The goal of this project is an in-depth artistic and theoretical research into the HIPP and the cultural- historical context of the scores for the Brussels Saxophone School, the world's first saxophone school, between 1867 and 1903.More
The research is divided in three parts. A first part is proposing a definition of Gesture and microGesture. A second part is a direct application of this process on the performer. The third part is implicating the use of computer technology.More
n the current arena of composing and performing mixed music specific problems have emerged inherent to the specificities of this kind of practice. Problematics such as the synchronization between performer and electronics, the complexity of digital interfaces and the need for an acoustic fusion between the two have been some of the main issues discussed among academic research in the field. In an attempt to answer this problematics, this project aims at developing new systems that will offer simple, practical and intuitive responses to the problems inherent to mixed music. To address these questions in a more informed way, a bibliographic survey will be held, as well as an extensive analysis of ten works of different composers. In order to find new answers to these questions I propose the composition of five original works, which can solve these issues or create better insights as to the process of solving them. These works will later be performed with the goal of testing the validity or enforceability of the created processes. At last, the created work aims at creating and systematizing new approaches in the compositional and performative practice, hoping to contribute to the artistic and academic development of the mixed music scenarioMore
A broad new repertoire for Bajón has come to light in the last few years: highly demanding and virtuoso music, written for an instrument thought to be in decadence in the 18th century, including the cantatas for Bajón, voice and continuo by Juan Manuel De la Puente (1692-1753). This project not only entails the study and transcription of this new material, but also the design and production (by 3D-printing) of the instrument that matches the needs of this challenging repertoire.More
The last four/five years I have been working on two documentary films in the context of migration, identity and integration: ‘No Man Is An Island’ and ‘Passe-Partout’. The films have been released and shown around the world.
In my practice as a documentary maker I have always been struggling with the questions: what is reality? and what is the best possible way of representing reality?More
Joseph Jongen was born in 1873 and died in 1953 at age 70. He is generally considered as one of the most prominent Belgian composers after César Franck. Particularly known for his organ and chamber music works, he also composed more than fifty art songs.More
A performance is maybe the only art-form that emerges directly from the dimension of passing time. Probably this is the source of a performance’s potential: it is made out of burnt moments and whatever remains belongs solely to memory. Like a sculptor who chisels a sculpture with clay, the performer chisels an interpretation with passing time-moments.
What happens when we observe a performance?
My research will focus on a systematic exploration of guitar compositions produced by Spanish composers belonging for aesthetical choices and style to the “Generation of 27”. One of the main, long-term goals of my research will then be the dissemination of its results through the publication and recording of these works.More
What is the impact of social-artistic work or community art? Community art is most of the time small-scale and less visible in the field of the arts. Working with sociallly vulnerable participants is very specific and the outcome is most of the time not an ordinary work of art that can be sold. It is not prestigious. But this kind of art does have a big influence on the lives of the participants.More
The basis for my PhD research are the Camp David Accords, and their disastrous consequences for peace in the Middle East. The goal of my research is not only a performative or theatrical reflection, but also the attempt to create an ontological space that contains several layers of meaning and at the same time also offers one narrative, one experience.More
The aim of this practise-based research is to enhance understanding of performance practice of works engaging a new conception of the pianist performer within the field of new music supported by (1) investigating the creative motivations behind composers making such work; and (2) analysing the compositions themselves. The findings from each of these areas will be assimilated to form a broader picture. The research will engage existing compositions that reflect these issues and a series of newly commissioned works in order to follow the live creative process step by step.More
Artistic research in the field of (interdisciplinary) audiovisual arts. The focus of this research is corporeality: the body, its audiovisual representation and the relation between both, as well as the status of it according to a documentarian or fictional approach.More
The tacit or even embodied knowledge is a knowledge we experience trough our own body even though in our mind this is not clearly represented.
The tacit knowledge triangle (body-mind-experience) leads to a full rethinking of the instrumental practice opening up the Space – the sphere of action of the player – and the Time – the hic et nunc – of the guitar performance.
How to develop the “implicit or tacit” knowledge? Further on: how to explore it? How to express it?
Since the 1900s, more and more composers started to liberate themselves from the imposed limitations of the twelve-tone equal temperament, reinforced and established by piano as the dominant musical instrument since the seventeenth century. Their liberation, however, have often led to the trap of the ideological use of one specific tone-system throughout their whole life. In my PhD project, I argue for a free microtonal approach by using various sorts of microtonal concepts and techniques.More
My aim is to find a way of performing musical pieces that would allow to present the music within its intellectual and aesthetic context. Sessions of music, arts, and talks on aesthetics would serve better than the traditional concert practice to create meaningful aesthetic experiences, and to preserve the richness of European tradition.More
This project starts from problems, I experienced during my artistic work in the KVS (Royal Flemish Theatre) in Brussels, where I was working as a dramaturge and a member of the artistic staff between 2001 and 2013. My colleagues and me asked ourselves the following question: how to counter the negative effects of neoliberalism in a city like Brussels? And what kind of role art and artists could play in such a project? We found an answer for now in the powerful vision on the city and citizenship, as it is formulated by Boudry et all, 2003 and Eric Corijn. As a consequence of these insights, we searched for ways to contribute with our city-theater to the development of inclusive, hybrid communities and connections between forms of “urban culture” and the official accepted arts. Even when I learned a lot from this project, from my point of view it was not critical enough toward the system of capitalism and liberal democracy.More
The word "emotion" in the field of art and especially in music presents us with a paradox. On the one hand, the word is widely avoided, on the other hand omnipresent. It is clear that emotion is consistently present in musical performance. There are two essential participants in the field of classical music: the musician and the listener. My aim is to bring these two groups closer together by trying to understand the listener's emotional reaction to music and by giving the artists the tools to trigger, control and manipulate these emotional reactions.More
As a musician, one is always a researcher. In so-called classical music or in any other style, the musician cannot escape the "research" aspect.
Over the years I wandered from my original infatuation with pop and rock into the world of Classical music. Moving on from electric guitars and basses to the double bass seemed natural enough, and pretty soon I became a professional bass player in opera, symphony, solo and chamber music. Later on, curiosity led me to the discovery of fascinating gut-string bass instruments such as the different types of baroque Violone and the Viennese Bass, with their tunings in thirds and fourths. Studying Ancient Music was one of the most important decisions in my life as a musician. It fundamentally challenged and changed my way of playing and thinking.More
The purpose of my PhD-project is an artistically and theoretically in-depth research of the natural trumpet: its playing techniques and style, historical context, literature and repertoire.
My research is not only based on historical research but, as a musician, I will also judge whether the given information in the historical treatises (or other sources) is valuable for the technique of the instrument and for the interpretation.
“In India, the 300 million of us who belong to the new, post-IMF “reforms” middle class— the market—live side by side with spirits of the nether world, the poltergeists of dead rivers, dry wells, bald mountains and denuded forests; the ghosts of 2,50,000 debt-ridden farmers who have killed themselves, and of the 800 million who have been impoverished and dispossessed to make way for us. And who survive on less than twenty rupees (0.25 Euro) a day” - Arundhati roy.More
Despite the value of contemporary art music it is believed that this is known and valued by too few people (Examining the Composer-Audience Gap in Contemporary Music. Lillehaug). By contrast, today's popular music, the worlds of the media, advertising and politics are highly successful in realising this connection with the audience. Given the social importance of art music (On the social uses and Social Control of Music. Brown & Volgsten), it seems worthwhile to investigate how composers might bridge the gulf with the audience, without lapsing into triviality.More
George Enescu (1881-1955) is considered one of the most prominent figures of twentieth-century Romanian music. This research is the first specific and comprehensive study of Gerge Enescu’s Suites and Sonatas for piano solo, which will investigate central aspects of performance issues of the above mentioned works.More
The repertory of the guitar is poor in comparison to other string instruments and, relatedly, enjoys few prominent composers who compose for it. This research will explore the possibilities of playing arrangements of contemporary pieces for cello, violin and viola on the guitar without losing the music’s intention or style. Hence, it will not only extend guitar repertory into new and exciting territories, but will also test the technical possibilities of the instrument.More
With this research project I aim to demonstrate that the computer musician is indeed an artistic performer, maintaining a similar degree of artistry comparable to that of acoustic instrumentalists.More
The working title of my doctoral research project reads In Search of the Early Seventeenth Century flautino: Repertoire, Instruments and Performance Practice.
Museums and private collections around the world house a wealth of extant historical recorders which can safely be dated to the sixteenth, the late seventeenth and the early eighteenth centuries. In sharp contrast, no such instruments stemming from the rst part of the seventeenth seem to have survived. For the performance of the often highly enticing Italian canzoni and sonate by composers of the Monteverdi era which were being rediscovered and added to the recorder repertoire since the late 1960s, recorder players have been using instrument sizes and types derived from earlier, later and non-Italian originals up till today.More
This project aims to present the wide variety of colourful capabilities that Adolphe Sax has given us in his saxophone.More
Ultrasound of the Other - cinematographic and intersubjective imaging of "the martyr" is an artistic research project (PhD in the Arts) that questions the relationship between the director and the Other in intersubjective documentary, with the focus on the Other as so called "bad guy". The field of tension that comes into existance, because the director tries to translate the point of view of the incomprehensible subject, is the wasteland for this investigation. The foundation of the cell promoting the controlled (de)radicalisation makes the topic transmissible: this research will be marked by the empathy for and the rationalization of the motives of the protagonist.More
I’m an Artist / filmmaker and otaku. Otaku is a Japanese term for people with obsessive interests, commonly Anime, Manga and Japanese pop/sub-culture. It has been compared with mental sickness: ‘They’ say we’re perverted by imagery and moe, we lack basic social skills, empathy, even self-awareness.More
I am writing a 'manual for documentary makers'. This is challenging, it would mean that there are methods, advices, rules for the 'good' documentary. It goes without saying that the manual is rather a book full of questions and concerns. An attempt to approach the documentary in a holistic way. The documentary: 'The history of the pig (within us)' is included in the handbook as a 'case'; and is analogous to the handbook in the sense that also in the documentary a holistic approach is at issue. Both handbook and documentary are greedy, broadly based and contemplative.More
The continuing evolution from traditional to modern marimba performance has ushered with it myriad challenges to the current generation of marimba players. In today's climate, modern marimba performers are dealing with a much greater palette of articulations. One uniting issue among marimba performers: the core nature of a marimba is that it acts as an idiophone, and this leads every marimba player to the question of where to find space for the expression of all the musical elements and articulations needed to convey their musical intentions.More