from the known to the unknown. possible worlds for artistic experimentation

[ORCiM]

Orpheus Institute 3—5 OctoberGhent

2012Research Festival

FROM THEKNOWNTO THE

UNKNOWN

POSSIBLE WORLDS

FOR ARTISTIC

EXPERIMENTATION

IN MUSIC

Index5 On ORCiM6 Introduction to the festival7 List of Presenters and festival Guests

Schedule & Abstracts8 Day 116 Day 226 Day 3

Bio’s34 Special Guest35 Expert Panel40 ORCiM Fellows & Guest Performers

50 ORCiM Publications52 City map & Festival locations

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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 prac-tice, 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 fifteen musician-scholars (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).

www.orcim.be

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Introduction to the Festival

The Orpheus Research Centre in Music [ORCiM] welcomes you to its Fourth Annual Research Festival. This Festival will explore possible worlds for artistic experimentation and promises once again an unpre- cedented atmosphere of exciting and stimulating interaction, celebra- ting what is happening in artistic research in music on a global scale.

For the second year in a row ORCiM’s current three-year theme of Artistic Experimentation is at the heart of the Research Festival. The Orpheus Research Centre in Music [ORCiM] has been working on Artistic Experimentation in Music as a catalyst for the generation of new understanding in Artistic Research across the disciplines. Process-es of artistic experimentation in musical practice may provide a new way of illuminating the gap between artistic experience and its possible elucidation as new knowledge. This demonstrates a potential toward ‘configuring the unknown’, whether through the generation of novel concepts, the development of atypical performances or the creation of new technologies. This year’s Research Festival focuses on testing this core assertion, both as it applies to the sphere of music, and beyond.

We are very happy to have among us a selected group of guests that, in addition to the contributions and presentations of our research team, will help to improve the generation and understanding of the questions that artistic research provides, as well as to fulfill the main goal of our Festival: to help delineate future directions for ORCiM as it moves towards the culmination of its artistic experimentation project and looks beyond to new opportunities.

We wish you all three days full of rich and challenging experiences.

The Festival organization team.Kathleen Coessens, Darla Crispin and Juan Parra.

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Special GuestHelmut Lachenmann

Expert PanelSandeep Bhagwati Matthias Hermann Linda HirstTheodor RossMatthieu Saladin

ORCiM ResearchersWilliam BrooksKathleen CoessensDarla CrispinPaulo de AssisValentin GloorPäivi JärviöGerhard NierhausStefan ÖstersjöCatherine LawsJuan Parra CancinoHans Roels

Michael SchwabAnna ScottLuk VaesBart Vanhecke

Guest PerformersRichard CraigArne DeforceIvo DelaereAnne Douglas Ann EysermansDavid Gorton Nuala HayesLukas HuismanAssi KarttunenSeth JoselJona KesteleynPaul RoeYukiko SugawaraHenry Vega

List of Presenters and festival Guests

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Wednesday October 3Schedule:

10:00 – 11:30 WORKSHOP Sound becomes theatre | T. Ross Minard Theatre

11:30 – 12:00 REGISTRATION Orpheus Institute

12:00 – 12:30 WELCOME | P. Dejans Concert Hall

12:30 – 13:30 Presentations I | CHAIR: W. Brooks Concert Hall

12:30 – 13:30 Artistic Research & Experimental systems Concert Hall M. Schwab, P. de Assis

13:30 – 14:30 LUNCH (own arrangements)

14:30 – 16:00 Presentations II | CHAIR: B. Vanhecke Auditorium

14:30 – 15:00 Tracking Musicality in Computer Music Auditorium + Flux|Pattern #1 | J. Parra, H. Vega, C. Laws

15:00 – 16:00 Explorations of experienced time and movement Auditorium + 4 pieces | K. Coessens, A. Douglas, A. Eysermans

16:00 – 16:30 COFFEE BREAK Cellar

16:30 – 18:00 Presentations III | CHAIR: V. Gloor Concert Hall

16:30 – 17:00 rasch5: schumann’s somathemes | P. de Assis Concert Hall

17: 00 – 17:15 FILM Sounded gestures and enacted sounds Concert Hall C. Laws, W. Brooks, D. Harron

17:15 – 17:45 The discipline of singing… | L. Hirst Concert Hall

17:45 – 18:00 Q&A Concert Hall

18:00 – 20:00 DINNER (own arrangements)

20:00 – 21:30 Concert I | Mauricio Kagel: reconstructed Minard Theatre

20:00 – 20:20 Introduction | L. Vaes Minard Theatre

20:20 – 20:50 Tactil | L. Vaes, S. Josel, J. Kesteleyn Minard Theatre

20:50 – 21:05 BREAK

21:05 – 21:30 Unter Strom | L. Vaes, S. Josel, J. Kesteleyn Minard Theatre

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Wednesday October 3

10.00 – 11.30

Sound becomes theatre: Collaborative workshop on Mauricio Kagel’s Instrumental Theatre-pieces.Theodor Ross

This presentation will be a rehearsal-lecture featuring “Instrumental Theatre”-pieces by Mauricio Kagel. One such piece will be Con Voce, which will be set up from scratch with the performers of the evening concert; other participants will engage with different Kagel pieces.

The performers will come to the presentation with different conceptions and previous experiences with regards to Kagel’s music and Instrumental Theatre. This mix will provide an insight into howthe historical knowledge of this particular type of experimental perfor-mance practice, embodied by Theodor Ross’ extensive working relation-ship with Mauricio Kagel, can be made explicit and transmitted.

This event will be a real practice session for a performance and at the same time a lecture about the way how Kagel used to work at the reali-sation of his music-theatrical pieces and how, thereby, sound becomes theatre and theatre becomes music.

This rehearsal-lecture with Theodor Ross is organised as part of an ongoing research project To perform Kagel’s Unter Strom and Tactil (Luk Vaes). Later on the day this project will be presented in full (introduction plus live performances of both reconstructed works) at the Minard Theatre. The Sound becomes theatre workshop is open and free for all, but subscription via [email protected] is required.

12.30 – 13.30

Artistic Research and Experimental Systems.Michael Schwab and Paulo de Assis

How can a scientific notion of experimentation be applied to research in music? Following Hans-Joerg Rheinberger’s work on the practice of experimental science, this session will present an analysis of experi-mental research conducted by ORCiM fellows. It will suggest sets of notions that may help to better understand what artistic researchers actually do when they conduct experimental research and how new knowledge may emerge from artistic research practice.

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Wednesday October 3

14.30 – 15.00

Tracking physicality and embodied musicality in computer music performance.Juan Parra Cancino

This project seeks to pick up and refocus the inherent artistic research elements found on the collaborative work developed by Juan Parra and Henry Vega as members of the percussion and computer music trio “The Electronic Hammer”, where the role of the computer and its performer was challenged, explored and developed to achieve the same level of musical nuance, expressiveness and responsibilities as traditional instruments in a chamber music setting. The main focus of this project will be to identify and formalize the various experiences that the trio’s six year of repertoire development has created, focusing on answering a.o. the following questions: What are the possible musical relationships between traditional instrument(s) and electronic set-ups? How does the inter-related roles of composer-performer-instrument designer of com-puter music practice work together in collaboration with ‘traditional’ composers and performers? How can we move from an ‘emulation’ model to a differentiation of skills in computer music instruments? How can the non-sounding aspects of music performance help to enhance the malleability and richness of the electronic media in a concert situation?

This research-through-practice project will aim to determine what has been learned in terms of musical and technical performance development and will explore (both as duo as in combination with select-ed instrumental performers) what salient elements of the unique setting can be further developed. The final outputs will be both in the shape of a collection of musical ‘etudes’ (Flux|Pattern # 1–3) where aspects of “traditional instrumentality” will be contrasted with performance and musical elements that can be perceived as unique to the potential of electronic media.

Performance details:

– Flux|Pattern # 1 (2012) Composition: Juan Parra Cancino Performers: Catherine Laws (piano), Juan Parra and Henry Vega (computers)

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15.00 – 16.00

Explorations of experienced time and movement: The perspective of the musician and the visual artist.Kathleen Coessens, Anne Douglas and Ann Eysermans

These works are artistic creations based on the experimentation thesis: artistic experimentation as the hinge between everyday life experiences and transformative aesthetic experience. They explore different semiotic processes (text, image, sound, space) as well as perceptual processes (visual, haptic, auditive, synesthetic) of transformation and translation.

Adayinmylifeinaday (2012) starts from an instructional poetic text, and aims at a kind of ‘bricolage’ of everyday life materials — be it literal or metaphorical. Composed Encounters I (2011) brings together four different — in time and space — experiences of everyday noise, by way of a tape, material which the performer interacts. Sounding Cartograms I (2012) takes cartographical material of visible and invisible networks of daily experience as its starting point, revealing that what is always present, but rarely attended to. The last work Sounding Drawing I is based on the interaction between visual arts and music and is partof the AHRC project Time of Encounter / Time of the Clock (2012), with an exhibition, workshops and performance at the New Sound Festival in North East Scotland (October 2012) in Woodend Barn (Aberdeen).

Opening with the performance of these particular pieces, we aim to discover how the seemingly unrelated experiences of hearing and seeing through art and everyday experience, can inform and enrich different notions of time.


– Adayinmylifeinaday (2012) Kathleen Coessens (score, piano)– Sounding Cartograms I (2012) Ann Eysermans (composition and performance, bas), Kathleen Coessens (piano)– Composed Encounters I (2011) Kathleen Coessens (tape, composition, piano), Ann Eysermans (voice)– Sounding Drawings I (2012) Anne Douglas (graphic score, performance), Kathleen Coessens (piano)

Wednesday October 3

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16.30 – 17.00

rasch5: schumann’s somathemes (lecture).Paulo de Assis

In his famous essay on Robert Schumann’s Kreisleriana, Roland Barthes (1975) identified significant categories that differ from the lin-guistic in being corporeal. One of these categories is what he labelled as “somathemes” — musical “figures” and/or “figures of the body”, whose texture engenders musical “signifying”. Reflecting on, and play-ing (himself) Schumann’s Kreisleriana, Barthes explored musical and bodily qualities that go beyond the “wise language” of pitches, rhythms, harmony, phrasing and formal construction, revealing a more essential “beating” body, producing “somathemes” that directly communicate a “second text”. Related to the motions and movements of the human body, somathemes convey corporeal meanings. These “meanings” (particularly in extreme ritardandos, in frantic, forward-rushing rhyth-mic lines, or in syncopated pulses) relate to a body “which is about to speak” (quasi parlando) without saying anything. Somathemes reveal the emergence of “desire”, generating new agencies of musical signifying (forces, energy) that are situated both before and beyond linguistic articulation. This lecture will explore the concept of “soma theme”, presenting the conceptual framework for the experimental performance rasch6: schumann’s somathemes, for piano, tape and data-projector.

17.00 – 17.15

Sounded gestures and enacted sounds (film presentation).William Brooks (composition), Damien Harron (percussion) and Catherine Laws (piano)

A pianist moves her arm (vertically). A percussionist moves his arm (laterally). Both produce sound (perhaps). A viewer (auditor) finds one gesture ‘musical’ or ‘expressive’, another gesture ‘theatrical’. From whence do these judgments come? Are they irrelevant to the experience of ‘music’ or an intrinsic part of it? Under what circumstances might the ‘music’ be ancillary to the gesture, rather than the reverse (as is conventional)? These questions motivated ‘Sounded gestures and

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enacted sounds’, a practice-led project investigating the relationships between physical and sonic gesture and between embodied knowledge and musical meaning. The process moved from systematic gathering and analysis of data, through collaborative performance exploration, to composition (of gesture, not of sound), and finally to performance and filming. The aim was to explore and reveal the complex relationships between sound and gesture and to enrich the field of creative possibili-ties by exploring the body as a site of imaginative production. The pro-ject involved examining, exchanging and reconstructing vocabularies of gesture, to make strange and disjoint what ordinarily feels (even if it is not) natural (after years of training and experience); to disrupt the habitual, as if to try to catch the performing body-subject in the act of looking at itself.

17.15 – 17.45

The discipline of singing new, composed vocal music: The liberating experience of improvising, and how they relate.Linda Hirst

Having spent 40 years or so singing new music for voice(s) and just the last 10 years improvising, the comparison between accurate and inspired performance of composers work and my own development of musical ideas from a starting point of freedom is increasingly fasci-nating to me. Is there a fight between originality and accuracy and does one preclude the other?

20.00 – 20.20

To perform Kagel’s Tactil and Unter Strom: Some experiences in having put historically experimental music to the test.Luk Vaes

The scores to Tactil (1970) and Unter Strom (1969) were left unfinished, so they can only be performed today after a process of reconstruc-tion. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumen-tal Theatre’ and the handling of ‘experimental sound producers’, the

Wednesday October 3

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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 an introduction to the festival performance of the reconstructed Tactil and Unter Strom, this presentation will concern itself with aspects of the research process and of the projected research output, showing conundrums, pitfalls, challenges, surprises, and, above all, the impor-tance of being a performer to cope with Kagel’s richly inventive creative approach.

20.20 – 21.30

Maurico Kagel’s Tactil and Unter Strom: reconstructed (concert). Luk Vaes, Seth Josel and Jona Kesteleyn

In 1969 and 1970, Mauricio Kagel ‘made’ two experimental instrumen-tal theatre pieces, Unter Strom and Tactil. Since a fully encoded and composer-authorized score is lacking, the historical performers have been the only ones to play and record these compositions. The only adequate possibility to perform these pieces anew is through reconstruction of the original performance practice and the making of a score. This is the challenge Luk Vaes tackles in his practice-led research project ‘To perform Kagel’s Tactil and Unter Strom’.


– Tactil (1970) Composition: Mauricio Kagel Performers: Luk Vaes (piano), Seth Josel and Jona Kesteleyn (guitars)– Unter Strom (1969) Composition: Mauricio Kagel Performers: Luk Vaes, Seth Josel and Jona Kesteleyn (objects)

Wednesday October 3

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9:30 – 10:45 INTERVIEW Helmut Lachenmann Concert Hall P. de Assis, K. Coessens


11:15 – 12:45 Presentations IV | CHAIR: L. Vaes Concert Hall

11:15 – 12:15 Rhetoric, Narrative, Experiment Concert Hall W. Brooks, P. Järviö, V. Gloor, A. Karttunen

12:15 – 12:45 Elements and Images | B. Vanhecke Concert Hall


14:00 – 15:00 Presentations V | CHAIR: D. Crispin Concert Hall

14:00 – 14:30 Analysis of contemporary music | M. Hermann Concert Hall

14:30 – 15:00 PANEL FEEDBACK # 1 | Expert Feedback group Concert Hall


15:30 – 17:00 Presentations VI | CHAIR: S. Östersjö Auditorium

15:30 – 16:15 Hide and seek | H. Roels, G. Nierhaus Auditorium

16:15 – 17:00 On matralab | S. Bhagwati Auditorium


17:30 – 18:45 Concert II Concert Hall

17:30 – 18:45 Rhetoric, Narrative, Experiment Concert Hall W. Brooks, P. Järviö, V. Gloor, A. Karttunen

18:45 – 19:15 BREAK

19:15 – 20:40 Concert III Concert Hall

19:15 – 19:25 Pression | A. Deforce Concert Hall

19:25 – 19:45 rasch6: schumann’s somathemes | P. de Assis Concert Hall

19:45 – 20:00 BREAK Cellar

20:00 – 20:15 Flux|Pattern # 2 | J. Parra, H. Vega, R. Craig Concert Hall

20:15 – 20:40 Serynade | Y. Sugawara Concert Hall

20:45 – 22:30 FESTIVAL DINNER Orpheus Institute

Thursday October 4Schedule:

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Thursday October 4

9.30 – 10.45

Interview with special guest Helmut LachenmannFear and desire: Exploring unknown territories.Kathleen Coessens and Paulo de Assis

Around 1500, unable to resist his eager desire, Leonardo da Vinci came to the entrance of a great cavern. After having remained there some time, two opposing emotions arose within him: fear and desire — fear of the threatening dark cavern and desire to see whether there were any marvelous things within it. This illustrates some of the tensions between the known and the unknown. A composer today faces similar situations, finding him or herself in “eine Situation des unruhigen Suchens, im Gefühl der Unwissenheit”, as Helmut Lachenmann says. In this inter-view, Lachenmann will question the role of art in contemporary societies, will challenge habits of artistic reception and will reflect upon alternative ways of producing and communicating artistic processes.

11.15 – 12.15

Rhetoric, Narrative, Experiment (presentations).William Brooks, Valentin Gloor, Päivi Järviö and Assi Karttunen

From the first experiments with music notation to the present day, language, both its sound and its sense, has been a prime factor in moti-vating historical musical experiments. And the reconsideration of past music, thus generated, has become a prime factor in motivating pre-sent-day experiments. This panel offers artistic research drawing upon three different eras — the Baroque (Päivi Järviö, Assi Karttunen), the Romantic (Valentin Gloor), the Victorian (William Brooks) — and three different cultures — French, German, and Irish. Three papers will present the historical background — the scholarly research — concern-ing artistic experiments of the past, and link it to the present-day practice of the performer; the associated performances manifest in artistic form the results of the scholarly work and artistic experimenta-tion. Thus the presentations and concert performances together offer not only historical instances of artistic research but also present-day creative re-presentations of the issues these embody.

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Presentations:

Silence as Presence: Embodied rhetoric of French Baroque music.Päivi Järviö and Assi Karttunen.

“There is no such thing as an empty space or an empty time (Cage 1961).” In the 17th and 18th centuries, silence as a central element of rhetoric was an organic part of the composing and perform-ing of music. Rhetorical figures such as tmesis, aposiopesis, generalis pausa, finale silentium, ellipsis, suspiratio etc. were used as expressive devices of speech in ways that referred to fullness rather than absence of “something” (sound, meaning, movement, life). In the practice of a present-day performer of Baroque music, silence is filled with meaning: waiting, hesitating, being stupefied, surprised or undecided, emphasizing, gasping for air, stopping petrified with suppressed rage etc. In the body of the performer, silence — or what might appear as “nothing” for the listener/spectator — entails experimenting with movements of the mind or the body. In our presentation we demon-strate the process of working on gestures of silence in a short fragment of 18th-century French vocal music, linking our present-day experi-ments with the practices described in the contemporary sources.

Multiple voices: Re-setting Romantic Lied settings.Valentin Gloor

Six settings by Romantic German composers are chosen amongst the variety of Lied settings of Goethe’s poem “Nur wer die Sehnsucht kennt”. Few other poems offer such a concise approach to Romantic wording and touch the center of Romantic thought so directly. The six songs show different ways of handling the relation of text and music. The paper session gives an overview and a scholarly introduction based on the concept of the composer’s voice, as introduced to research by Edward T. Cone. It raises questions of impersonation and communica-tion as well as some aspects of rhetoric and style.

The insights reached will be challenged through what will then be a highly experimental artistic research approach to the topic in the following performance.

Thursday October 4

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Everlasting Voices: Yeats and music.William Brooks

From an early age William Butler Yeats (1865–1939) was preoccupied with establishing the proper declamation for his poems. In the 1880’s he began to investigate this question by means of what now, in ORCiM’s terms, is a paradigmatic instance of artistic research. He first explored his own performance of poems; then he began work-ing closely with other poets and performers (notably the Irish actress Florence Farr). By the mid-1890’s he had determined that some sort of notation was necessary; at the same time, inspired by imagined models of ancient Irish bards, he began the search for an appropriate accompanying musical instrument. In 1901 Arnold Dolmetsch, the early-music pioneer, constructed a lyre-like “psaltery” for Yeats; over the next decade Yeats, Farr and others promoted his new, accompanied style of “chaunting” in lectures and performances in England, Ireland and the United States. Along the way Yeats’s theo-ries for text delivery became entangled with theatrical narrative, in “lyrical” plays like Cathleen ni Houlihan; they also became entangled with the cause of Irish nationalism, in part through his life-long love for the celebrated patriot Maud Gonne, who played Cathleen in the first performances; and through this they become a key thread in the narrative of Yeats’s own life, as constructed by himself in his Memoirs and as understood by modern biographers.

This paper presents a full scholarly account of Yeats’s twenty-year experiment in musical declamation; a composition, Everlasting Voices, presents the same research in the form of a performance; together paper and composition constitute an exegesis both of and through artistic research.

Thursday October 4

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12.15 – 12.45

Elements and Images: Experimental exploration and expression of an aesthetic universe. Bart Vanhecke

In my presentation, I will distinguish between three types of experimentation related to artistic practice: experimentation for art (which is strictly speaking not artistic but scientific experimentation), experimentation in art (related to artistic research and involving the de-velopment of new kinds of knowledge or new types of exploration of the artist’s own aesthetic universe) and experimentation through art (related to artistic practice and involving the creation of new kinds of artistic expression). I will show how the three types of experimentation apply to two projects of my own artistic research and creative practice that are both explorations as well as expressions of my own aesthetic universe.

14.00 – 14.30

Analysis of contemporary music: Creative?Matthias Hermann

Composer, conductor and educator, Matthias Hermann’s presentation will focus on musical analysis and its possible creative connotations. How can a creative mindset influence strategies, choices and perspectives when it comes to the analysis of contemporary music? This will be pre-sented and illustrated by Mr. Hermann while sharing his analytical work of the orchestra piece Schreiben, by Helmut Lachenmann.

15.30 – 16.15

Hide and seek: The game of composers and their creative processes.Hans Roels and Gerhard Nierhaus

During the previous years, Hans Roels and Gerhard Nierhaus performed separate research projects in which more than 15 composers were commissioned to create new works. Both projects used different

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methodologies to shed a light on the creative process in the pre- composition phase. In the project of Nierhaus composers could re-shape algorithms (to generate music) into a intuitive tool to be used in the composition of a final work, while the composers in the project of Hans Roels started from a given composition problem and added their expertise and personal context to it.

After a short introduction on these separate projects, the methods, products and data from these projects and the individual composers are confronted with each other in a second part of this lecture-discus-sion. Although experimentation is not the main focus of this research, experimentation does appear in different forms and domains within the collected data. The individual spaces, experiences and histories in which experimentation takes place, illustrate the diversity of the creative processes. In the last part of the lecture the authors want to provoke a discussion by providing an attempt to answer the following questions: How important or unimportant is experimentation for the fi-nal product — the composition? How important is the game-like aspect of experimentation for the composer? How resistant is experimenta-tion to the observations by the insider (the individual composer) and the outsider (the researcher or the collaborating composer)? Is the diversity of creative processes an obstacle or does it offer an opportunity to detect common elements and problems in music composition? And finally: how relevant is the gained information for the artistic practice of composition and performance?

The joint lecture will be illustrated with short score and audio frag-ments of the compositions that were made in these research projects together with excerpts of the research data (interviews, sketches, com-puter files, music algorithms, …).

16.15 – 17.00

On matralabSandeep Bhagwati

matralab (http://matralab.hexagram.ca) is a space for research- creation in the performing arts at Concordia University Montréal. In positioning practices and concepts around “research-creation” (in Canada) or “artistic research” (in Europe) in relation to scientific

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and scholarly research, questions of methodology always loom large. In my talk, I will describe several of my projects at matralab, most with a strong musical focus, and how they exemplify novel approaches to the idea of the open work, to comprovisation and to transcultural music making. I will discuss the AGNI-methodology developed and used at matralab and propose it as a model methodology for rigorous art-based research.

17.30 – 18.40

Rhetoric, Narrative, Experiment (concert).William Brooks, Valentin Gloor, Nuala Hayes, Päivi Järviö, Assi Karttunen and Paul Roe


– Jacopo Peri (1561–1633): Tu dormi, e’l dolce sonno Päivi Järviö (mezzosoprano), Assi Karttunen (harpsichord) [6’]– Jean-Baptiste Lully (1632–1687): Tu m’écoutes, hélas… Arbres épais (Les plaisirs de l’île enchantée, 1664) Päivi Järviö (mezzosoprano), Assi Karttunen (harpsichord) [3’30”]– Jean-Baptiste de Bousset (1662–1725): Charmante nuit (VIIIe recüeil d’airs nouveaux sérieux et à boire, 1709) Päivi Järviö (mezzosoprano), Assi Karttunen (harpsichord) [4’30”]– Jean-Henry d’Anglebert (1629–1691): Gaillarde. D’Anglebert. Päivi Järviö (mezzosoprano), Assi Karttunen (harpsichord) [3’45”]– Nur wer die Sehnsucht kennt — J. W. Goethe: An experimental setting integrating Lied compositions by Karl Friedrich Zelter, Ludwig von Beethoven, Franz Schubert, Anselm Hüttenbrenner, Robe Schumann and Hugo Wolf. Valentin Gloor (tenor)– Everlasting Voices William Brooks, Nuala Hayes (actress) and Paul Roe (clarinets)

Thursday October 4

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19.15 – 19.25

PressionComposition: Helmut Lachenmann Performance: Arne Deforce (cello)

This piece originated as an introduction to “instrumental musique-concrète”. In this sort of piece it is common for sound phenomena to be so refined and organized that they are not so much the results of musical experiences as acoustic attributes of their own. Timbre, dynamics and so on arise of their own volition but not as components of a concrete situ-ation characterized by texture, consistency, energy, resistance. This does not come from within but from a liberated compositional technique. At the same time it implies that our customary sharply-honed auditory habit is thwarted. The result is aesthetic provocation.

World première Como (Fall musicale), September 30, 1970

19.25 – 19.45

rasch6: schumann’s somathemes (performance).Paulo de Assis

rasch6: schumann’s somathemes, for piano, tape and data-projector is an experimental performance — a critical reading of Robert Schumann’s Kreisleriana op.16 (1838) through the lens of Roland Barthes writings on this piece, particularly his original concept of “somatheme”. In addition to the music of Robert Schumann, recorded voices, pro-jected texts and images shall bring the listener to a state of “inner resonance” with the body of the music played on stage, making Barthes’ “second text” (l’affolement des coups) more perceptible.

Thursday October 4

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20.00 – 20.15

Flux|Pattern # 2Juan Parra Cancino, Richard Craig and Henry Vega


– Flux|Pattern # 2 (2012) Composition: Juan Parra Cancino Performers: Richard Craig ( flute), Juan Parra and Henry Vega (computers)

This concert performance of Flux|Pattern # 2 is part of a series of etudes. Etude # 2 was performed on day 1 as part of the lecture Tracking Musicality in Computer Music. Flux|Pattern # 3, on day 3.

20.15 – 20.40

SerynadeComposition: H. Lachenmann Performance: Yukiko Sugawara (piano)

The title “Serynade” is easy to explain: the name of its dedicatee, Yukiko Sugawara, has smuggled itself into the well-known genre of the “serenade” in the form of the “Y”, the first letter of her first name. The Japanese pianist has since played “Serynade”, Helmut Lachenmann’s first large-scale piano piece, at many international concert venues to resounding success.

World première Akiyoshidai Music Days (Japan), August 27, 1998 (incomplete version)World première Stuttgart (Eclat festival), February 13, 2000 (complete version)

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9:30 – 11:15 Presentations VII | CHAIR: C. Laws Concert Hall

9:30 – 10:15 Forlorn Hope | S. Östersjö, D. Gorton, J. Parra Concert Hall

10:15 – 10:45 Eigengang | H. Roels, L. Huisman, I. Delaere Concert Hall

10:45 – 11:00 Flux|Pattern # 3 | J. Parra, H. Vega, S. Östersjö Concert Hall


11:30 – 13:00 Presentations VIII | CHAIR: H. Roels Concert Hall

11:30 – 12:15 Object Lessons | D. Crispin Concert Hall

12:15 – 13:00 [Un]Knowing Brahms | A. Scott Concert Hall


14:00 – 15:45 Presentations IX | CHAIR: P. de Assis Concert Hall

14:00 – 14:30 Simply as of an act… | M. Saladin Concert Hall

14:30 – 15:00 PANEL FEEDBACK # 2 | Expert Feedback group Concert Hall

15:00 – 15:45 OPEN DISCUSSION | All Concert Hall

15:45 – 16:00 CLOSING REMARKS Concert Hall

Friday October 5Schedule:

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Friday October 5

9.30 – 10.15

Forlorn Hope: Co-creativity and interpretative strategies towards open form.Stefan Östersjö, David Gorton and Juan Parra

Since June 2010, David Gorton (composer) and Stefan Östersjö (guitarist) have been collaborating on a project that examines the evolu-tion of their artistic collaboration over time and the role of experimen-tation in the creative process.

The first composition of the project was completed in 2011; Forlorn Hope is written for the eleven-string alto guitar with optional improvis-ing laptop performer. The piece derives a substantial proportion of its material from a collaboratively made transcription of John Dowland’s Forlorn Hope Fancy and from improvisations made by the guitarist. In performance multiple versions of the piece may be realized, each requiring different interpretational strategies.

This presentation will trace the distribution of authorial creativity between composer and performer. A performance of Forlorn Hope (with Juan Parra Cancino performing the live electronics) will be given and the performance strategies for the presentation and interpretation of the piece will be discussed.

10.15 – 10.45

Eigengang: Individual lines and interrelated stories.Hans Roels, Ivo Delaere and Lukas Huisman

In 2011-2012 Hans Roels composed a work for 3 pianists playing on one piano. These performers play five layers or voices which have their own independent character, tempo and style. The work originated from a desire to create a work for an intimate ensemble — performers very close to each other — where each voice has enough space to develop its own personality.

“While composing this work I was involved in researching the creative process of other composers and this experience started influ-encing my own working methods and the process of reflecting on this work. I recognized common compositional problems and

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I started using techniques that I used to research other composers, to observe my own creative process, resulting in an intense experimen-tation phase. This experimentation functions as a mirror which not only reflects my own practice but which also acts as a window through which one can watch and observe other composers.

In general, I want to offer the audience a performance of this work, a very short history of its genesis and a narrative on the intersubjective nature of experimentation as experienced in the — at first sight — individual act of composition.”

10.45 – 11.00

Flux|Pattern # 3Juan Parra Cancino, Stefan Östersjö, Juan Parra and Henry Vega


– Flux|Pattern # 3 (2012) Composition: Juan Parra Cancino Performers: Stefan Östersjö (guitar), Juan Parra and Henry Vega (computers)

This performance of Flux|Pattern # 3 is part of a series of etudes. Etudes # 1 was performed on day 1 as part of the lecture Tracking Musicality in Computer Music. Flux|Pattern # 2 on day 2.

11.30 – 12.15

Object Lessons: Of creative ‘gambits’ in keyboard works of the Schoenberg School as a locus for the emergence of new epistemic things.Darla Crispin

The piano works of the ‘Schoenberg School’ can be regarded as case-studies in which the performer’s processes of experimentation may be seen both to interface, and to be at odds, with the layers of experimentation already embedded in the compositions — as evidenced through the processes of sketching and generating row ma-trices. Considering this information alongside scrutiny of Schoenberg’s delight in the creation of physical objects (such as furniture,

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playing cards and chess games), it is possible to assert that what Schoenberg had formed for himself, and what his students adapted to particular grain of their own creative personalities, was a highly controllable field for the conduct of experiments. Each of these had some capacity for verification or refutation as part of a collective ‘dialogue’ with the past. This forms a fertile a terrain for the artistic researcher seeking to generate novel performance approaches — and even, new knowledge.

12.15 – 13.00

[Un]Knowing Brahms: Artistic experimentation and the deconstruction of canonic musical identities.Anna Scott

In spite of seemingly disparate approaches to the late piano music of Johannes Brahms, both mainstream and period pianists continue to adhere to a pervasive set of ethically-rooted style rules designed to protect modern constructions of Brahmsian sound and meaning. Practice-led attempts to wrestle with potentially destabilizing pieces of historical evidence (such as the recordings of the composer’s pupils) are rare; changing how Brahms sounds threatens our reassuring stories about what he means. I however wish to demonstrate how artistic experimentation with these most problematic pieces of historical evidence affords the emergence of a new style of Brahms performance

— one that is as historically-informed as it is fundamentally ‘unBrahm-sian’. Only these authentic yet stylistically improper sounds have the power to instigate an elucidation of the gaps between pianists’ ethical intentions, performative acts and the historical ‘record’ — allowing us to finally decide how authentic any of us really wants to be.

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14.00 – 14.30

Simply as of an act the outcome of which is unknown: Experimental music and stock exchange.Matthieu Saladin

According to the famous definition by John Cage, “the word ‘experi-mental’ is apt, providing it is understood not as descriptive of an act to be later judged in terms of success and failure, but simply as of an act the outcome of which is unknown.” In brief, experimental music would be characterized by a close relationship with indeterminacy. For sure, the socioeconomic context of experimental music when Cage wrote this definition is quite different from our contemporary context, but this “indeterminacy” appears also at the heart of the economic logic of stock markets. Trying to question the relationships between experimental music and stock exchange, I will present one of my latest projects called G-20 Song (CAC Brétigny production).

Friday October 5

bio’s

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Helmut Lachenmann (born November 27, 1935 in Stuttgart) studied piano, theory and counterpoint at the Musik-hochschule Stuttgart from 1955 to 1958 and from 1958 to 1960 composition with Luigi Nono in Venice. The first public performances of his works took place at the Biennale in Venice in 1962 and at the International Summer Cours-es for New Music in Darmstadt. After his teaching activity at the university in

Ludwigsburg Lachenmann taught as professor for composition at the mu-sic conservatories in Hannover (1976–81) and in Stuttgart (1981–99). Furthermore he gave many seminars, workshops and master classes in Germany and abroad, for example several times at the Summer Courses in Darmstadt between 1978 and 2006. In 2008 Lachenmann was Fromm Foundation Visiting Professor at the Department of Music of the Harvard University. In 2010 he became fellow of the Royal College of Music in London.

Helmut Lachenmann received numerous awards for his compositional work, for example the Ernst von Siemens Musikpreis in 1997, the Royal Philharmonic Society Award London in 2004 and in 2008 the Berliner Kunstpreis as well as the Leone d’Oro of the Venice Biennale.

Lachenmann is honorary doctor at the Musikhochschule Hannover and member of the Academies of Arts in Berlin, Brussels, Hamburg, Leipzig, Mannheim and Munich. His works are performed at many festivals and concert series in Germany and abroad.

Special Guest Helmut LachenmannH

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Expert Panel Members Sandeep Bhagwati

Sandeep Bhagwati is an award-winning composer, theatre director and media artist. He studied at Mozarteum Salzburg, IRCAM Paris, and Musikhoch-schule München. His compositions and comprovisations in all genres (includ-ing 6 operas) have been performed by leading performers at leading venues and festivals worldwide. He has directed

international music festivals and a long-term intercultural exchange project with Indian classical musicians and the Ensemble Modern.

He was a Professor of Composition at Karlsruhe Music University, and Composer-in-Residence at the IRCAM Paris, ZKM Karlsruhe, Beethoven Orchestra Bonn, IEM Graz, CalArts Los Angeles, and Heidelberg University. As Canada Research Chair for Inter-X Arts at Concordia University Montréal since 2006 he directs matralab, a re-search/creation lab for intercultural and interdisciplinary arts. His current research centers on comprovisation, inter-traditional aesthetics, the aesthet-ics of interdisciplinarity, gestural thea-tre, sonic theatre and interactive visual and non-visual scores.

From 2008 to 2011, he also was the director of Hexagram Concordia, a cen-tre for research-creation in media arts with a faculty of 45 artist-researchers and extensive state-of-the-art facilities.

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Born in Ludwigsburg, Matthias Hermann studied music education (HF organ with Jon Laukvik), German litera-ture and conducting and was a student of Helmut Lachenmann, of whom he has translated selected writings in Polish. Matthias Hermann has been teaching at the University of Music and Performing Arts since 1987, as a professor since 1991 and in 2007 he became Vice-Rector of

the University. He was a visiting profes-sor in Krakow (Jagiellonian University and Academy of Music), Warsaw, Kato-wice, Poznan, Lodz, Kiev and Moscow. Teacher at various Summer Courses for New Music (D, A, PL, CZ, UA).

Matthias Hermann is a frequently solicited guest conductor for — amongst others — ORTVE in Madrid, Orchestra Sinfonica Nazionale della RAI Torino, RSO, RSO Stuttgart, SWR Symphony Orchestra Baden-Baden and Freiburg, Ensemble Modern, Lucerne Festival Orchestra, Tokyo Symphony Orchestra, Taipei National Symphony Orchestra, London Sinfonietta, SWR Vocal Ensem-ble and orchestras and ensembles in New York, Brussels, Stockholm, Beijing and Krakow. As a composer he has issued many commissioned works for festivals and ensembles, most recently for the Stuttgart State Opera Chorus.

Author of books on analysis of new music and musical forms in the Baroque and Classical and since 1991 freelancer music critic for SWR Stuttgart.

Expert Panel Members Matthias Hermann

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Ligeti’s Aventures and Nouvelles Aven-tures, (CD for Teldec) Berio’s Folk Songs, Recital and A-Ronne, (Proms, Geneva Festival) Henze’s Elegy for Young Lovers, (London Sinfonietta) Osborne’s The Electrification of the Soviet Union and Knussen’s Where the Wild Things are for Glyndebourne, Muldowney’s Lonely Hearts and Duration of Exile, (Radio 3) Weir’s Consolations of Scholarship and Hello Dolly, Goodbye Mummy (BBC 2) — are some highlights of Linda Hirst’s vast collaboration with composers. Linda has performed with many of the world’s lead-ing orchestras, conductors and chamber ensembles in festivals, broadcasts and recordings (the most recent of which is Ligeti’s Aventures and Nouvelles Aven-tures with the Schoenberg Ensemble and Reinbert de Leeuw for Teldec released in

2007). Schoenberg’s Pierrot Lunaire has been a constant thread through the last 25 years, and she performed two seasons for the Royal Ballet at the Royal Opera House in 2007 and 2008. Recent concerts have taken her to the Buenos Aires Festival of Contemporary Music to sing Berio and Scelsi, and to Taipei for performances of Benedict Mason’s Chaplin Operas with the Ensemble Modern, and Lachen-mann in Cologne and Huddersfield with Ensemble Recherche. She has established a recent and on-going collaboration with visual artist Terry Smith and sound artist Ian Dearden, and returned to the Ven-ice Biennale 2009 with another stage of Broken Voices.

Linda Hirst has worked in education throughout her career, has been Head of the Vocal Faculty at Trinity Laban Con-servatoire of Music and Dance since 1995, and has given masterclasses in conserva-toires, summer schools, the Teatro Colon, La Fenice and several American Universi-ties. She is a Fellow of Dartington College of Arts, an Hon Dlit (Huddersfield), and a trustee of the Hinrichsen Foundation. She has been a member of the Arts Coun-cil CMN panel, and on the team of judges for the Kathleen Ferrier, Ferrier Junior Bursary, Boyse Foundation and many competitions at home and abroad. In this Schoenberg Centenary year Linda has five performances of Pierrot Lunaire with the Mercury Quartet in London and Switzerland.

Linda HirstExpert Panel Members

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Theodor Ross

Guitarist Theodor Ross was born in 1947 in Snedwinkula, Münsterland (Germany). He studied in Cologne and Vienna and in 1969 became a member of the Kölner Ensemble für Neue Musik. He performed hundreds of pieces with Mauricio Kagel and solo performed as musician and music actor at radio-, record-, CD- and TV-produc-tions of Kagel s work (Unter Strom, Tactil, Acustica, Con Voce, Staatstheater, Zwei-Mann-Orchester, Kantri Miusik, Blue’s Blue, Sonant, …). In 1972 he founded the Duo Wilhelm Bruck – Theodor Ross. Other ensembles include Musique Vivante, Musica Negativa, the Stockhausen-

Ensemble and Ensemble Contempo-raine (Pierre Boulez, Vinko Globokar, Peter Eötvös). Founding member of the Ensembles Pantomimusitäten (with Wilhelm Bruck and Elmar Gehlen). Since 1996 Theodor Ross was guitarist at Symphony Orchestra des WDR Köln; worked with nearly every German radio symphony orchestra (guitar, E-guitar, E-bass and banjo-pieces) and had world premieres of Mauricio Kagel, Karlheinz Stockhausen, Pierre Boulez, Helmut Lachenmann, Alfred Schnittke, Rolf Riehm, Frank Martin, Vinko Globokar and many others… conducted by Steven Forster, Michael Gielen, Pierre Boulez, Rafael Kubelik, Lothar Zagrozek, Hiroshi Wakasugi, Gary Bertini, among others…

He is a director of theatre produc-tions (Schiller, Molière, Wedekind, …) and composes film music, arrangements, compositions for radio plays, TV-Movies and theater-pieces (Schauspielhaus Köln, Deutsches Schauspielhaus Hamburg, Schauspielhaus Stuttgart, Schauspiel-haus Düsseldorf, Schillertheater Berlin). He worked with directors like Karl-Heinz Stroux, Elmar Gehlen, Ulrich Heising and Wolf Stresemann. In 2001 he became director of the Theatre in Zeitz.

Expert Panel Members

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Matthieu Saladin is an artist, musician and researcher. His practice takes place in a conceptual approach. He is interested in the history of artistic forms and the relationships between art and society. He has got a PhD in Aesthet-ics (University of Paris 1 — Panthéon- Sorbonne): his research is on aesthetics of experimental music and sound art. He is lecturer in philosophy of art at the Haute Ecole des Arts du Rhin, editor in chief of Tacet, Experimental Music Review and works in Volume! La revue des musiques populaires.

Expert Panel Members Matthieu Saladin

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William Brooks(ORCiM Fellow)

William Brooks stud-ied music and math-ematics at Wesleyan University (BA 1965), then received degrees in musicology (MM 1971) and composition-theory (DMA 1976) from the University of Illinois. Among his teachers were Charles Hamm in musicology and Ben Johnston, Kenneth Gaburo and Herbert Brün. He has been associated with John Cage as both performer and scholar; he played in the world premiere of HPSCHD and has several times directed productions of Cage’s Song Books.

Brooks taught at the University of Illinois (1969–73) and at the University of California (1973–77), then worked as a freelance composer, scholar and performer before returning to the University of Illinois (1987). There he was Associate Professor of Composition, director of the Contemporary Chamber Singers, and Chair of the Composi-tion-Theory Division for many years. In 2000 he took up his present post at the University of York.

Kathleen Coessens (ORCiM Fellow)

Kathleen Coessens, doctor in philosophy and musician, wanders between research and art. At the conservato-ry of Brussels and the Ecole Cortot at Paris she graduated in piano and chamber music; at the Vrije Universiteit Brussels she studied philosophy, sociology and psychology. After teaching and perform-ing music for ten years, she is now professor and post-doctoral researcher at the Vrije Universiteit Brussel (VUB, Centre for Logic and Philosophy of Science), researcher at Orpheus Institute and teaches at the con-servatory in Antwerp.

Merging both artistic experience and academic expertise, her research is situated at the crossings of sci-ence and art, human creativity and cul-tural representations, looked at from an embodied, epistemo-logical and philosophi-cal point of view.

Richard Craig

Richard Craig was born in Glasgow, studied flute at the RSAMD with Richard Blake and Sheena Gordon, continuing his studies with Mario Caroli at the CNR Strasbourg, where he attained his ‘spé-cialisation diplome’ with ‘unanimité et félicitations du jury’. Formative experiences include working with composers Brian Fer-neyhough, James Dil-lon, Richard Barrett, Helmut Lachenmann and musicians Rob-erto Fabricciani and Pierre-Yves Artaud. He has been invited to perform with groups such as musikFabrik, Klangforum Wien and ELISION, embark-ing on several tours to some of the most prestigious new music festivals.

He has recorded and broadcasted

for the BBC, WDR Cologne, YLE Finland, Radio France, Radio Nacional de España, Swedish Radio, ARTE, and Icelandic RUV. In April 2011 his solo disc, INWARD, was released on the Mètier label, featuring works by Ferneyhough and Sciarrino alongside premieres record-ings of Barrett, Bång, Karski, Johnson and Croft. It has since been received to critical acclaim and was nominated for the Scottish Album of the Year 2011.www.richardcraig.net

Darla Crispin(ORCiM Fellow)

Darla Crispin is a pia-nist and musicologist with a particular inter-est in understanding musical modernity via research in-and-through musical practice. Her work for the Orpheus Research Centre in Music, and as Senior Research Fellow in Creative Practice at the Royal College of Music, London, UK, involves re-reading the solo piano music of the Sec-ond Viennese School through focussing

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upon performance, as well as developing ideas about linking music and physical motion with historical imprinting, and work-ing with colleagues to generate meta-level discourses about practice-as-research and its relationship to culture and education.

Paulo de Assis(ORCiM Fellow)

Paulo de Assis, born 1969 in Portugal, stud-ied Piano with Vitaly Margulis, Michel Bé-roff and Alexis Weis-senberg, in Freiburg (Germany) and Verbier (Switzerland), having been distinguished by the Fondation des Prix Européens (1994, ‘First prize’) and at the International Compe-tition Maria Canals, Barcelona (1997, ‘Diploma de honor’). Subsequently he made a PhD in Musicology on the piano works of Luigi Nono, under the guidance of Wolfgang Motz, Jürg Stenzl and André Richard. 2002–2003, follow-ing a command made by the Foundation Giorgio Cini (Venice) he completed Camillo Togni’s Piano concerto

— a piece that re-mained unfinished at the composer’s death. 2005–2009 he made a Post-Doc embracing the complete work of Luigi Nono in Venice and Salzburg.

Since 2009 he is Senior Researcher at the Centre for the Aesthetics and Sociol-ogy of Music (CESEM) at the University Nova Lisbon, where he coordinated the research strand ‘Com-position, Performance, Experimentation’ (2009–2012). He is Senior Researcher at the Orpheus Research Centre in Music (ORCiM), where he co-ordinates two research strands — ‘Towards an understanding of experimentation in artistic practice’ and ‘Beyond experimenta-tion: broadening con-texts’. Recently he was granted a European Research Council Starting Grant for the project “Experimen-tation versus Inter-pretation: exploring new paths in music performance in the twenty-first century” (2013–2017).

He published two books as author (Luigi Nono’s Wende, Hoff-heim: Wolke Verlag 2006; and Domani

l’aurora. Ripristino ricostruttivo del Concerto per pianoforte e orchestra di Camillo Togni, Flor-ence: Olschki 2004), and four books as editor (Beyond Urtext: a dynamic conception of musical editing, Leuven: Leuven Univer-sity Press 2009; Jorge Peixinho. Escritos e Entrevistas [2010]; Em-manuel Nunes. Escritos e Entrevistas [2011], and Pierre Boulez. Escritos selecionados [2012] (all Lisbon/Porto: CESEM/ Casa da Música).

Arne Deforce

Arne Deforce is renowned for his pas-sionate and unparal-leled performances of contemporary and ex-perimental music. As a soloist, his repertoire consists mainly of solo- and chamber mu-sic with a special inter-est in works deemed

‘unplayable’ but well ‘performable’ from composers such as Ian-nis Xenakis, Richard Barrett, John Cage and Brian Ferneyhough. His fascinating, ener-getic and imaginative approach to music has inspired many composers, including Richard Barrett, Luc Brewaeys, Kee-Yong Chong, Raphael Cendo, Alvin Curran and Phil Niblock, to write original works especially for him.

In 2004, after one such collaboration, Jonathan Harvey de-scribed Arne Deforce as “one of the most exciting new cellists I have come across. Everything he plays is approached with a powerful intensity born from an engage-ment with the music on a deep spiritual and psychic level. He is highly imaginative and brings an originality and, above all, creativ-ity to his interpreta-tions which is both fiery and structured.” His collaborative partners include the Centre Henri Pousseur (Liège), IRCAM (Paris), Grame (Lyon), Champ d’Action and Ictus Ensemble ( Brussels). Arne Deforce features regularly in leading


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international new music festivals (Ars Musica, Holland Festival, Agora Paris, Archipel Genève, Mu-sica Strassbourg, Mito, Fondation Royaumont, Huddersfield Contem-porary Music Festival, Amsterdamse Cellobiënale) and his remarkable discog-raphy — Jonathan Harvey (Megadisc), Giacinto Scelsi, Morton Feldman, Iannis Xenakis com-plete works for cello + 1 (Aeon), Phil Niblock (Touch) — received in-ternational acclaim (5 Diapason d’or, Coupe de coeur Académie Charles Cros, Prix Caecilia 2012).

In addition to his lecture-performances, he teaches at the Con-servatory of Bruges and is completing his doctoral thesis on the performance practice of New Complexity Music at the University of Leiden (docARTES).

Ivo Delaere

Pianist Ivo Delaere performs regularly in Belgium and abroad, both as a soloist and as a chamber musician. He studied with Daan Vandewalle at the School of Arts (Ghent) for five years and took subsequent classes with Ronald Brauti-gam, Geoffrey Madge, Daniel Rivera and Luk Vaes, among others. In his concert programs he tries to highlight interesting links be-tween works from the standard repertoire and contemporary music. Notable works in his repertoire are Beethoven’s Diabelli Variations, Rzewski’s The People United Will Never Be De-feated, and Messiaen’s Visions de l’Amen. Ivo Delaere is currently active as an accom-panist and teacher at School of Arts Ghent.

Anne Douglas (ORCiM Associate Researcher)

Anne Douglas studied anthropology at the University of Durham (1968-71) and sculpture at Camberwell School of Art, London (1973-76). She was awarded the Rome Scholarship in Sculpture (1976-78) and Artist in Resi-dence, British School at Rome (1984). After extensive experience of professional practice and teaching, she com-pleted one of the first practice based doctoral research projects at Sunderland University. Douglas initiated and directs the On the Edge (OTE) research (2001–present), a strategic research pro-gramme within Gray’s School of Art and IDEAS Institute con-cerned with developing the role of the artist in the public sphere through doctoral and post doctoral research.

Since 2008 Anne Douglas has been a Research Fellow at ORCiM. In 2009 she co-authored with Kathleen Coessens and Darla Crispin, The Ar-tistic Turn: a Manifesto (Leuven University

Press) exploring artis-tic research as a space to develop new forms of artistic practice (performing and visu-al). At present she is de-veloping new research on improvisation as embodied knowledge with Kathleen Coes-sens focused on a new body of artistic work, Calendar Variations (2010–onwards).Anne gained a professorial title at Gray’s School of Art, Robert Gordon Uni-versity in 2007.

Ann Eysermans

Ann Eysermans (Belgium, 1980) is a performer, improviser (double bass and harp) and composer. She is both connected to Champ d’Action as well as working on her own auditory and visual projects. She obtained her Master’s degree ‘Musical Nota-tion and Composition’


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and ‘Double Bass, Jazz’ at the Royal Conserva-tory of Brussels.

Valentin Gloor (ORCiM Fellow)

Valentin Gloor (tenor) studied singing at the Music University Winterthur-Zurich with Paul Steiner and at the University of Music and Dramatic Arts Graz with Prof. Dr. Ulf Bästlein. He achieved his diplomas (Lehrdip-lom, Bachelor and Master of Arts) with distinction and got a prize of appreciation for outstanding per-formance at Graz. He attended master classes by Charles Spencer, Norman Shetler, Chris-toph Prégardien, Wolf-gang Holzmair, Brigitte Fassbaender, Dietrich Fischer-Dieskau and the Hilliard Ensemble. In concerts throughout Switzerland and the neighbouring countries he performs a broad repertoire, starting in the Renaissance and leading up to a big number of premières. He achieved further specialization in lied and oratorio and participates in opera projects. As a soloist and as a member of the

soloist vocal ensem-ble „The Kammerton Quartet“ he had radio and TV performances, participated in CD re-cordings and travelled to the US for a concert tour. In 2006 he was granted a prize by the Aargauer Kuratorium. Since 2006 he is regu-larly invited to Brazil as a soloist and visiting professor at the Music Universities in Salvador, Natal, Recife and João Pessoa. In 2009 he was on a concert tour in South Corea, Hongkong, Macau and Mainland China. He is a student in the Doctor of Arts-programme at the University of Music and Dramatic Arts Graz since spring 2010.

David Gorton (ORCiM Visiting Researcher 2012)

The music of David Gorton (recipient of the 2001 Royal

Philharmonic Society Composition Prize) is sometimes charac-terized by a fascina-tion with alternative tuning systems and virtuosic gestures, and at other times revels in simple tranquil-lity. Current projects include a collection of works inspired by East Anglian landscapes, a series of pieces for the Swedish guitar player Stefan Östersjö, and an oboe quintet for Christopher Redgate and the new Redgate-Howarth system oboe. He is a lecturer at the Royal Academy of Music in London.

Nuala Hayes

Nuala Hayes is a prolific actor, story-teller and director. She trained with the Abbey Theatre and was a member of the Abbey Company for five years. Nuala has per-

formed with theatre companies throughout Ireland and toured in the USA, Canada and the UK. Her interest in storytelling began seventeen years ago, when she set up Two Chairs Company to explore stories and music in performance. She has adapted many famous Irish legends for retelling with music, including The Curse of Macha, The Voyage of Bran and The Children of Lir, and also stories by the celebrated writer Mary Larvin, including A Likely Story and The Wilson’s Son.

Lukas Huisman

Lukas Huisman (1987) started his piano career attending the Ghent Music Academy where he studied with Rolande Spanoghe, and graduated with highest distinction.


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He was a student of Daan Vandewalle at the Ghent Fac-ulty of Music where he also graduated with highest distinc-tion. He received the Exceptional prize “De Blonde-Torck” as ‘most deserving student’. In February 2012 he started an artistic doctoral project at the School of Arts Ghent, relating to contem-porary complex solo piano music. Lukas mainly performs con-temporary music, with particular attention to the little-known composer Kaikhosru Shapurji Sorabji. He took (algorithmic) composition classes with Godfried-Willem Raes for five years. Lukas often plays crea-tions of new music, and is the pianist of the Warped Time ensemble.

Päivi Järviö (ORCiM Fellow)

Päivi Järviö special-izes in the singing and researching of Baroque and Renais-sance music. She has performed as a soloist with numerous ba-roque ensembles and orchestras in Finland

as well as abroad. She also coaches singers, choirs, ensembles and conductors. In 2011 she completed her doctoral thesis on the embodied performing practice of Italian Early Baroque music, and is currently working as a musician-researcher at the Doc-Mus Doctoral school in Helsinki, Finland and as an ORCiM Fellow at the Orpheus Institute.

Seth Josel

After acquiring his Bachelor of Music degree at the Manhat-tan School of Music, Seth Josel enrolled at Yale University and earned the Master of Music and the Doctor of Musical Art degrees. His teachers included Manuel Barrueco and Eliot Fisk. He is recipient of a Ful-bright-Hays grant and

was also a grantee at the Akademie Schloß Solitude. As ensemble player and soloist he has been involved in the first perfor-mances of more than one hundred works. He has collaborated and consulted closely with such composers as Mauricio Kagel, Helmut Lachen-mann, Tristan Murail and James Tenney. He has concertized throughout Europe as well as the US and Canada, and has been a guest performer with leading orches-tras and ensembles, including the BBC Symphony Orchestra, the Southwest Ger-man Radio Orchestra, the DSO Berlin and the Schönberg/ASKO Ensemble. From 1991 till 2000 he was a per-manent member of the MusikFabrik. In recent seasons, he has been guesting regularly with KNM Berlin and Ensemble SurPlus. In addition to his 3 solo CDs featuring Ameri-can music, he has re-corded with, amongst others, MusikFabrik, the DSO Berlin, Rundfunksinfonie- Orchester Berlin and Champ d’Action. He also recorded Berio’s “Sequenza XI” for the

complete “Sequenza” cycle released on Mode Records as well as Peter Ablinger’s “33–127”.josel.sheerpluck.de

Assi Karttunen

Assi Karttunen studied at the Sibelius Academy harpsichord as her main instru-ment and graduated in 1996. She studied under guidance of Lars Ulrik Mortensen in Denmark as a Nord plus-student. Dur-ing 1996–99 she has studied periodically under guidance of Pierre Hantaï includ-ing a longer stay at the Cité International des Arts in Paris in 1999. During 1995–96 she played harpsi-chord and organ as a member of the Euro-pean Union Baroque Orchestra and on the recording of St Mark’s Passion by Bach.


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In Finland she per-forms regularly as a member of the 6th Floor Baroque Or-chestra, but also as a chamber musician and continuo player in nu-merous other baroque music ensembles. She has performed as a so-loist with the 6th Floor Baroque Orchestra, Vox Artis -ensemble, Finlandia Sinfonietta and Tampere and Lahti City Orchestras.

She has played solo recordings for Classic FM Mestariluokka-program, FST’s Soiva puu-program and for Finnish Broadcasting Company. Her first solo album including early Italian music was published in 1999 (Jubal). The second solo album Memento Mori Froberger was re-leased in 2005 (Alba). She graduated her Phd degree in 2008. The emphasis of her artistic PhD thesis was on exploring the aes-thetic and philosophi-cal background of the Eighteenth Century French Cantata 1700-1730 and the concerts included cantatas and solo repertoir of that period.

Jona Kesteleyn

Jona Kesteleyn is a ‘multifaced’ guitar-ist. As a performer he switches easily from classical to contempo-rary music. Recently he has played with the Flemish Opera Orchestra, the Ictus Ensemble and the Spectra Ensemble. He is the founder of ‘Tiptoe Company’ which focusses on con-temporary chamber music fluctuating on the borders of silence. He proved his skills as a prize-winner in international competi-tions as Ivor Mairants Guitar Competition in Londen and the Twents Gitaar Festival in Enschede. His interest in new music led to collaborations with composers as Paul Craenen, José Maria Sanchez-Verdu, Nico Sall and Frederik Neyrinck. www.jonakesteleyn.be

Catherine Laws (ORCiM Fellow)

Catherine Laws is a pianist and musicolo-gist, specialising in contemporary music. Most of her research lies in two areas: contemporary music performance prac-tices and the relation-ship between music and language. She performs as a soloist but also in ensemble contexts, in a piano duo with Frank De-nyer and with the UK contemporary music groups [rout] and Black Hair. In addition, she is currently completing a book on the work of Samuel Beckett and composers’ responses to his texts.

Some of Cath-erine’s published writ-ings focus on the late work of Morton Feld-man, concentrating in particular on processes of patterning, memory and subjectivity. For the Orpheus Institute, Catherine is exploring the modes of listening at play in the prepara-tion and performance of Feldman’s long works for solo piano.Until recently Cath-erine was Associate Director of Music at

Dartington College of Arts, where she contin-ues to work as an As-sociate Lecturer. She is also a Visiting Lecturer at Plymouth Univer-sity, and “Black Hair” is currently Ensemble-in-Residence at the University of York.

Gerhard Nierhaus (ORCiM Fellow)

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 Composi-tion, his book “Algo-rithmic Composition: Paradigms of Auto-mated Music Genera-tion” was published with Springer Wien/NewYork in 2009. In 2011 he acted as a reviewer for the Euro-pean Research Coun-cil and was selected as a new research fellow of the Orpheus Re-search Center in Music (ORCiM). He is project leader of the Patterns of Intuition research project (KUG), inves-tigating the creative process of composing by means of algorith-mic composition.


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Stefan Östersjö (ORCiM Fellow)

Born in 1967, he is one of the most promi-nent 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. He writes articles on contemporary music and is fre-quently invited to give lectures and master classes at universities, festivals and academic conferences. His special fields of inter-est are the interaction with electronics, and experimental work with different kinds of stringed instruments other than the classical guitar. His great interest in chamber music has resulted in the founding of flute, viola and guitar-trio HOT 3 and col-laboration with most chamber ensembles and important soloists in Scandinavia such as Jonny Axelsson, Geir Draugsvoll, Kamma-rensembleN, En-semble Gageego and Ensemble Ars Nova.

Dr. Stefan Östersjö studied with Gun-nar Spjuth and Prof

Per-Olof Johnsson at the Malmö Academy of Music (1987–1992) and also with Peder Riis and Magnus Anders-son in Stockholm and Darmstadt. He contin-ued his studies with a PhD project within the field of artistic re-search, carried out in 2002–2008. His thesis SHUT UP ‘N’ PLAY! Negotiating the Musi-cal Work is published by Lund University. He is at present engaged in artistic research on improvisation in differ-ent cultural contexts at the Malmö Academy of Music, a project involving performers and researchers in The Netherlands, Vietnam and Sweden. He is continuously work-ing with composers both in Sweden and abroad on the task of extending the reper-tory of solo works and chamber music with guitar.

Juan Parra Cancino (ORCiM Fellow)

Studied Composi-tion at the Catholic University of Chile and Sonology at The Royal Conservatory of The Hague (NL), where he obtained his

Masters degree with focus on composi-tion and performance of electronic music. As a guitar player he has participated in several courses of Guitar Craft, a school founded by Robert Fripp, becoming part of various related guitar ensembles such as the Berlin Gui-tar Ensemble, the Buenos Aires Guitar Ensemble and until 2003, The League of Crafty Guitarists. A regular collaborator of artists like Frances Marie Uitti, Richard Craig, KLANG and Insomnio Ensem-bles. He is founder and active member of The Electronic Hammer, a Computer and Percussion trio and Wiregriot, (voice & electronics). His Compositions, that in-clude pure electronic and electro acoustic mixed media with solo instruments and ensembles have been performed in Europe, Japan, North and South America.

Juan is currently a PhD candidate at the Leiden University of the Netherlands and the Orpheus Institute with the topic “To-wards a performance practice of Computer

Music”. He has also been appointed as a joint researcher of the Orpheus Research Center in Music. www.juanparrac.com

Paul Roe

Paul Roe is a clarinet and bass clarinet performer of international repute who has given solo, ensemble and orches-tral performances throughout Europe, Asia and America. A former member of the National Symphony Orchestra of Ireland, Paul teaches at the Royal Irish Academy of Music in Dublin and has been a member of Concorde Contempo-rary Music Ensemble since 1989. He has a PhD in Performance Practice, a Masters Degree in Community Music, and he is pres-ently a Fellow of Trin-ity College, London.


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Paul was a recipient of a Fulbright Scholars award to study at Mannes College, New York City in 2008.www.paulroe.org

Hans Roels (ORCiM Fellow)

From 1989 on Hans Roels studied piano with the contemporary music specialist Claude Coppens at the Royal Conservatory for Music in Ghent (B). Conse-quently he followed courses in composition with Jan Rispens (NL), dr. Godfried-Willem Raes (B) and Roland Corijn (B) at the same conservatory. After he finished his studies he received various commissions from the Logos Foundation, the Spectra Ensem-ble, Champ d’Action, ensemble Q-02 and others. His works were mostly played in Bel-gium but also in The Netherlands, France, Germany, Spain and Denmark.

His compositions are written for a vari-ety of instruments and media, among others acoustic ensembles (“Nature Morte”), in-struments in combina-tion with live electron-

ics (“Ohne Worte”), solo live electronics (“Temperate Music”), an automatic (comput-er controlled) piano with a pianist playing inside piano (“Dubbel-stuk”) and a (4-track) electro-acoustical piece (“Colo”).

Between 2001 and 2008 he organised the concerts in the Logos Foundation, a centre for experimental audio arts in Ghent (B). Since october 2008 he is working on a Phd in the University Col-lege Ghent (Faculty of Music). Develop-ing hyperpolyfonic music (in which every voice has a different tempo and style) in acoustic and electronic music is the focus of his research. He also works as a researcher in the Orpheus Institute since 2010.

Michael Schwab (ORCiM Fellow)

Michael Schwab is an artist and artistic researcher who inves-tigates postconceptual uses of technology in a variety of media including photography, drawing, print-making, and installation art. He is a tutor at the Royal

College of Art, Lon-don, research associate at the Zurich Univer-sity of the Arts, Swit-zerland, and research fellow at the Orpheus Institute. Michael Schwab received his PhD in Photography (Image Automation: Post-Conceptual Post-Photography and the Deconstruction of the Photographic Image) from the Royal College of Art in 2008, his MA in Photography from the London College of Printing in 2000 and his MA in Philosophy (Nietzsche and Hei-degger: Metaphysics as Problem) from the University of Hamburg in 1996.Since 2003 his exhibi-tions and associated events have increas-ingly focused on artistic research. He is co-initiator and inau-gural Editor-in-Chief of JAR, the Journal for Artistic Research. He lives and works in London and Ketsch (Germany).

Anna Scott (ORCiM Doctoral Researcher)

Canadian pianist Anna Scott specializes in the late Romantic minia-

turists of the piano rep-ertoire, though she is an active vocal, cham-ber and contemporary ensemble collaborator. Her live solo record-ings of the piano music of Schubert, Schumann and Brahms have been nationally broadcasted on the popular CBC radio program ‘All the Best’ to great acclaim. Anna completed con-current BA (Music) and BSc (Pre-Med) degrees at Dalhousie Univer-sity, a Performance Diploma at the Glenn Gould Professional School, her Masters in Performance at McGill, and is currently a Doc-tor of Music candidate and ORCiM doc-toral researcher at The Orpheus Instituute. Anna’s practice-led research currently focuses on the perfor-mance history of the late piano opuses of Johannes Brahms. Her doctoral supervisory team is comprised of Daniel Leech-Wilkin-son (King’s College London), Naum Grubert (Amsterdam and Hague Conserva-tories), Frans De Ruiter (Leiden University) and the late Bruce Haynes (ret. McGill University).


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Yukiko Sugawara

Yukiko Sugawara was born in Sapporo, Japan. She received her first piano lessons from Michiko Endo and later on studied at the Toho School of Music in Tokyo with Aiko Iguchi, with Erich Riebensahm in Berlin and Aloys Kontarsky in Köln. She won several interna-tional competitions, including the Kranich-stein Music Prize.

Yukiko Sugawara has performed at many European festivals for contemporary music - at the Donaueschinger Musiktage, ECLAT-Festival Stuttgart, Holland Festival, Berliner Festwochen, Biennale Berlin, Festival d’Automne (Paris), Warschauer Herbst, Hudders-field Musikfestival, Archipel (Genève), Ars Musica (Brussel), AVANTI!-Festival in

Finland, Music Factory in Bergen (Norway) — and outside Europe, including in Chi-cago, New York, Tokyo, Kyoto, and several times at the Akiyoshi-dai Music Days. As a soloist she has worked with Pierre Boulez, Sylvain Cambreling, Peter Eötvös, Lothar Zagrosek and Hans Zender. Her recorded CDs with chamber mu-sic and solo works are published by WERGO, HATHUT, FONTEC, COL LEGNO and KAI-ROS. Her recording of Helmut Lachenmann’s Serynade obtained the Preis der Deutschen Schallplattenindustrie.

As a chamber mu-sician, Ms. Sugawara is active in different formations, including the Trio Accanto (with Marcus Weiss and Christian Dierstein) and the Geige-Klavier-Duo, with Tomoko Kiba. Yukiko Suga-wara is also a sought after guest teacher at international work-shops (Northwestern University Chicago, Goethe-Institut New York) lecturer (Musik-hochschule in Krakau, Stuttgart, Saarbrücken and Trossingen, the Straßburger Konservatorium) and from 2003 till 2005 she

was guest professor at the Musikhochschule Saarbrücken.

Luk Vaes (ORCiM Fellow)

Luk Vaes studied piano with a.o. Claude Cop-pens (Belgium), Aloys Kontarsky (Germany) and Yvar Mikhashoff (US), won first prizes in several international competitions and concertized with musi-cians such as Uri Caine and Thomas Quasthoff at the most renowned festivals in the EU and US. His recordings of piano works of Mau-ricio Kagel (Winter & Winter) won nine international prizes. In 2009 he obtained his doctorate at Leiden University (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 ORCiM research group, coordi-nates the doctoral pro-gram for artists at the Orpheus Institute and the Royal Conservatory in The Hague.

Bart Vanhecke (ORCiM Doctoral Researcher)

Bart Vanhecke studied composition with An-dré Laporte and Fran-co Donatoni. Since 2009 he is researching the systematisation of atonality and dis-sonance 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 the ORCiM. His works have been performed by ensem-bles and soloists such as the Neue Vocal-solisten Stuttgart, Ensemble Recherche, Ensemble Phœnix Basel, the Belgian Na-tional Orchestra, Het Collectief, Walpurgis, the Spectra Ensem-ble, Jan Michiels, the Danel Quartet and many others.


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Henry Vega

Henry Vega (1973) is an active composer and performer of new music whose works appear in productions of theatre, dance and concert music that focus solely on modern artistic trends. His music ranges from virtuosic instrumen-tal writings to subtle colourful composi-tions orchestrating traditional instrumen-tations with the world of electronic sound. His current interests lie within theatrical settings of his music in combination with video in the space of a minimal aesthetic that crosses simple harmonies over noisy counterpoints.Vega’s works have been performed at festivals and venues in Europe and the Americas largely performing with his trio The Electronic Hammer

and the electronic music theatre group The Spycollective. He has had the pleasure to write music for ensem-bles such as the MAE, VocaalLab, Ensemble Integrales and the Roentgen Connection mainly performing the computer parts himself.

His music has re-ceived first prize from Musica Nova (Czech Rep.), Crash Intl. Bien-nale (Poland) and SCI, Honorable Mention from the Hungarian Radio EAR competi-tion and was selected for the Gaudeamus Composition Contest 2004 in Amsterdam for his work ‘Alibi’. Vega currently holds a PhD degree from the Sonic Arts Research Centre (SARC – Queens University) in Belfast under the guidance of Michael Alcorn. Previously he studied composition at Florida Interna-tional University with Orlando Garcia and Kristine Burns, at the University of North Texas with Jon Nelson and at the Institute for Sonology at the Royal Conservatory of the Hague. www.henryvega.net


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Artistic Experimentation in Music: A Dialogue in Artistic Research.

On the occasion of ORCiM’s third annual Research Festival in 2011, artist-researchers from institutions around the world met in Ghent to share ideas, collaborate in musical experiences, exchange information and continue to develop their own views on the evolving field of Artistic Research in Music. This DVD captures the sounds, images and ideas that emerged from this rich gathering, and represents the introductory chapter for a series of research outcomes that will aim to bridge the gap between traditional academic research and artistic production.

Interviews (in alphabetical order): Paulo de Assis, Kathleen Coessens, Darla Crispin, Peter Dejans, Sean Ferguson, Kari Kurkela, Andrew Lawrence-King, Catherine Laws, Don McLean, Juan Parra, Larry Polansky, Huib Schippers, Vanessa Tomlinson and Luk Vaes.

Filmed during the third ORCiM Research Festival, October 5 – 8, 2011

ORCiM Publications

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[ORCiM] 01The Artistic Turn: A manifestoKathleen Coessens, Darla Crispin and Anne DouglasISBN 9789490389000

[ORCiM] 02metaCage: Essays on and around Freeman Etudes, Fontana Mix, AriaJuan Parra Cancino, Magnus Andersson, Mieko Kanno, William BrooksISBN 9789490389017

[ORCiM] 03 Dynamics of Constraints: Essays on Notation, Editing and PerformancePaulo de Assis, Mieko Kanno and Juan Parra CancinoISBN 9789490389024

[ORCiM] 04The Practice of PractisingAlessandro Cervino, Catherine Laws, Maria Lettberg and Tania LisboaISBN 789058678485

ORCIM’s publications are published by University Press Leuven.

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Festival Venuesa. Orpheus Institute Korte Meer 12b. Minard Theatre Walpoortstraat 15

Selected Restaurants1. A Food Affair Korte Meer 252. Aula Volderstraat 243. Brasserie HA’ Kouter 294. De Kastart Onderbergen 425. Het Kapittelhuis Langekruisstraat 46. Restaurant de Graslei Graslei 77. Greenway Nederkouter 428. Lepelblad Onderbergen 409. Wok Away Korenmarkt 11

10. Vooruit Café Sint-Pietersnieuwstraat 2311. De Orchidee Vlaanderenstraat 10512. Tasty World Walpoortstraat 38

Hotels and B&BI. Hotes IBIS Opera Nederkouter 24–26 II. Hotel IBIS Cathedral Limburgstraat 2III. Limited & Co Hotel Hoogstraat 58–60IV. B&B Atgenesis Hertogstraat 15V. B&B Baetens Burgstraat 11VI. B&B aanaa jaanaa Hoogpoort 25VII.B&B Artigand Rozemarijnstraat 27

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GhentCity map

Hoogstraat

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outlei

Veldstraat

Volderstraat

Kouter

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lei

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unt

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Ottogracht

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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 DirectorHans Roels Research Staff MemberKathleen Snyers Project managerJonas Tavernier Communications & Activities managerLuk Vaes Programme coordinator docARTESHeike Vermeire Office manager

met steun van: de Vlaamse Overheid

redactie: Jonas Tavernier, Juan Parragrafisch ontwerp: Studio Luc Deryckeverantwoordelijke uitgever: Peter Dejans, Korte Meer 12, 9000 Gent

Orpheus InstituteKorte Meer 129000 Ghent, Belgium+32(0)9 330 40 [email protected]

“ After having remained there some time, two opposing emotions arose within me: fear and desire — fear of the threatening dark cavern and desire to see whether there were any marvelous things within it ”.

Around 1500, unable to resist his eager desire, Leonardo da Vinci came to the entrance of a great cavern.

This illustrates some of the tensions between the known and the unknown.

[ORCiM]

from the known to the unknown. possible worlds for artistic experimentation

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