Related projects

Running projects

MusicExperimentX


MusicExperimentX: Transdisciplinary Encounters in and Beyond Music is a research project in the field of creative music performance. In it, performance is regarded as an independent form of art: independent from works of music, from concepts and practices of musical interpretation, and from authoritative texts, instruments, and traditions. The project aims at reconfiguring musical practices, most prominently at merging the roles of composer, instrumentalist, and performer into one figure: the operator, a multitasking inventive person, intertwining, fabricating and “machining” unexpected connections between heterogeneous musical, artistic, and conceptual materials. The project challenges dominant modes of thinking about music, while offering concrete tools, methodologies and strategies for the making of imaginative music performances.

[This research cluster will start Feb. 1, 2018.]

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Music, Thought and Technology


The new research cluster Music, Thought and Technology posits a fundamental relationship between these three aspects of human behaviour. Taking its cue from recent research in technology theory, in new media and digital culture, MTT proposes a radical reorientation of the space and terms in which we think about music, exploring these ideas through creative projects.

clusterproject

HIPEX


The HIPEX project traces, reconstructs, and documents historical practices in the performance of experimental post-WWII compositions, deepening our understanding of the role of the performer in the establishing of new repertoire and new performance aesthetics. 

clusterproject

Exploratory Experimental Practices In Music


Fascinated by the riddle of music creation, both in performance and composition, the investigators of this project aspire to unravel exploratory oriented experimentation (EE) in artistic practice. The project’s hypothesis postulates that this method, starting from sensorial observation and dynamic interactive exploration, offers a valuable aesthetic and epistemic tool for music creation.

clusterproject

Beethoven and his Foreign Pianos


When it comes to Ludwig van Beethoven and his pianos, the question of “what was” is often obscured by “what could have been.” Statements by the revered composer such as “The piano must break!” or “I hope the time will come when the harp and the piano will become two totally different instruments” are two examples among many that have helped create a story in which extreme ambition (easily mistaken for “vision”) and dissatisfaction with available technologies are seen as colliding with one another.

Onderzoek en Compositie


Het doel van het project 'Onderzoek en Compositie' is een overzicht te krijgen van het “onderzoek in/door compositie” aan de Vlaamse conservatoria en het Orpheus Instituut. Vervolgens willen we samen met de betrokkenen aan deze instellingen uitzoeken wat de belangrijkste uitdagingen zijn in dit soort onderzoek.

Detecting Degrees of Density in Aggregates

Luk Vaes, Dirk Moelants

This project follows up on Luk Vaes’ doctoral work with regards to extended piano techniques. In contemporary music, clusters (dense aggregates of adjacent pitches) have become a common part of the musical language. Yet, our understanding of how clusters are perceived does not match its popularity in compositional practice. The few existing cluster theories are contradictory to each other as well as to the cluster’s history in scores; empirical data on the cluster's aural perception are almost non-existing.

Peyotl

Luk Vaes, Hans Cafmeyer

Composer-teacher-pianist Hans Cafmeyer and pianist-researcher Luk Vaes work together to develop new and pedagogically appropriate repertoire to teach children the use of Extended Piano Techniques.

Reconstructing Kagel


In 1969 and 1970, Mauricio Kagel “made” two instrumental theatre pieces, Unter Strom and Tactil, for experimental sound producers. Since a fully encoded and composer-authorized score is lacking, the historical performers have been the only ones to play and record these compositions. The only adequate possibility to perform these pieces anew is through reconstruction of the original performance practice and the making of a score.

Finished projects

Historical performance practice of post-war avant-garde music for guitar


Throughout the 20th Century, the guitar has proven itself to be an instrument of many possibilities due to the increased interest shown by avant-garde composers. Several of these composers and/or compositions are either rarely performed, or performed with considerable difficulty due to problems of various nature. The key objective of this project is the documentation and reconstruction of the historical performance practice of such pieces. This result will be achieved through gathering information from historical performers and their collaboration with specifically relevant composers. Case studies to support the research will include music by Berio, Kagel, Lachenmann and Radulescu.

guitar, berio, kagel, lachenmann, radulescu

Decontextualized Notation


This research project critically and creatively investigates musical notation both as an extension of music aimed at performers and as a medium which reaches beyond or enlarges music‘s context, seeking to define new ways of thinking what music can become through innovative approaches to notation.

Writing the Flow


The research topic is the notation of rhythm in Western music theory and practice. The research aims to investigate the role music notation held in shaping time, i.e. how musical notation not only preserves, but also structures time, in order that it becomes writable.

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