Orpheus Doctoral Conference (ODC)

As part of the docARTES curriculum, our students are given the opportunity to organise a small-scale conference to take place at the Orpheus Institute, usually during the last docARTES session of the season (May). Doctoral students worldwide are encouraged to submit proposals through an open Call for Papers. The conference itself serves to deepen and broaden specific research topics linked to the students’ practice, to disseminate recent findings, to keep track of developments in specific research fields, and to build and maintain a network of peers.

docARTES doctoral programme


Orpheus Doctoral Conference 2017

22-23 February 2017

The Orpheus Doctoral Conference 2017, Traditions-Transitions, will explore how different modes of relationships between past and present affect musical performance practice and composition. Further, practitioners and researchers from the fields of music and social sciences will draw on Eric Hobsbawm’s notion of “invented traditions”, examining how traditions are forged, broken or interrupted and how they might be used as sources of renewal.


Credits photo: Karen Stuke

HERE and NOW: Awareness and Flow in Music Performance

Orpheus Doctoral Conference 2013

29 May 2013

In 'Here and Now', music performers, trainers, teachers, and thinkers meet to exchange concepts, experiences and perspectives dealing with the particular moment of being on stage. The central topics are self-awareness, presence and the state of 'flow' in music performance.

Transcription, Translation and Interpretation

Orpheus Doctoral Conference 2012

23 May 2012

The Second Annual Orpheus Doctoral Conference takes three words as its theme: Transcription, Translation and Interpretation. These terms suggest different possibilities to different musical communities, but common to all perspectives is the idea of distance – temporal, cultural and stylistic – and the rich artistic discourse that emerges from this distance. 

Instrument and Music: The Play between Material and Message

Orpheus Doctoral Conference 2011

25 May 2011

For as long as we have had the desire to communicate that which words cannot express, we have imagined and fashioned instruments. Indeed, in the sphere of musicianship, the instrument, tool, or material is integral to almost every aspect of musical practice – and vice versa. Performing musicians often take this symbiotic relationship for granted. However when performance practices are thoughtfully examined in the context of artistic research, a startling array of multifaceted interrelationships, co‐dependencies and contradictions can often arise.