Realized projects

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Research Day Musical Language

"It is in the nature of things - and it is this which determines the uninterrupted march of evolution in art quite as much as in other branches of human activity - that epochs which immediately precede us are temporarily farther away from us than others which are more remote in time." (I. Stravinsky, An Autobiography, 1936). This quote on the perception of musical language reveals a fascinating paradigm: the older something is, the more it can be tested, and the more something is tested, the more (an opinion on) it can be validated. It is in this field of action that the Research Group Musical Language operates, constantly pushing the boundaries of compositional idioms, testing and validating the old and the new in order to elevate the art of music creation. In this regard, it is not surprising that the presented lectures cover a large array of topics, spanning from Debussy to micro-tonality, from Adorno to multi-medial avant-garde. Though often interdisciplinary in approach - correlating with subjects such as linguistics, music philosophy, psychology, musicology and music technology - each project maintains it's artistic individuality. It is in this way that we aim to facilitate the uninterrupted march of evolution in musical language and help it venture into epochs which lie in the future.

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Rochester’s world: the world of a/the Monkey. Een anatomie van de barokke theatraliteit

Dehert Pol

Visit our dedicated webpage for more information on this PhD project.

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P-Trains (Astrin Phosphora)

Eysermans Ann

Discover Ann Eysermans' website dedicated to this PhD project: P-Trains (Astrin Phosphora).

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The notation is not the music

Kuijken Barthold

Reading the notation of Early Music according to today’s conventions is often misleading. Indications of pitch, tempo, rhythm, phrasing, articulation, dynamics, ornamentation and instrumentation have had less fixed or altogether different meanings in the past. The reading was also influenced by the tradition of improvisation, the quality of the source and the attitude of both performer and audience. Further the double concept of authenticity is discussed: the (unattainable) historical authenticity and the (artistically essential) personal authenticity. Based upon his long experience with Early Music, the author relates which solutions he adopts when facing this unstable but artistically fascinating situation.

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Teatro dell’ascolto – Worüber man nicht sprechen kann, muss man spielen…

Michiels Jan

For this very own ‘teatro dell’ascolto’ – not in wood, but on paper and above all, in sound – the structure of ‘Prometeo’ and the idea of Camillo’s ‘Teatro della Memoria’, set the tone, as it were, as did the Prometheus trilogy (which has not survived complete) and the town plan of La Serenissima. The search through this theatre is intermingled with the Venetian labyrinth:  it has become a mosaic of proprietary texts that have accompanied my own activities as a performing musician for the last seventeen years, interspersed with words of others. 

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A tribute to Cole Porter

Van den Brande Wilfried
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Belslijntje or the re-imagination of a memorial site. The analogue home video as artistic strategy

Wouters Maurits

During four years, in order to obtain a PhD in the Arts at RITCS/VUB, experimental filmmaker Maurits Wouters has been researching the subject of fading collective memories in relation to the aesthetics of analog film. Wouters started his research with a collection of home videos made by the derelict  community around 'Het Bels Lijntje'; the popular name of the Tilburg - Turnhout train line, constructed in 1865 and shut down in 1973. The family history of Maurits Wouters is closely linked to 'Het Bels Lijntje'.

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