (Queensland Conservatorium) Music for the Banal, the Obvious, the Everyday This performative paper is an eco-acoustic investigation of found objects, located within the deep listening environmental work of Pauline Oliveros, and John Luther Adams. Using scavenged objects found in the immediate area, this work â€“ broadly sitting under the title of Music for the Banal, the Obvious, the Everyday â€“ will interrogate the objects for their melodic, harmonic and timbral qualities while simultaneously acknowledging their sounding location. The paper will include an outline and explanation of the found object tradition in percussion music, inclusive of world music traditions and composers such as John Cage and Lou Harrison. It will argue that a collection of found objects is reflective of cultural and environmental circumstances including local vegetation, recycling habits, culinary interests and perspectives on clutter, and therefore a sounding of these objects can further contribute to an understanding of place. The musical potential and possibilities of the collected objects will be examined through a series of short portrait pieces performed during the presentation. 10:00 - 10:30 Sean Ferguson and Isabelle Van Grimde (McGill University) Duo pour un violoncelle et un danseur: technologically-mediated interaction in dance and music In their work Duo pour un violoncelle et un danseur, composer Sean Ferguson and choreographer Isabelle Van Grimde explore the interaction between dancer and cellist through the intermediary of a novel gestural control surface called the t-stick. This new digital instrument was designed by Joe Malloch in the Input Devices and Music Interaction Laboratory of the Schulich School of Music of
THURSDAY OCTOBER 6, 2011
PROGRAMME AM M
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McGill University, directed by Marcelo Wanderley. Using this device, the dancer is able to capture, transform and spatialize the sound of the cello in real time, while the musician also manipulates the t-stick herself in a gestural dialogue with the dancer. The artistic approach allowed cellist Chloé Dominguez and dancer Elijah Brown to interact fluidly in an open form featuring highly structured improvisation. Several performances of this work were presented in the Multimedia Room of the Schulich School of Music, as part of the live@CIRMMT performance series in collaboration with l’Agora de la danse. The artistic and technological issues that were raised have led to a new three-year research/creation project entitled ‘Gestures: a new generation of digital musical instruments for the control of musical synthesis and processing by musicians and dancers.’ 10:30 - 10:40 Response (Kathleen Coessens)
10:40 - 11:00 Coffee break 11:00 - 12:00 Panel I: Presentation and discussion on Experimentation in performance Keynote and convenor: William Brooks. With: Paulo de Assis, Tom Beghin, Päivi Järviö, Vanessa Tomlinson ORCiM has posited that ‘experimentation is inherent to artistic practice and to the processes of music-making’, but the exact nature of such experimentation is highly diverse. In order to sketch out some of the possible ways that experimentation may be manifested, this Panel will open with a short keynote presentation, after which the topic will be opened to other panel members for further reflections and discussion.
12:00 - 13:30 Lunch break (own arrangements) 13:30 - 14:45 Presentations III: Experimentation and Music Technology Chair: Luk Vaes
This presentation will focus on the experimentation that unfolded in the development of a composition by Eliot Britton. Television Sky (2011) is a work in three movements, each with a contrasting technical and compositional approach. This piece highlights the flexibility of the EP trio and its ability to interpret different aesthetics. Using analog, digital, and acoustic sources controlled though both fixed and flexible mappings, the performers create and/or manipulate diverse sound materials to fulfil various roles within the ensemble. Movement one (Channel 1: Gesture) focuses on re-constructing characteristic gestures from electroacoustic and chamber music. The second movement (Channel 2: Texture) features subtle control of long, evolving textures with specific attention to dynamic control, contrast, and timbral shifts. The third movement (Channel 3: Rhythm) explores rhythmic precision at high speed, frantic grooves, and flashy electronic music production. 14:00 - 14:30 Kees Tazelaar (Royal Conservatoire of the Hague) Terminus as a Point of Departure Terminus is an electronic composition by Gottfried Michael Koenig from 1962. It was his last composition made in the electronic studio of the Cologne Radio. I have analyzed Terminus (published in ‘Gottfried Michael Koenig - Parameter und Protokolle seiner Musik‘, Pfau Verlag, Saarbrücken, 2004), and its compositional strategy has been the basis for many of my own works and educational projects at the Institute of Sonology.
13:30 - 14:00 Eliot Britton, Erika Donald, Ben Duinker (McGill University) The Expanded Performance (EP) trio Since forming in Fall 2009 with the support of CIRMMT, the Schulich School of Music’s EP trio (Expanded Performance trio) has established a fixed ensemble dedicated to the research, creation and performance of live electronic music. The group focuses on artistic applications of technology via a streamlined setup emphasizing musicality, functionality and portability, developing new repertoire, a performance practice, and solutions to some of the issues inherent in the genre of live electronics.
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Although the techniques used by Koenig to produce all the material for Terminus are very specific, the compositional method as such is rather universal, and can be applied to any technique or a combination of techniques. In that way, it has proved to be a fruitful model for my own work as a composer and in educational contexts. Source material can be purely synthetic, a field recording, a series of instrumental sounds or anything else, as long as it has properties that can stay more or less recognizable during the process of sound transformation. Those sound transformations can be executed either in the analog or digital domain. Variety has to emerge from contrasting sound transformations and their parameter settings. Since this is a step-by-step process, the composer steers the material into a certain direction, always while listening to the results. Sections of the final piece can be made by concentrating on certain limited areas of the family tree. Contrasts from section to section can be made by making larger jumps in the tree structure. 14:30 - 14:45 Response (Juan Parra)
14:45 - 15:15 Coffee break 15:15 - 16:50 Presentations IV: Experimenting with musical materials and audiences Chair: Paulo de Assis 15:15 - 15:45 Kim Cunio (Queensland Conservatorium) THE WAR ON THE CRITICAL EDITION: Multiple compositions from a single source In my research into best-practice realization of ancient and medieval music, a major theme has been the preparation of multiple realizations of a text or musical work, producing something that can be defined as music that has no critical or singular edition. This premise has had a profound effect on both my realized early music and new art music composition. This paper continues earlier research into the process of writing multiple compositions from a singular source, and is an overview of the various projects in this larger research work. Previously I have written multiple compositions based on fragments of Hildegard of Bingenâ€™s Ordo
15:45 -16:15 Andrew Lawrence-King (Guildhall School of Music) L’affetto e la somiglianza delle parole Experiments with Emotions & Continuo in a Tactus-led Environment Once we accept that performances of early ‘opera’ were not conducted, but were rhythmically structured by the slow, regular beat of the tactus – even in ‘recitative’ – we must re-examine the relationship between singers and continuo. This paper reports on experimental investigation into singers’ communication of emotions – ‘muovere il affetto’– and into continuo realisations that imitate the words – ‘la somiglianza delle parole’. I have set out previously the historical arguments for structured rhythm in the early seicento. Rejecting the gross anachronism of modern conducting, in this period it is the tactus which ‘directs a song according to measure’. Soloists are guided – not followed – by the continuo-bass. Even in ‘recitative’, the continuo guides singers with measured tactus. In most contemporary ‘early music’ performances, however, this is not the case. But the rediscovery of tactus challenges singers to give up the easy life of vocal comfort, and explore a world of rich
Virtutum and sent out a solo shakuhachi work of mine for public recomposition as a series of garageband loops. In this part of the experiment three distinct processes are being followed. The first involves a series of live recordings made on the Conservatorium Gamelan with fellow composer Gerardo Dirie, from which multiple pieces of music have been made by both of us. These include new electroacoustic works, semi improvised works for additional instruments and new works based on signal processing. The second part is concerned with making new compositions without changing a note of source data. I wrote a series of simplistic piano preludes, recording them on a MIDI instrument and then experimenting to see if new compositions can be realized wholly within a commercially-available DAW. Finally a series of wind and brass works are being generated with Brisbane wind player John Stefulj involving the recomposition of improvisations in the studio. This presentation will feature music examples as well as examining whether such processes stand alone as music.
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emotional contrasts in the original notated rhythms. The steady beat of the tactus synchronises text, music, meaning, acting, movement, gestures and changes in emotions. In this paper, I suggest new guidelines for a â€˜cutting-edgeâ€™ historical approach, that should be chronological, multi-instrumental and improvisatory, grounded in the rhetorical structures and emotional content of the text. 16:15 - 16:40 Marianne Decoster-Taivalkoski (Sibelius Academy) The roles of the audience in the creation of poetical sonic environment I work with the creation of non-linear soundscape installations proposed as poetic and multi-sensorial experiences. Most of my works use digital technologies that react to the audienceâ€™s bodily movements and establish correlations between bodily motion in a large space and sounds. In collaboration with dance artists, I have experimented with a form of installation-performance where the audience is invited to join the improvisation started by dancers in the sonic space and to explore the installation through the use of spontaneity and intuition. My presentation will focus on describing and questioning the various roles of the audience in the creation process and in the performance or exhibition of these pieces. What kind of listening attitudes and listening modes do these soundscape invite? How may the imagination and actions of the audience play a major role in the building of the meanings of the pieces? How can playing with the boundaries between performer and audience lead to interesting forms of pieces, where control and power questions related to authorship have to be re-organized? How does non-linearity and the importance of the behaviours and reactions of the audience frame the process of composition of the soundscapes? What are the challenges encountered when designing the acoustic diffusion and visual spatiality of such pieces? 16:40 - 16:50 Response (Catherine Laws)
16:50 - 17:15 Coffee break
Ritterman, Luk Vaes The emergence of doctoral programmes in artistic research offers unprecedented opportunities to higher education institutions; but it also poses challenges in terms of how this third cycle should be integrated with existing curricula. What kind of training is needed to prepare music students for advanced studies in artistic research? In particular, how will Masters programmes in music need to change to accommodate the new needs of students? This Panel will explore such questions. 18:15 - 20:00 Dinner break (own arrangements) 20:00 - 21:20 Concert II: Collaborative Compositions (First half, Auditorium 3rd Floor, Second half, Concert Hall) 20:00 - 20:25 Television Sky (Eliot Britton) The Expanded Trio: Eliot Britton, electronics - Erica Donald, electric cello - Ben Duinker, percussion 20:25 - 20:40 Lasciar Vibrare v. 4 (Kees Tazelaar) Kees Tazelaar, Sound diffusion 20:40 - 20:50 Break (and move to the concert Hall) 20:50 - 21:00 Chunks & Streams (Hans Roels) ZWERM Guitar Quartet: Toon Callier, Matthias Koole, Bruno Nelissen, Johannes Westendorp 21:00 - 21:20 toovvivfor (Larry Polansky) ZWERM Guitar Quartet
17:15 - 18:15 Panel II: Masters Education and Artistic Research Chair: Kari Kurkela. With Kim Cunio, Erika Donald, Martin Prchal, Janet
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FRIDAY OCTOBER 7, 2011 09:30 - 11:10 Presentations V: Artistic Experimentation and Expanded Media Chair: Kathleen Coessens 09:30 - 10:00 Lena Weman Ericcson (McGill University) Never Before Heard – Unexplored Sounds in Time and Space This project as a whole focuses around the construction of a new innovative organ in a concert hall in the very north of Sweden, in Piteå. The concert hall in itself is a kind of laboratory with its adjustable acoustics achieved through a ceiling that, as a whole, can be adjusted up or down approximately 8 meters. In its highest position, the reverb of the hall is approximately 2.8 seconds – which can be considered rather perfect for a huge concert organ with 89 sounding registers but with 215 stops. The research project seeks to explore, through artistic practice and reflection, the tonal world with its possibilities and limitations of the organ. The research is conducted along three parallel tracks: 1. Explorative studies of the harmonics division. 2. Explorative studies of the influence and use of latency when playing the instrument over Internet. 3. Musical responses to the voicing refinement process. The project will move from an exploration of individual elements within each of the research tracks, towards more integrative approaches within the tracks and, finally, a synthesis covering all three tacks. The synthesis will be achieved through in-depth systematic work with compositions and improvisation. This part of the project will bring the innovative aspects in tune with the more traditional parts of the organ, producing genuine artistic results from the entire research project. 10:00 - 10:30 Julian Philips (Guildhall School of Music) FOLLOWERS: Opera and the site-specific Composer Julian Philips will introduce his site-specific promenade opera, FOLLOWERS, premiered in August 2011 as part of his creative residency with Glyndebourne Festival Opera. In this short presentation, Julian will share his creative experience of how ideas of theatrical site-’specificity can enrich and
10:30 - 10:55 Jaso Sasaki (Sibelius Academy) Historical Recording Projects Jaso Sasaki is currently researching the early 20th century violin playing styles and techniques that resulted in a violin sound often called ‘the golden tone’. This type of sound, sonorous and highly individual, was also a personal trademark of many of the old masters like Eugène Ysaÿe, Fritz Kreisler and Jascha Heifetz. In his research, Sasaki wants to find out what has changed in violin playing technique and to find answers to the often-stated claims that modern violinists lack individual colour in their tone. The most important source of information for Sasaki’s research is old recordings. These old recordings, however, have a very limited fidelity and there are plenty of aspects to be researched before one can truly understand what lies behind all the ‘hissing and pops’ that corrupt our listening experience. In order to understand how much of the sweet, golden, and nostalgic sound comes from a certain way of playing and certain techniques, and how much the actual recording process colours the end result, Sasaki experiments with the early recording techniques himself. In his presentation Jaso Sasaki will play some of his experimental records and perform some of the recorded works with his newly acquired Victor Talking Machine Co. Stroh-violin as well as his Gagliano violin to demonstrate how different the two instruments sound in a live performance when compared to each other. 10:55 - 11:10 Response (Paulo de Assis)
11:10 - 11:40 Coffee break
broaden the operatic experience of both performers and audience. How might such a creative endeavour help us to better understand what makes a musical texture operatic, and to what extent might it offer new models for future operatic development?
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11:40 - 13:10 Presentations VI: Guest Institutions present their artistic research groups Chair: Don McLean 11:40 - 11:55 Huib Schippers (Queensland Conservatorium) 11:55 - 12:10 Sean Ferguson (McGill University) 12:10 - 12:25 Kari Kurkela (Sibelius Academy) 12:25 - 12:40 Laura Roberts (Guildhall School of Music) 12:40 - 12:55 Henk van der Meulen (Royal Conservatoire of the Hague) 12:55 - 13:10 Darla Crispin (Orpheus Research Centre in Music)
13:10 - 14:30 Lunch break (own arrangements) 14:30 - 15:30 Keynote Session II: Panel Workshop on Composition and Experimentation Convenor: Larry Polansky. With Eliot Britton, William Brooks, Kim Cunio, Sean Ferguson, Juan Parra, Julian Philips, Hans Roels, Kees Tazelaar, Bart Vanhecke This workshop will involve collaborative work by the composer-members of the Research Festival, as well as having the potential for creating ground-work for an ORCIM Study Day, led by Larry Polansky, taking place on 10 October 2011 at the Orpheus Institute.
15:30 - 16:40 Presentations VII: The Development of Concepts Chair: Hans Roels 15:30 - 16:00 Cecilia Oinas (Sibelius Academy) Interpreting Musical Motion: Analysis, Performance and their Interaction in the D minor Piano Trios of Felix Mendelssohn and Robert Schumann A performance of a musical work always includes motion that is expressed in time. To be able to shape and control this motion is perhaps one of the most important abilities for musicians seeking to create a convincing performance. Yet the aspired musical â€˜shapeâ€™ usually emerges only gradually during the rehearsal process, which includes experimentation and consideration. What is the role of music analysis in musical interpretation? Can it be used as a practical tool for the performer, one that can help to point out the salient aspects of a musical work?
16:00 - 16:30 Karoliina Kantelinen (Sibelius Academy) Something Old, Arranged and New - Folk music research in the singer’s creative process In the study of vocal music the generated information of a singer’s performing experience is an important part of folk music analysis. When the musician and researcher are the same person, there could arise a question of objectivity of the study. When the research is based on the perception of the artist and on deepening the singers’ skills, cooperation between science and art is desirable, productive, and hence justified. In this case, the engrossed ‘singerness’ and the study of archaic singing styles have led to new results, and created new music. This presentation applies the Musical Style theory of the American ethnomusicologist Mantle Hood (Hood 1971). Through Hood’s parametric I’m trying to find out how the case studies are located at the norms of musical style lines: The Tradition – The Performer, Genres – The Composer and General–Specific. As case studies I will present research material from my artistic concert programs. The analysis focuses on Finno-Ugric singing styles, Viena Carelian yoik and lament traditions. By combining these solo vocal cultures with instrumental accompaniments (yoik and bowed lyre, lamenting and violin melody) it is important to observe their impacts into the general form of the musical traditions. But from the viewpoint of
This paper will discuss these questions by examining the opening movements of the Piano Trio Op. 49 by Felix Mendelssohn and Piano Trio Op. 63 by Robert Schumann through a multilayered interaction between analysis and performance. My aim is to consider and explore how various analytical perspectives – such as formal, structural and metrical analysis – might provide alternative strategies for performers as they interpret and shape musical motion both locally (phrase level) and globally (large-scale level). During the presentation, musical examples will also be performed by a piano trio group (with myself at the piano). My aim is to propose that the analytical interpretation and practical interpretation (i.e. performance) do not necessarily have to be separate entities: an analysis can be an important, even crucial part of the performance. Yet, performance itself serves as a critical forum for analytical notions.
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the singer-researcher the main result is the process of how the archaic tradition has been transferred through the research, the musical arrangement and finally by the creative process, into the next level: within myself. 16:30 - 16:40 Response (Anne Douglas)
16:40 - 17:00 Coffee break 17:00 - 17:40 Moving Hands: Expression as Transformative Act Eleanor Stubley (McGill University) As a scholar and a choral conductor – one who both writes about music and gives it a living presence as sound – I am constantly slipping in, through, and around words as if they are portals to music’s deepest and darkest mysteries. When it came to the deepest mystery, however, music’s power to transform experience by revealing new possibilities for movement and feeling never before imagined, I, the scholar, found myself tonguetied. Yet, strangely, whether I wrote or conducted, it was often the same idea that hung on the edge of my consciousness, urging, prodding the word’s completion. Puzzled by the conundrum, I turned my attention from the questions of musical meaning and form which were the typical focus of my writing to my bodily experience of music as a conductor—that is to say to the expressive act in which I both shape and am shaped by the music as it unfolds. Where I had originally approached words as the vehicles of thought, I began to understand thought as an extension of my moving hands. This paper traces the genesis of this work. In Phase I, I followed Merleau Ponty’s description of expression as the on-going act of the body positioning itself in the world by examining the words I use to describe the work of my musical hands which, in questioning what music can be at any moment, simultaneously speak, listen, touch, grasp, sculpt, dance, build bridges, draw pictures, chart out or plot courses of actions, etc. In Phase II, I explored how the various verbs and images invoked the presence of another artist who is otherwise hidden in the movements of my hands as they interact with the different senses to give my body a presence in the mind, my mind a presence in the body. At the heart of this exploration was a growing awareness of the two-ness of my hands, the sense in which one hand could become a mirror through which to see and know the other while maintaining its own distinctive identity as one of a pair. In Phase III,
The paper will be followed by a ten-minute excerpt from Moving Hands: An Experimental film exploring the transformative powers of music through the hands of a choral conductor who, finding in her movements the moving hands of other artists â€“ a painter, a sculptor, a dancer, a cartographer, an architect, and an interpreter for the deaf â€“ discovers the infinite possibilities of the hand as an instrument of human expression.
17:40 - 18:30 Panel III: Transdisciplinarity in Artistic Research Chair: Michael Schwab. With Marianne Decoster-Taivalkoski, Anne Douglas, Elizabeth Marvin, Isabelle Van Grimde Artistic research is, by its very nature, a transdisciplinary phenomenon, creating fusions across a wide range of skills, practices and languages, often transgressing even the boundaries of academia. The shift from disciplines to practices prompts us to question how we describe and evaluate the research that we carry out without being limited to disciplinary frameworks. As transdisciplinary practice, artistic research stands for a return to the making of art as essential point of reference. This Panel will explore such issues.
19:00 - 21:30 Festival Dinner (organised by Orpheus Institute)
I describe how film became an experimental medium in which I could move beyond the spatial-temporal linearity of writing that did not allow me to take up more than one hand at a time. Here, driven by the poetic and architectural details of the unfolding music that I was conducting, experimentation has generated a play of hands that, in revealing the plasticity of the hand, has taken on a momentum all of its own, allowing me to focus on the creative, transformative nature of the expressive act.
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SATERDAY OCTOBER 8, 2011 09:30 - 10:45 Panel IV: Artistic Research and Peer Review Chair: Huib Schippers. With Sean Ferguson, Laura Roberts, Hans Roels, Michael Schwab As part of the development of the field of artistic research, its practitioners are endeavoring to claim space in the wider research discourse through the presentation of outputs and outcomes, all of which need to be evaluated if the field is to gain credibility. But who will be the assessors and evaluators of this complex work, and how will they make the case for the validity of artistic research to existing gatekeepers who have legitimate questions about such research, alongside vested interests in the maintenance of the status quo? This Panel will explore these problems.
10:45 - 11:15 Coffee break 11:15 - 11:45 Researching Performance, performing research through the lens of experimentation (ORCiM) - Paulo de Assis, William Brooks, Kathleen Coessens, Darla Crispin, Catherine Laws, Juan Parra, Luk Vaes Moving from the pairing of experimentationâ€“performance as a paradoxical construction towards experimentation as a necessary and creatively enhancing aspect of the preparation and the act of performance, we aim to enrich the dialogue and shared perspectives of the artist as a performer: not only an interpreter, but also an experimenter. A short exposition of case studies by researchers of ORCiM will be followed by a discussion.
11:45 - 12:00 break 12:00 - 13:15 Drawing the themes of the festival together Chairs: Catherine Laws (ORCiM), Don McLean (University of Toronto) 13:15 - 13:30 Final words and farewell
Tom Beghin is an internationally active performer on historical keyboards. His recording of Haydn’s complete works for solo keyboard (The Virtual Haydn, Naxos NBD 0001-04) was hailed as ‘one of the most audacious recording enterprises in recent memory’ and won a 2011 Juno nomination for ‘Best Music DVD of the Year’. As a scholar he has published in major musicological journals and volumes, and has co-edited Haydn and the Performance of Rhetoric (Chicago, 2007; winner of the 2009 AMS Ruth A. Solie Award). His research interests revolve around questions of rhetoric, persona, gender, and instrument technology in the 18th and early 19th centuries. He has been a member of the Haydn-Institut (Cologne) since 2004, and serves on the board of directors of CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology, Montreal). After earning a doctorate from Cornell University, he joined the faculty at UCLA, and, since 2003, has been Associate Professor at the Schulich School of Music of McGill University, where he teaches music history, performance practice, and fortepiano.
Eliot Britton’s compositions are performed worldwide and are distinguished by an electronic virtuosity. His music combines contemporary instrumental writing idioms, avant-garde DJ techniques and an electroacoustic aesthetic. Britton is the recipient of numerous awards and scholarships, most notably a Social Sciences and Humanities Research Council (SSHRC) doctoral scholarship. He recently returned from a North American tour with Bang on a Can pianist Vicky Chow, who commissioned his Cuneiform and Glide for piano and electronics. He is pursuing a PhD in Composition at the Schulich School of Music of McGill University.
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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 has been Senior Research Fellow at the Orpheus Research Centre in Music, Belgium. A composer and scholar, his work encompasses topics from experimental music to film musicals. In addition to works created as part of his ORCiM projects, he is presently embarked on a series of piano pieces and a theatre piece based on W. B. Yeats’s theories of declamation.
Alessandro Cervino graduated in piano with honours at the Conservatories of Milan and Brussels and at the Queen Elisabeth College of Music (Belgium). Active as concert pianist, he recently appeared at such important venues and festivals as International Piano Festival in Ravello (Italy), Conservatorio della Svizzera Italiana in Lugano (Switzerland), Centro de cultura musical in Porto (Portugal), Festival of Flanders, Musical Instruments Museum and Flagey in Brussels (Belgium). He recorded a live solo recital for the Radio Télévision Belge Francophone and performed various piano concertos with the Flemish Radio Orchestra, the Milano classica orchestra, the Sturm und klang orchestra and the Baylor chamber orchestra, working with conductors as Massimiliano Caldi, Pierre Bartholomée, Thomas Van Haepperen and Stephen Heyde. He is currently a piano professor at the Lemmensinstituut (College of Music & Performing Arts, Leuven), doctoral student in the performing arts at the University of Leuven within the docARTES programme and artistic researcher at the Orpheus Research Centre in Music of the Orpheus Institute of Ghent.
Kathleen Coessens’ research and artistic practice is situated at the crossings of science and art, human creativity and cultural representations, embodiment and epistemology. She studied at the Ecole Cortot in Paris and the Conservatory in Brussels, as well as at the Vrije Universiteit Brussel (VUB). With a background in both art and human sciences, she works now as a researcher at the Vrije Universiteit Brussel (VUB), the Orpheus Research Centre in Music, Ghent, and the Conservatory, Antwerp. She publishes artistic research work and collaborates in artistic projects merging visual and performance arts. Recent works are The Artistic Turn: A Manifesto with Darla Crispin and Anne Douglas (2009) and On Calendar Variations (2011) with Anne Douglas.
Dr. Darla Crispin is a Senior Research Fellow at the Orpheus Research Centre in Music (ORCiM), Ghent, Flanders. A Canadian pianist and scholar, Dr. Crispin has worked as a solo performer and accompanist in the UK, Continental Europe and Canada, specialising in musical modernity in both her performing and her scholarship. Dr. Crispin’s most recent scholarly work focuses upon the ramifications of practice-based research for musicians, scholars and audiences. Publications on this theme include ‘Schoenberg’s Wounded Work: Interpretative Themes and the String Quartet in F sharp minor Opus 10, in Austrian Studies 17’ (Manley Publishing, for the Modern Humanities Research Association), and a collaborative volume with Kathleen Coessens and Anne Douglas, The Artistic Turn: A Manifesto (Orpheus Institute, September 2009). She is currently working on a book entitled The Second Viennese School: Performance, Ethics and Understanding.
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Dr. Kim Cunio has studied with a number of Australia’s finest musicians including Australian composer Nigel Butterly, conductor and producer Eric Clapham, and Jazz guitar legend Ike Isaacs. His work with the ABC has seen him compose and produce music projects for CD, radio and television over the last decade. He is one of Australia’s most accomplished researching composers and was awarded an ABC Golden Manuscript Award in 2004, in recognition of his work with traditional and Islamic music. Kim is a lecturer at the QLD Conservatorium in Music and was acting head of composition in 2010. Kim is a member of the Queensland Conservatorium Research Centre where he explores traditional music, technology and new composition within the artistic practice as research framework.
de Assis, Paulo
Dr. Paulo de Assis is a pianist and artistic researcher with transdisciplinary interests in Musicology, Philosophy, French Post-Structuralism and Epistemology. Having been distinguished by the Fondation des Prix Européens (1994) and at the International Competition Maria Canals, Barcelona (1997), he completed a PhD in Musicology on the piano works of Luigi Nono. In 2002-2003, following a command made by the Foundation Giorgio Cini (Venice) he completed Camillo Togni’s unfinished piano concerto. In 2005-2009 he completed a Post-Doc embracing the complete work of Luigi Nono. Since 2009 he has been a Senior Researcher at the Centre for the Aesthetics and Sociology of Music (CESEM) at the University Nova Lisbon, and a Senior Researcher at the Orpheus Research Centre in Music (ORCiM), at the Orpheus Institute Ghent, where he currently investigates the concepts of interpretation and experimentation in music performance.
Born in France in 1969, Marianne is a media artist based in Helsinki, who graduated from the Media Lab of the University of Art and Design Helsinki in 2003. She has been appointed lecturer in Media and Sonic Art at the Center for Music Technology of the Sibelius Academy (2007 – 2012). Her background includes experience in cinema & audiovisual narration and sound design, soundscape studies and composition, performing arts, dance & movement art, Feldenkrais methods for body & motion awareness, improvisation arts (dance, theatre, electroacoustic music), and installation art (visual and acoustic spatiality).
Peter Dejans is Director of the Orpheus Institute, Ghent, Belgium.
Erika Donald’s diverse musical interests have led her to explore live electronics, contemporary improvisation and new digital instruments. She holds an MMus in Cello Performance from the Schulich School of Music of McGill University., where she is currently a PhD student in Music Education and Weston Fellow in Teaching & Learning in Higher Education. Her research focuses on movement, coordination and motor learning in music, technology in performance and education, and string pedagogy. She has received numerous scholarships and presented at international conferences including the SPARK Festival, ICMPC, ISME, ICMC, NIME and the Performer’s Voice. She has premiered several new works and been heard on CBC Radio.
Anne Douglas studied anthropology and sculpture. She initiated and directs the On the Edge (OTE) research (2001–present), enhancing the role of the artist in the public sphere. Co- author of The Artistic Turn: A Manifesto (2009), her recent research with Kathleen Coessens focuses on improvisation as embodied knowledge (Calendar Variations, 2010– present).
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Ben Duinker is laureate of several competitions, most notably the PASIC International Solo Percussion Competition and the Orchestre Symphonique de Montréal Standard Life Competition, where he received first prize in percussion. He holds an MMus in Solo Percussion Performance from the Schulich School of Music of McGill University. where he is now completing an MA in Music Theory. He has received numerous scholarships including the SSHRC Canada Graduate Scholarship and Schulich Graduate Scholarship. His diverse research interests include analytical strategies for contemporary percussion literature, popular music, and Franco-Flemish polyphony.
The EP Trio holds a student award from the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) and was the 2009 recipient of the CIRMMT Director’s Award for Interdisciplinary Excellence. The EP trio consists of composer Eliot Britton, cellist Erika Donald, and percussionist Ben Duinker.
Montreal-based composer Sean Ferguson is Professor of Composition and Dean of the Schulich School of Music of McGill University. His music has been performed by ensembles such as the Montreal Symphony Orchestra, the Orchestre Philharmonique de Radio-France, the Ensemble contemporain de Montréal and the Société de musique contemporaine de Montréal. His research interests include live electronics, computer-assisted composition and digital musical instruments. He is Co-Director with Philippe Leroux of the McGill Digital Composition Studios and was Director of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) from 2009-11.
Damien Harron is a percussionist and composer specialising in music-theatre and repertoire that employs unusual instruments. He is a co-founder of BackBeat Percussion Quartet with which he has received numerous awards including the Royal Overseas League Ensemble Prize (UK), the Concert Artists Guild Prize (USA) and the Gold medal at the Osaka Chamber Music Festa (Japan). These awards have led to major international concert tours, including six tours of Japan and concerts in Merkin Hall and Weill Hall, New York (featuring many of Harron’s compositions). As a soloist he is known as an adventurous performer of new music with a special interest in the commissioning and performance of theatrical works. He has also developed his interests in a great many global styles of percussion playing to gain a reputation as an extremely versatile percussionist. Harron is also a member of the new music groups Black Hair and Decibel and appears regularly as a soloist with both groups. As a composer, he has written many works that investigate and exploit the theatrical dimensions of concert performance. Harron has made recordings for Mode, NMC, Non Classical and Tzadik labels among others. He is currently a Senior Lecturer at Leeds College of Music. He gained his PhD in composition at the University of York in 2007.
Päivi Järviö joins ORCiM in Autumn 2011 as a Research Fellow. As a mezzosoprano, she specializes in the vocal music of the Baroque and Renaissance era, and approaches performing practice of Early Music from a phenomenological point of view. Järviö’s own experience of performer and pedagogue, set in dialogue with the repertoire, historical facts and other sources, situates her work within the auto ethnographical research tradition.
Is a singer and an ethnomusicologist from Helsinki who specializes in different ethnic singing styles. Her doctoral dissertation is on the old yoik tradition from
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Russian Karelia, formerly a Finnish territory. She currently teaches folk music at the Department of Musicology in the University of Helsinki and Pop-Jazz Conservatory. From spring 2009 Karoliina has been enrolled in artistic doctoral studies at the Department of Folk Music in Sibelius-Academy. Known for challenging the old established ideas and concepts of interpreting Viena Karelian yoiks, Karoliina uses the traditional Kalevala style as her inspiration for new contemporary folk-based compositions. With her distinctive broad-ranged voice, she is also known as a ‘lament singer’ whose unique ability spans a range of emotion from anguish to compassionate sensitivity. Besides yoiks, Karoliina composes in her use of traditional Kalevala style stories and melodies.
Kari Kurkela is Vice Rector of Sibelius Academy, Helsinki, Finland
Baroque-harp virtuoso and imaginative continuo-player, Andrew LawrenceKing is one of the world’s leading performers of early music. A creative and inspiring conductor who directs from one of several continuo instruments (including harp, organ, guitar, harpsichord & psaltery), he has led baroque opera, oratorios and chamber music performances worldwide. As a researcher, he investigates baroque opera for the Australian Research Council Centre of Excellence for the History of Emotions. In 1994 Andrew Lawrence-King formed his own ensemble, The Harp Consort, and was immediately signed up by Deutsche Harmonia Mundi for a seven-year series of solo and ensemble recordings. The Harp Consort now records exclusively for Harmonia Mundi USA. Their chart-topping first release was Missa Mexicana: festive polyphony and popular dances from 17th-century Mexico [London Times CD of the Year]. Their second CD, Miracles (songs by Gautier de Coincy, 13th -century Prior of Vic) won the Dutch “Edison” award: it was also Gramophone Magazine’s Editor’s Choice & London Telegraph CD of the Year. Their latest release is El Arte de Fantasía: dances, tientos & chansons from the Spanish Golden Age.
Catherine Laws is a musicologist and a pianist specialising in contemporary music. She is a Lecturer in Music at the University of York and a Senior Research Fellow at the Orpheus Institute, Ghent. Her current practice-led research focuses on processes of composer-performer collaboration, and the relationship between physical and sonic gesture. Her musicological research examines the relationship between music, language and meaning, especially with respect to the work of Samuel Beckett and composers’ responses to his texts. Recent publications include: ‘On Listening’, a guest-edited volume the journal Performance Research; ‘Feldman – Beckett – Johns: Patterning, Memory and Subjectivity’ in Björn Heile (ed.), The Modernist Legacy: Essays on New Music; and ‘Beckett and Unheard Sound’ in Daniela Caselli (ed.), Beckett and Nothing. Forthcoming publications include ‘Morton Feldman’s Late Piano Music: Experimentalism in Practice’ in The Practice of Practising (also edited by Catherine), and ‘“I could show you all I know”: Elements of co-creativity in a music theatre context’, in Productive Tensions: Co-creative Practices in Music (joint edited with William Brooks): these are volumes of the Collected Writings of the Orpheus Institute. She is also completing a book on Beckett and music for Rodopi Press.
Awarded an honorary doctorate by Sheffield University for his achievements in Baroque opera, Andrew now divides his time between solo recitals, tours with The Harp Consort, and appearances as guest director for orchestras, choirs and baroque operas in Europe, Scandinavia and the Americas. He was awarded a three-year Research Fellowship by the UK Arts and Humanities Research Council to research Spanish Baroque music-drama. He is now Senior Visiting Research Fellow at the University of Western Australia, Perth; Professor of Early Harp at the Guildhall School of Music & Drama, London; and teaches Harp & Continuo at the Royal Danish Academy of Music in Copenhagen. His first solo recital for Harmonia Mundi USA is Chorégraphie: Music for Louis XIV’s Dancing Masters. This season he has premiered a newly reconstructed Handel harp concerto in Kokkola, Kotka & Kouvola (Finland) and St Petersburg.
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Elizabeth Marvin joins ORCiM as part of a three-week session as a Visiting Researcher at the Orpheus Institute, having developed a project: ‘Experimentation on the Cognition of Pitch Learning and Memory.’ She is Professor of Music Theory and Professor of Brain & Cognitive Sciences at the Eastman School of Music, University of Rochester, USA.
Professor Don McLean is Dean of the Faculty of Music of the University of Toronto, Ontario, Canada
Erik Myin is a philosopher at Centre for Philosophical Psychology, University of Antwerp. His main research areas are: philosophical psychology, philosophy of cognitive science and philosophy of mind. He edited with Joseph Goguen ‘Art and the Brain: Investigations into the science of art ’. With Dan Hutto, he is currently writing a book Radicalizing Enactivism, MIT Press.
Cecilia Oinas is a music theory PhD student and a pianist from Sibelius Academy, Helsinki. The topic of her ongoing dissertation is the ‘Piano Trios of Felix Mendelssohn and Robert Schumann’ with a special aim to combine aspects of analysis and performance in a two-dimensional way: a performance influenced by analysis and analysis by performance. Her instructors have been professor Lauri Suurpää at Sibelius Academy and professor William Rothstein at Graduate Center (CUNY) in New York. During the spring of 2011 Oinas was a Visiting Researcher at the Orpheus Institute for three months. Cecilia Oinas has given presentations in various conferences and seminars: in October 2010 she gave a paper at the International Music Theory Conference
Parra Cancino, Juan
Juan studied Composition at the Catholic University of Chile and Sonology at The Royal Conservatory of The Hague (NL). He is part of several ensembles related to Guitar Craft, a school founded by Robert Fripp. A regular collaborator of artists like Frances Marie Uitti, Richard Craig and KLANG, Juan is a 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. Juan is also a researcher at the Orpheus Research Centre in Music (ORCiM).
Born in Wales in 1969 and brought up in Warwickshire, Julian Philips studied music at Emmanuel College, Cambridge, and is one of Britain’s most versatile and busy young composers. Philips’ music has been performed widely across the world at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera, Glyndebourne and the Wigmore Hall, by international artists including Gerald Finley, Dawn Upshaw, Sir Thomas Allen, the Vertavo String Quartet, the Tanglewood Festival Orchestra, the Britten Sinfonia and the BBC orchestras. Philips has enjoyed a particular affinity with music for the voice and has received critical acclaim for his settings of ee cummings, Dylan Thomas, Emily
in Tallinn with the title ‘Towards a Performer-Oriented Analysis: Communication between Analysis and Performance in Schumann’s D minor Piano Trio’. In January 2011 she gave a paper at the Mannes Music Theory Conference in New York, discussing the role of codas in two Schumann trios. As a pianist, Oinas specializes in chamber music and collaborating with classical singers. The Finnish Cultural Foundation, American Scandinavian Foundation and Kordelin Foundation have funded her doctoral studies.
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Dickinson and Arthur Rimbaud among others. In 2007 Philips took up a position as composer in residence at Glyndebourne Opera. In the course of his residency, Philips has created new works for the chorus including Followers, which was staged in the Old House in 2007. A new one act chamber opera, The Yellow Sofa, premiered in August 2009, written for the Jerwood Chorus Development Scheme. Knight Crew, a new full-length opera with a libretto by Nicky Singer was commissioned by Glyndebourne and received its world premiere production in March 2010. A re-creation of the Arthur legend in a contemporary gangland setting, Knight Crew gave an unprecedented opportunity for young performers and community groups to take part in a Glyndebourne production. These opera projects follow recent success with Welsh National Opera, for whom Philips was commissioned to compose two chamber operas, Dolffin and Wild Cat, as part of WNO’s Land, Sea, Sky trilogy. His opera for children, Varjak Paw, was produced by The Opera Group to considerable acclaim in September 2008. Philips has worked extensively in the theatre, collaborating on several occasions with the director Michael Grandage, and has also recently created two large-scale ballets for English National Ballet, Les Liaisons Dangereuses and The Snow Queen.
Larry Polansky is a composer, theorist, performer, programmer, teacher, writer, editor and publisher. He is currently the Straus Professor of Music at Dartmouth College, teaching in the graduate program in electro-acoustic music. From 1980–90 he worked at the Mills College Center for Contemporary Music Center as staff and faculty. He is one of the three co-authors (with Phil Burk and David Rosenboom) of the widely used computer music language HMSL, and helped implement the spectral mutation functions in the popular computer music application Soundhack, authored by Tom Erbe. He is the co-founder and co-director of Frog Peak Music (A Composers’ Collective), the founding guest editor of the Leonardo Music Journal, and works with various other organizations, publications, and recording companies dedicated to important
Martin Prchal is Adjunct-Director of the Royal Conservatoire of Music, University of Arts, The Hague, The Netherlands.
Ritterman, Dame Janet
Dame Janet Ritterman is external advisor at ORCiM. A former Principal of Dartington College of Arts and a former Director of the Royal College of Music London, she is an Associate Fellow of the Institute of Musical Research, University of London, Chair of the International Advisory Board for the arts programme (PEEK) for the Austrian Science Fund (FWF) and an appointed member of the Austrian Government’s Wissenschaftsrat.
Laura Roberts is a Piano Professor and Senior Postgraduate Tutor at the Guildhall School of Music and Drama. She is currently writing a book about Clara Schumann for Ashgate Publishing and has made a forthcoming CD with the pianist Eugene Asti of duet arrangements made by Clara Schumann of Robert Schumann’s music. She has performed widely including at St John’s Smith Square and the Conway Hall in London and St George’s, Brandon Hill in Bristol. She studied with Imogen Cooper and has also played in masterclasses for Richard Goode, Andras Schiff and Vlado Perlemuter at Prussia Cove International Musicians Seminar and Dartington Summer Music School. As a student at GSMD she won the Mozart Prize and awards from the Myra Hess Trust, Martin Musical Scholarship Fund, Cripplegate Foundation and English Speaking Union.
musical ideas. He is an active performer as a guitarist, and frequently writes on, edits, and publishes the music of other composers, including Johanna Beyer, Ruth Crawford Seeger, James Tenney, and many others.
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Hans Roels studied piano and composition, and during the fifteen years that he was active as a professional composer, his works were played in several European countries. His compositions are written for a variety of instruments and media, among others acoustic ensembles, instruments in combination with live electronics and ensembles of computer controlled music automats. Between 2001 and 2008 he was responsible for the concert programming in the Logos Foundation, a centre for experimental audio arts. Since October 2008 he has been working on a Ph.D. in the University College Ghent (Belgium). Since 2010 he also works as a researcher in the Orpheus Research Centre in Music (ORCiM) in Ghent.
Jaso Sasaki started learning the violin under his parent’s guidance at age four. The teachers who have influenced the art of his violin playing the most are the late Professors Zinaida Gilels, Igor Bezrodny and Yfrah Neaman OBE. He has been victorious in several archery, car restoration and drawing competitions and is a chef of prominent talent. Jaso Sasaki holds a Masters Degree of Music from The Guildhall School of Music and Drama. At this time he is studying for his Doctor’s Degree in Music Performance at the Sibelius Academy’s DocMus department. He is also currently recording a full cycle of Eugène Ysaÿe’s sonatas for solo violin. He is the first person to record them all in an electrical non-edited 78RPM shellac disc format, using original equipment from 1925. In the spring 2011 he made his first Acoustic Edison Cylinder recordings. Jaso Sasaki currently plays a Ferdinand Gagliano violin, made in Naples 1767. This instrument has been kindly placed in his use by the OP-Pohjola Group.
Professor Huib Schippers is Director of the Queensland Conservatorium, Griffith University, Brisban, Australia.
Dr. Michael Schwab is an artist and artistic researcher who interrogates postconceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He is a tutor at the Royal College of Art, London, research associate at the Berne University of the Arts, Switzerland, and research fellow at the Orpheus Institute, Ghent. Since 2003 his exhibitions and associated events have increasingly focused on artistic research. He is co-initiator and inaugural Editor-in-Chief of JAR, the Journal for Artistic Research, and joint project leader of the Artistic Research Catalogue (ARC), funded by the Dutch government.
Canadian pianist Anna Scott began lessons in both piano and violin at the late age of thirteen. Anna completed simultaneous BA and BSc degrees at Dalhousie University, a Diploma in Performance at the Glenn Gould Professional School, her Masters in Piano Performance at McGill, and is now both a Doctor of Music candidate and ORCiM doctoral researcher at The Orpheus Instituut. Anna’s doctoral supervisory team is comprised of Daniel Leech-Wilkinson, Naum Grubert, Frans De Ruiter and the late Bruce Haynes.
Eleanor Stubley is Associate Professor of Musicology and Director of Graduate Studies in Music, at the Schulich School of Music, McGill University where she specializes in ‘writing performance’, issues in aesthetics, gender studies and Canadian music. She is a critically acclaimed author and scholar. Her phenomenological approach has been the subject of an extensive analysis in Wayne Bowman’s Philosophical Perspectives (Oxford University Press) for the way in which it uses film as a medium for integrating her artistry as a conductor with the scholarly interests of her hand as a writer to challenge traditional discourses and expand our understanding of movement as an essential way of knowing and being in the world musically. She is artistic director of the Yellow Door Choir, an amateur choir that uses music for social justice, and
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Chora Carmina, a Montreal-based professional ensemble dedicated to exploring new music and the use of multi-media and intersecting artistic practices. She was both the musical director of and the inspiration for the CBC Television Production, The Pines of Emily Carr (Director, Don Winkler), a performancedocumentary described as ‘beautifully performed’ (Starweek Magazine, Feb. 2005), ‘stark and stirring’ (Toronto, Globe and Mail, Feb. 2005), and ‘the poster child for the pure art side of the Festival Internationale sur les filmes d’arts’ (Montreal, Globe and Mail, March, 2005). She is currently completing a book/ film project, Moving Words, Moving Hands. The work takes as its starting point the schism that has traditionally existed between the ways in which we describe and explain music in words and its experience in and through the body in performance.
(July 27, 1962) was taught at the Institute of Sonology from 1981 to 1983 (Utrecht) and from 1987 to 1989 (The Hague). He subsequently studied composition with Jan Boerman at the Royal Conservatory in The Hague, graduating in 1993. Since then Tazelaar has been teaching at the Institute of Sonology. He has been head of Sonology since June 2006. In addition to his own autonomous works, he has contributed to music theatre projects by Dick Raaijmakers (Die glückliche Hand geöffnet, Scheuer im Haag) and Theatergroep Hollandia (Perzen, Varkensstal, Platteland als Podium). In recent years he has been occupied intensively in the restoration and reconstruction of major electronic works from the past. In his specially equipped studio new versions have been made of compositions by Gottfried Michael Koenig (Klangfiguren II, Essay, Terminus), Jan Boerman (De Zee, Kompositie 1972, Ruïne), Edgard Varèse (Poème Électronique), Iannis Xenakis (Concret P-H), György Ligeti (Pièce Électronique no.3, Artikulation), Luctor Ponse (Concerto voor Piano en Band). During the winter semester of 2005-2006, Kees Tazelaar filled the Edgard Varèse Guest Professorship at the Technical University of Berlin.
Australian percussionist Vanessa Tomlinson is active in the fields of solo percussion, contemporary chamber music, improvisation, installation and composition. She has performed at festivals around the world. She is the recipient of 2 Green Room Awards, the 2011 APRA/AMC Award for Excellence by an organization or individual, and has been awarded artist residencies through Asialink (University of Melbourne), Civitella Ranieri (Italy), Banff (Canada) and Bundanon (NSW). She has recorded on numerous labels and is regularly is the percussionist of The Australian Art Orchestra, The Golden Orb, Clocked Out Duo and The Lunaire Collective. She was a founding member of percussion group red fish blue fish, and is co-founder and artistic director of Clocked Out, one of Australiaâ€™s most important and eclectic musical organisations. Vanessa is also founder and director of Ba Da Boom, the in-residence percussion ensemble at Queensland Conservatorium, and the training ground for a wide cross-section of the percussion community. She is well known for her interpretations of the music of Pateras, Griswold and Globokar, her improvisational language that incorporates sonic investigations of found objects, nature, and toy instruments, and her tireless advocacy for awareness of the plethora of high quality musicmaking happening in Australia. Vanessa studied at the University of Adelaide, Hochschule fĂźr Musik in Freiburg and received her Masters and Doctorate from the University of California, San Diego where she worked closely with Steven Schick and George Lewis. In addition Vanessa has studied Sichuan Opera with Master Zhong Kaichi in Chengdu, China. Vanessa is currently Senior Lecturer in Music at Queensland Conservatorium, Griffith University.
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 internationale prizes.
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In 2009 he promoted tot Doctor in the Arts at Leiden University (through the docARTES programme at the Orpheus Institute) with a dissertation on the theory, history and performance practice of the improper use of the piano. Currently he holds positions at the Royal Conservatory in The Hague and the Orpheus Institute/ORCiM.
Bart Vanhecke is a composer and researcher preparing a PhD in the arts on The Systematisation of Atonality and Dissonance in Amotivic Serial Composition at the Orpheus Institute and the University of Leuven. In 2010 he obtained a doctoral research grant from the University of Leuven and became a doctoral researcher at the ORCiM.
Van der Meulen, Henk
Henk van der Meulen is Director of the Royal Conservatoire of Music, University of Arts, The Hague, The Netherlands.
Van Grimde, Isabelle
Isabelle Van Grimde is a Montreal based choreographer and the artistic director of Van Grimde Corps Secrets whose work has been performed extensively in Quebec, Canada, the Netherlands, France, Belgium, Germany, Poland and Slovakia. The body, with its properties as raw material, malleable matter, as well as the thinking body, the sensitive and introspective body, are at the heart of her creative research. Projects such as Le corps en questions (â€˜The Body in questionâ€™) and Migrations are examples of her research process. For the last ten years, Isabelle Van Grimde has also focused her research on the relations and interactions between dance and other artistic disciplines. It has allowed her to question and transform her approach to the creation of a work.
She recently created Duo pour un violoncelle et un danseur, a coproduction with the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) based at McGill University, as well as Bodies to Bodies - Les chemins de traverse Metz I, II, III, a coproduction with l’Agora de la danse and the prestigious Arsenal de Metz (France) where Van Grimde Corps Secrets was Associate company for 2009. She remains engaged in the creation of The Body in Question(s) a performance/exhibit that unites dance, visual arts, media arts, live music and academic scholarship that will premiere in Montréal in 2012 as well as pursuing a three year research and creation project called Les Gestes with the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT).
Weman Ericsson, Lena
Lena Weman Ericsson, born in Sigtuna Sweden in 1964, studied the flute with Barthold Kuijken at the Royal Conservatory in the Hague, Holland and completed many courses and masterclasses with Wilbert Hazelzet, Penelope Evison and Hans-Olav Gorseth. She has also studied viola da gamba with Laurence Dreyfus, among others. Prior to 2000 Weman Ericsson worked as a free-lance musician – baroque flute and viola da gamba – with an average of 60 concerts a year with different Swedish baroque orchestras and baroque ensembles, such as The Drottningholm Baroque Ensemble, Stockholm Baroque Orchestra, Cappella Nuova and Corona Artis. Since approximately 2003, Weman Ericsson, as a musician, has primarily worked in smaller ensembles and/or together with musicians like Hans-Ola Ericsson, Susanne Rydén, Anna Lindal, Mikael Bellini and Mikko Perkola.
A virtually inexhaustible source of inspiration, these collaborations have led to performance series such as Les chemins de traverse (dance and music), Perspectives (dance and other artistic disciplines) and live@CIRMMT (dance, music and technology).
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The Belgian / Dutch electric guitar quartet ZWERM was founded in 2007. The starting point of the four musicians of ZWERM is a shared interest for new music: composed, improvised, experimental and performative. The awareness of the similarities between these different elements and the challenge of presenting them in a meaningful way is very important. The electric guitar has proved to be the instrument of twentieth century ‘low culture’ and underground music. Only recently it has found its way to composed music. The gap between these two fields is still big, however. ZWERM operates between these fields by connecting, using and abusing traditions. ZWERM navigates between all the styles and concepts that constitute the unstable landscape of contemporary music. Musicians: Toon Callier, Matthias Koole, Bruno Nelissen, Johannes Westendorp Since 2008 ZWERM is professionally supported by the Antwerp based centre for contemporary music, Champ d’Action.
[ORCiM] â€“ [International HUB for Artistic Research] The Orpheus Research Centre in Music [ORCiM] is based at the Orpheus Institute in Ghent, Belgium. ORCiMâ€™s mission is to produce and promote the highest quality research into music and, in particular, into the processes of music-making and our understanding of them. The Orpheus Institute encourages research that is embedded in and incorporates musical practice and which is primarily guided by artistic objectives and aesthetic interests. By opening up new areas of musical inquiry, by developing and implementing new tools for artistic research and by generating new research on specific topics relevant to musical practice, the Orpheus Institute is a pioneer in the world of research and higher education in music in Europe. With its research centre the Orpheus Institute aims to provide a strong and supportive international research environment generating new knowledge in-andthrough musical practice. Therefore the Orpheus Institute actively promotes and facilitates interaction and collaboration between ORCiM research fellows and other artistic researchers across disciplines, institutions and national boundaries.
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[ORCiM] – Publications In 2009 the new Subseries of the Collected Writings of the Orpheus Institute came in to being to present the research produced and promoted by the Orpheus Research Centre in Music [ORCiM]. The ORCiM series (peer-reviewed) explicitly ‘zooms in’ on studies that take artistic practice as their point of departure and deal with questions and challenges that arise from that practice. This publication platform aims at developing a discipline-specific discourse in the field of artistic research in music and by extending the possibilities and understanding of musical practice will act as a springboard for future research in this young but fascinating area. The ORCiM Editorial board is lead by William Brooks. ORCiM’s publications are published by University Press Leuven.
[ORCiM] Organisation 2011 International team of Researchers research fellows, doctoral researchers & visiting researchers from Europe, Canada & U.S.A Paulo de Assis (Portugal), William Brooks (U.K.), Alessandro Cervino (Italy), Kathleen Coessens (Belgium), Darla Crispin (Canada), Anne Douglas (U.K.), Catherine Laws (U.K.), Stefan Ostersjö (Sweden), Juan Parra Cancino (Chile), Hans Roels (Belgium), Michael Schwab (Switzerland), Anna Scott (Canada), Luk Vaes (Belgium), Bart Vanhecke (Belgium) Steering Committee Peter Dejans, director Orpheus Institute (Belgium) , Darla Crispin, steering committee officer (Canada, U.K./Belgium), Paulo de Assis (Portugal), Robert Höldrich (Austria), Kari Kurkela (Finland), Kathleen Coessens (Belgium), Catherine Laws (U.K.), Hans Roels (Belgium) External Advisor Dame Janet Ritterman (U.K.)
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2010 2013 During the period 2010-2013 the ORCiM researchers will focus on the theme of this year’s festival:
Artistic Experimentation in Music Within this focus, ORCiM researchers and groups of researchers conduct several individual research projects: • Interpretation versus experimentation: exploring new paths in music performance • Sounded gestures and enacted sounds • Experinterpreting: valuating experimentation in the learning process • ‘PARNASSUS’ • Improvisation as embodied knowledge in artistic practice • Transbody • Switched-On • Mapping SAMPlab • Explicit knowledge and artistic experiments • Rebody • Artistic Research and Experimental Systems • Reconsidering the Luthéal-part in Ravel’s Tzigane by way of a performance-technical re-arrangement • Experiments in amotivic serial composition
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Wed, Oct 5th
Thurs, Oct 6th
Fri, Oct 7th
Sat, Oct 8th
9:30 - 10:40
Presentations II: Music, experimentation & the Environment
Presentations V: Artistic Panel IV: Artistic Research & Experimentation & Expanded Peer review Media
10:40 - 11:00
11:00 - 12:00
Panel I: Experimentation in performance
Presentations VI: Institutional Research Groups overview
Researching performance, performing research through the lens of experimentation SMALL BREAK
LUNCH BREAK (own arrangements)
Drawing the themes of the Festival Together
13:00 - 13:20
Welcome & Introduction
Final Words and Farewell
Keynote Speech 1
14:20 - 14:40
14:40 - 15:15 15:15 - 16:30
Presentations I: Experimenting with established repertoire
LUNCH BREAK (own arrangements) Presentations III: Experimentation and Music Technology Keynote session 2: PanelWorkshop on Composition COFFEE BREAK and Experimentation
16:30 - 17:00
17:00 - 17:30
Re-imagining the body: Gestures, materials and interactions.
Panel II: Masters Education & Moving Hands: Expression as Artistic Research Transformative Act
18:00 - 20:00
DINNER BREAK (own arrangements)
DINNER BREAK (own arrangements)
20:00 - 21:40
Concert I: International-InConcert II: Collaborative ter-institutional collaboration Compositions
17:30 - 18:00
Presentations IV: Experimen- Presentations VII: The deveting with Musical materials lopment of Concepts and Audiences COFFEE BREAK
Panel III: Transdisciplinarity in Artistic Research FESTIVAL DINNER
We hope youâ€™ll join us next year! ORCiM RESEARCH FESTIVAL 3-5 October 2012 Stay tuned through www.orpheusinstituut.be or www.orcim.be
graphic design: www.quatremains.be
i C R
Orpheus Institute Orpheus Research Centre in Music Korte Meer 12 9000 Ghent, Belgium, Europe T: 0032 (0) 9 330 40 81 www.orpheusinstituut.be www.orcim.be
Published on Jan 14, 2014
The Orpheus Research Centre in Music [ORCiM] is celebrating its Third Annual Research Festival. This Festival will focus upon Artistic Exper...