Study Days are set up by Orpheus researchers to have an exchange of knowledge with invited guest speakers and musicians on very specific research topics. Study Days can take any appropriate form: hands-on work sessions, focused discussions, panel meetings, laboratory settings, … but are always small-scale, short-term and very specific to a single research project. These study days are often open to the public and usually generate important source material for further research.
Vincent Roumagnac explores different medium from and within the broad notion of stage, from performance and installations to video experiments. His art practice is based on time-specific explorations of the scenic mutations that emerge from the strategy of permutation between the backstage and the stage agencies at the time of a shift of representational paradigm demanded by the current climatic crisis.
In her work Cathy Van Eck looks for possibilities to compose relationships between sound, gesture and object. During the presentation, she will discuss her recent compositions and sound installations and how research and artistic output is combined in these. These include a research project with ethnographers on headphones, an interactive installation using wind, and performances exploring forms of demonstration. In all these works microphones, loudspeakers and several kinds of sensors play an important role. How these technologies interact with her aesthetic ideas will be an important focus during the talk.
In recent years, HIP research of later repertoire has become increasingly interested in the value of old recordings. Strangely, these documents often testify to performance practice techniques that seem to be at odds with the instructions or preferences found in the methods and other written documents by the very performers who made the recordings. As a consequence, there has been a tendency to doubt the reliability of written sources in general, a particularly frightening proposition when one considers that for performers who died before the early 20th century, written sources form a large part of the only performance practice evidence that exists.
This presentation will contend that written sources have more validity than we realize, especially when we examine them less literally, but take into consideration the context and above all, the tone of voice which the author expresses his ideas. By comparing the writings and the recordings of specific performers from the late 19th and early 20th centuries, it becomes evident that in some cases, the written document may even shed more light on the musical and performance preferences of that artist. This analysis can also therefore give us guidelines for how to read the words on performance instructions from musicians who did not leave us acoustical recordings.
The Orpheus research cluster MusicExperiment21 increasingly developed a component of ‘staging compositions’, and the work of Romeo Castellucci has functioned as an important reference to the team. This study day with an expert on his work, will present and discuss Castellucci’s aesthetics and techniques. Joao Francisco Figueira is an architect (studies in Oporto and Venice, PhD in Helsinki), professor of architecture at Lisbon University, and a researcher on the value and power of “images”. He is the series editor of YMAGO, having edited and published books by Georges Didi-Huberman, Jacques Ranciere, Daniel Arrasse, Horst Bredekamp, Hans Belting, Viktor Stoichita, and Aby Warburg, a.o.. He follows the work of Romeo Castellucci since two decades and has given presentations on his work throughout Europe.
The research cluster 'Declassifying the Classics' was pleased to welcome Charles Shrader from University of Pennsylvania, whose research questions about Steibelt and the French pianistic school intersect and challenge our own. The morning’s round table revisited the subject of the French tremolo, in discussion and through performance. Michael Pecak performed Louis Adam’s Sonata in C major, Op. 8 No. 2, in its entirety, followed by Tom Beghin performing Beethoven’s Sonata in C major (“Waldstein”), Op. 53.
The lecture demonstration on Beethoven's Erard of the previous evening drew together performers, musicologists, instrument builders, and music lovers from Royaumont, Paris-Sorbonne, and various locations in Belgium. The study day extended some of the lively conversations held in the aftermath of the event.
In this study day, open to the wider public, composers, performers and music researchers will be introduced to Barrett’s major contributions to the fields of acousmatic music and live electronics as well as to the development of higher order ambisonics, or immersive sound formats used to capture and reproduce three-dimensional sonic environments.
Additionally, members of MusicExperiment 21 will present their upcoming collaboration with Barrett in a media archaeological performance of J.S. Bachs’s Goldberg Variations, developed by Heloisa Amaral within the framework of her docARTES PhD-project.
Heinz Holliger is one of those rare contemporary musicians who combine composing, playing, conducting, teaching, lecturing on a tremendously high level in a continuous stream of creativity since six decades.
During his visit to Orpheus he will deliver testimonies about his relation to his own music and to the music of others like Debussy or Schumann - by playing, explaining and coaching. About this relation he says himsself : "My entire relation to music is such that I always try to go to the limits."
The Orpheus Institute will be thus a perfect environment.
This Study Day aims to go beyond the commonplace notion of noise, by generating some conceptual coordinates for the shared notion of ‘noise’.
The Orpheus Institute announces “Christian Wolff at Orpheus,” two study days September 28 and 29, 2015, with the composer in attendance. Included is a keynote talk by Philip Thomas (University of Huddersfield) and an open rehearsal by TWO (Joseph Houston, Aisha Orazbayeva) of American experimental works, including a new composition by Wolff.
Reconstructions and reclamations of text, declamation and music in England, America, and Germany at the turn of the 20th century.
Sami Sälpäkivi and Bobi Girl in the first ever horse theatre in Finland, "Hiano Mailma" which he created with his wife Anne in 2002.
Courtesy of the authors.
Artistic research shares with François Laruelle's 'non-philosophy' and the emerging field of 'performance philosophy' a condition of internal conflict: On one side, artistic research breaks out of acceptable knowledge, on the other it seeks to make its outcomes accepted as knowledge; on one side, it appropriates artistic modes of inquiry and presentation for research, on the other research already pervades the very artistic practice that produced them; on one side, artistic research resists institutionalism, on the other it needs to develop and maintain research networks in and across institutions.
This study day is concerned with the moment of translation between gesture and notation. We are particularly interested in how the development of notation in contemporary dance may map onto a gesture-based understanding of music.
Renowned harpsichordist and practice-based researcher Robert Hill will discuss his approach to analyzing flow and effectivity in performance, specifically focusing on the Aria from the Golberg Variations. Other presentations will include a briefing about the Music Experiment 21 project with Paulo de Assis as principal investigator and research towards an improvisatory methodology by Bobby Mitchell. Participants are welcome to listen and participate actively through questioning and discussion.
The Study Day examines Deleuze and Guattari's concept of diagram in Artistic Research from the point of view of De Landa's Assemblage Theory (Paulo De Assis), Schiller's Aesthetic Education (Kamini Vellodi), Wittgenstein's Picture Theory (Paolo Giudici) and Manning and Massumi's Texture (Christoph Brunner). To conclude the Study Day, participants are invited to submit their questions based on the Reading List circulated.
During this Study Day the Vienna based philosopher Arno Böhler, together with the actress Susanne Valerie Granzer will discuss and demonstrate latest developments in the emerging research field of performance philosophy with a special emphasis on the festival format "Philosophy On Stage", they have developed in several research grants in the last 10 years.
This Study Day focuses on the topic of notation and especially how/when notation ceases to function as a practical communication tool between composer and performer. Also of interest is notation’s relationship with material and the question: how can notation become material? We will explore the intersection of the arts or the exploration of the spaces between artistic disciplines and notation's (im)possible role in such endeavours. Our guest is Claudia Molitor, composer and artist, whose work often becomes a site where conventions of music notation and performance, and hierarchies of listening and seeing are explored.
Dr. Mika Elo's on-going research aims at developing new epistemological perspectives on artistic research from a media theoretical point of view, through theorizing "mediality of sense", i.e. the ways in which various media settings (such as art works) articulate sense by gathering together the different senses of ‘sense’.
This study day considers exploratory experimentation.
Invited guest speaker: Prof. Friedrich Steinle.
In the first half of the 19th century "improvisation" progressively vanished from concert life. At the same time the idea and practice of "Interpretation" gained momentum, culminating in Franz Liszt's highly idiossincratic renderings of past musical works. In this study-day, Kai Köpp will discuss with us the possible link from "improvisation" to "interpretation" as a continuity of the performer's possibilities to express his/her subjectivity. 'This topic opens a link to the history of composition where abstraction won over interpretation. Kai Koepp will also try to show how the performer-composer (who frequently was an improviser) became more and more suspicious of “superficial” virtuosity and the interpretation of “classic” masterpieces became the highest goal of performers, founding new conservatories for this purpose. This will encompass Liszt and the subsequent coining of the term of musical interpretation in Germany.’
A talk about some of the issues that arise for non-native English speakers when writing and publishing work in English. The lecture addresses some general issues as well as looking at common, specific problems.
In this Study Day Swedish director Johan Petri will focus on two topics (presentations): his last theater production which is based on the music of Joseph Matthias Hauer and the question of repetition and variation (questions around dramaturgy, transformation of philosophical concepts into performative concepts), and on immanent processes in collective creative collaboration.
A lecture on how to think about experiments in art and thought, focusing on the monochromes of Arthur Danto and the blank scores of modernist artists and composers.
We'll be working in the field of improvisation within and without traditional repertoire (for example Schumann's piano Music, but also Satie's), we'll be discussing presentation and concert formats, and the role of the arts in our society will be a strong point of interest, too.