ORCIM CALENDAR 2010
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Two-day Seminar on Research into Co-Creative Practices in Music
March 15th -16th, 2010.
Department of Music, University of York
This seminar, jointly convened by York University's Department of Music and the Orpheus Research Centre in Music, Ghent, will explore processes of co-creative collaboration between composers and performers in contemporary practices. Topics include: consideration of the different ways in which musical material is generated, analysed, developed and refined in such processes; the defining and negotiating of roles; the subsequent implications for the locus of creativity, authority and ownership; the relationship between process and product; the role of notation; the life of the ‘work' beyond the collaboration; interdisciplinary and non-Western perspectives. The seminar will include performances of relevant works, in addition to papers and other presentations.
[ORCiM] RESEARCH FESTIVAL " unexpected variations"
15-17 september 2010
This event was live streamed.
Following a successful edition last year, the Orpheus Research Centre in Music held its second Research Festival: rich in "unexpected variations" and displaying fireworks of music and ideas!
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The unifying theme for the 2010 edition of the ORCiM festival was ‘unexpected variations'. Variation, as a concept as well as a form, is widely dispersed and deeply embedded in artistic practice: it relates explicitly or implicitly to concepts such as ‘difference', ‘innovation' and ‘identity' - all crucial to, and typical of, artistic expression. It is the qualifying ‘unexpected' in the title of the ORCiM-festival which points to the new opportunities and impulses for musicians that present themselves through the emerging field of artistic research and in the discipline-specific research environment that is supporting it.
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The ORCiM festival 2010 featured several compositions that reflect the variation principle, ranging from Beethoven's well-known Diabelli Variations to new work by composers such a Richard Karpen, Juan Parra, William Brooks and others. In each case, conceptual and embodied understandings were explored in terms of how they interact with sounding materials and lead to unexpected possibilities.
Titles of contributions included:
- On Schnittke's second piano sonata
- From hermeneutics to eroticism in artistic research
- On different modalities of a musician's listening
- For prepared pianist: meeting the challenge of programming Cage's prepared piano pieces
- On the subject of authorship
- Gilles Deleuze-Helmut Lachenmann: the conditions of creation and the Haecceity of music material
- On the distinction between ‘test' and ‘experiment'
- Variations on Score Calendar by Allen Kaprow
- On Alvin Lucier's I'm sitting in a room
- Synoptic Formal Analysis and Musical Performance
- From Parody to Transfiguration: Beethoven's Diabelli Variations (Keynote speech by William Kinderman - University of Illinois at Urbana-Champaign)
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Download the FESTIVAL BROCHURE |
UNEXPECTED VARIATIONS - CONCERT 15/09/2010
coproduction with HANDELSBEURS
| In relation to the ORCiM Festival, the Orpheus Institute in cooperation with Handelsbeurs organised the concert UNEXPECTED VARIATIONS by the ORCiM Ensemble. This concert took place on Wednesday September 15, 2010 at the concerthall Handelsbeurs located near the Orpheus Institute. |  |
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ORCiM ensemble
Juan Parra Cancino (electronics), Alessandro Cervino (piano), Paulo de Assis (piano), Mieko Kanno (violin), Catherine Laws (piano, toy piano, voice), Tania Lisboa (violoncello), Stefan Östersjö (guitar)
INTERNATIONAL ORCiM SEMINAR 2010: "SOUND AND SCORE" 15 December 2010, 14.00-18.30 & 16 December 2010, 9.30-16.00
Download the Sound & Score schedule.
As an art form based upon sound, music deals with complex semiotic translations and interactions between different perceptual senses and systems of signification: sound, score, meaning. Primarily, music has to do with the invisible, with forces that cannot be seen but that touch listeners in very compelling ways. However, in many cultures - Western and non-Western - music has been codified in notated form, originating complex written artefacts - the score -. Here, different signs and symbols not only allow for the retention and transmission of certain elements of the musical fabric but also liberate forces that are not conceivable without graphic representations.
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This seminar introduced the act of notating as an important and pivotal activity within the rich array of activities that constitute musical practice. The two-day international seminar aimed at exploring the intimate relation(s) between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Three main perspectives were adopted: a conceptual approach that allows for contributions from other fields of enquiry (history, musicology, semiotics, etc.), a practical one that takes the skilled body as its point of departure and finally an experimental approach that challenges state-of-the-art practices.
Within such a general context, particular interests or questions included:
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How are notational practices formed and interpreted over time?
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What are the semiotical implications of sound codification?
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The score as a point of departure or as a rigidly fixed codification of intentions?
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How does the performer relate/interact to/with the score? What freedom/responsibility is left for the performer, the reader of the score?
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The performers own annotations on the score.
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Which aspects of sound and music are not reducible to any graphic codification?
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Other ways of mediating between composer and performer
Keynote speaker: Dr. Jeremy Cox (Author and Consultant in Higher Music Education, U.K.) - "What I say and what I do: the role of composer's performances in building our sense of their works' identity"