During the International Orpheus Academy we invite a guest faculty of international stature to the Orpheus Institute to give a series of lectures on specific topics. The academy’s aim is to allow a selected crowd to work on the highest possible level for the sessions to be perceived as rewarding for all attendants and speakers. In addition, artist-researchers from the Orpheus Research Centre in Music [ORCiM] will periodically interact with the faculty, offering their insights into the evolving research discourse of the Academy. Next to that, complementary performances are scheduled that articulate ORCiM’s characteristic fusion of musicianship and research work. The outcomes of these Academies are disseminated through the Orpheus Institute Series.
The contemporary points towards incommensurable definitions. Intensely debated in the fields of visual arts, art theory, and philosophy, it describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous of a given historical time, the contemporary becomes a selective concept: it promotes or excludes things and practices according to their ability of diagnosing previously unnoticed aspects of the present. In this sense, it gains a critical function, involving particular modes of relating to history and to one’s own time.
With the topic 'Sensible and sensorial explorations in Music', the International Orpheus Academy for Music & Theory 2015 will open the field of investigation towards a sensorial approach to music and its aesthetic theories.
For the past three years the Orpheus Research Centre in Music [ORCiM] has developed a special and unique research focus: Artistic Experimentation in Music. Within this framework, the last two editions of the International Orpheus Academy for Music & Theory were dedicated to 'Aspects of Artistic Experimentation in Early Music' (2011), and to 'Experimentation versus Interpretation' (2012). Concluding the first phase of the overarching research focus on Artistic Experimentation in Music, the International Orpheus Academy for Music & Theory 2013 will focus on Experimental Affinities in Music.
The Orpheus Academy 2012 – with the title ‘Experimentation versus Interpretation’ – will challenge the concept of ‘interpretation’ in the field of music performance, and investigate musical ‘experimentation’ as an alternative or encapsulating path. Such a challenge involves the concept of ‘work’ and has implications in the fields of ‘notation’, ‘hermeneutics’, editorial concepts (such as the ‘Urtext’), as well as with the broader relationship with the past.
The year 2011 will see Orpheus Institute’s ninth edition of its “International Orpheus Academy for Music and Theory”. The Orpheus Academy 2011’s theme will be “Aspects of Artistic Experimentation in Early Music”.
In commemoration of the 200th anniversary of Chopin and Schumann’s birth, the theme of the eightieth edition of the Orpheus Academy is linked to a generation of composers (Chopin, Schumann, Mendelssohn) who played an important role in the development of music as an autonomous art form.
In 2009 Orpheus Institute organizes the seventh edition of its “International Orpheus Academy for Music and Theory”. The Orpheus Academy 2009’s theme is “Improvising Music in the 15th and 16th Century: Contrapunto alla Mente – Chant sur le Livre – Madrigale Passaggiato”.
The year 2008 will see Orpheus Institute’s sixth edition of its ‘International Orpheus Academy for Music Theory’. This years theme will be “Music Theoretical Dimensions of 18th Century Opera”.
In 2007, the Orpheus Institute organises its fifth ‘International Orpheus Academy for Music Theory’. The theme is ‘Tempo, Meter, Rhythm. Time in Music after 1950’.
In 2006 the Orpheus Institute organizes the fourth International Orpheus Academy for Music Theory. The Academy focuses on ‘Music and Theory: Thoroughbass in Practice, Theory, and Improvisation.’