• Research Members
• Doctoral Researchers
• Visiting Researchers
• Former Researchers & Collaborators

Dame Janet RITTERMAN (U.K.)

William BROOKS (U.K.)

Research Members 2010-2011

William BROOKS (U.K.)

• Education: Music and mathematics, Wesleyan University, USA; Musicology and composition, University of Illinois, USA
• Previous & present employment: professor of music, University of York, U.K. ; professor emeritus, University of Illinois, USA
• Publications & artistic achievements: contributions in the Cambridge History of American Music; Cambrigde Companion to John Cage; publications; awards and commissions from the Newberry Library, the Arts and Humanities Research Council of Great Britain, etc.
• ORCiM project & general interest: American music, work of American experimentalists from Ives forward

 Kathleen COESSENS (Belgium)

• Education: doctor in philosophy (Vrije Universiteit Brussel); graduated in piano and chamber music at the Conservatory of Brussels and the Alfred Cortot Institute in Paris; she studied philosophy, sociology and psychology at Vrije Universiteit Brussel   
• Previous & present employment: after teaching and performing music for 10 years, she is now professor and post-doctoral researcher at the vrije Universiteit Brussel (Centre for Logic and Philosophy of Science) and teaches at the Conservatory of Antwerp.
• Publications & artistic achievements: monographs, articles, performances
• ORCiM project & general interest: merging both artistic experience and academic expertise, her research is situated at the crossings of science and art, human creativity and cultural representations, looked at from and embodied, epistemological and philosophical point of view
  

Darla CRISPIN (Canada/U.K.)

• Education: Doctoral Degree (BMus, MMus PhD) in Historical Musicology King's College (London, U.K.); Concert Recital Diploma (Guildhall School of Music and Drama, London, U.K.)
• Previous & present employment: 2008-present: Senior Research Fellow in Creative Practice (Royal College of Music, London, U.K.); 2003-2008: Head of Graduate School (Royal College of Music, London, U.K.); 1997-2002: coordinator of Postgraduate Studies (Guildhall School of Music, London, U.K.)
• Publications & artistic achievements: book chapters, publications in Refereeds Journals, Refereed Conference Papers; concertpianist: numerous performances in North America, Belgium, The Netherlands, Germany...
• ORCiM project & general interest: imagination, silence in the work of Schoenberg; more generally her work involves re-reading the solo piano music of the Second Viennese SChool through focussing upon performance, as well as developing ideas about linking music and physical motion with historical imprinting, and working with colleagues to generate meta-level discourses about practice-as-research and its relationship to culture and education
  

Paulo DE ASSIS (Portugal)

• Education: 2003 PhD in Music (University Aveiro, Portugal); 1997 Soloist Certificate in piano (Hochschule für Musik Freiburg, Germany); 1994 Certificate of Artistic Mastery in piano (Hochschule für Musik Freiburg, Germany); 1989 Certificate of Licentiate in Piano (Gulbenkian Conservatory Braga, Portugal); he studied with Michel Béroff, Tibor Szasz, Vitaly Margulis and Sorin Melinte.
• Previous & present employment: present:post-doc researcher a Centro de Estudos de Sociologia e Esthética (Lisbon University, Portugal); researcher at the Giorgio Cini Foundation (Venice, Italy) and Luigi Nono Archive (Venice, Italy); independent writer and concertpianist; external collaborator at the Casa da Música (Porto, Portugal)
• Publications & artistic achievements: monograph (Luigi Nono), refereed articles, lectures, concerts, recitals, recordings, musical compositions
• ORCiM project & general interest: 'Urtext'- status in current performance practice; performance oriented edition of Nono's pianoworks
  

Anne DOUGLAS (U.K.) associate researcher

• Previous & present employment: visual artist and research professor at the Robert Gordon University, Aberdeen, U.K.; initiated and led the On the Edge research programma (2001-present)
• Publications & artistic achievements: publications
• ORCiM project & general interest: dynamic role of the artist within the public sphere
  creative process of the artist

Catherine LAWS (U.K.)

• Education:1996 PhD University of York; piano studies (Winchester) 
• Previous & present employment: 2010 -: Lecturer in Music (Performance), University of York; 2007-10: freelance performer, researcher and lecturer and Associate Lecturer, Dratington College of Arts and University of Plymouth; 1997-2007: Associate Director of Music, Dartington College of the Arts; pianist specialising in contemporary music (solo + with UK ensembles [rout] and Black Hair)Publications & artistic achievements: recordings, articles, performances 
• ORCiM project & general interest: ORCiM project & general interest: current ORCiM projects examine processes of co-creative collaboration between performers and composers (leading to the book, Productive Tensions: Co-Creative Practices in Music), and the relationship between physical gesture and sonic materials in performance ("Sounded Gestures and Enacted Sounds"). Recent work explores the modes of listening at play in the preparation and performance of Feldman's long works for solo piano. In general, Catherine's research lies in two areas: contemporary music performance practices and the relationship between music and language.
  

Stefan ÖSTERSJÖ (Sweden)

• Education: Dr. Stefan Östersjö studied with Gunnar Spjuth and Prof Per-Olof Johnsson at the Malmö Academy of Music (1987-1992) and also with Peder Riis and Magnus Andersson in Stockholm and Darmstadt. He continued his studies with a PhD project within the field of artistic research, carried out in 2002-2008.
• Previous & present employment: He is at present engaged in artistic research on improvisation in different cultural contexts at the Malmö Academy of Music, a project involving performers and researchers in The Netherlands, Vietnam and Sweden.
• Publications & artistic achievements: journal articles and conference publications, books (SHUT UP ’N’ PLAY! Negotiating the Musical Work. Lund University Press, Lund 2008), cd's
• ORCiM projects & general interest: The performing composer, the listening performer
  

Juan PARRA (Chile/The Netherlands)

• Education: 2007-present: doctoral student docARTES; 2007: Master in Sonology at the Royal Conservatoire of The Hague (The Netherlands)
• Previous & present employment:free-lance performer, composer 
• Publications & artistic achievements: numerous compositions, performances, lectures (worldwide)
• ORCiM project & general interest: notation from a composer's point of view, state of the art 
  

Hans ROELS (Belgium)

• Education: piano and composition studies at the Royal Conservatory of Ghent (Belgium); PhD student at the University College Ghent
• Previous & present employment: 1995-2008: piano teacher, 2001-2008:
  concert programmation in the Logos Foundation (Ghent, Belgium), 2007-2010: teacher of live electronics in educational project in music school of Deinze (B), present: PhD researcher and teacher of live electronics in the University College Ghent
• Publications & artistic achievements: compositions that were performed in several European countries and the USA
• ORCiM project & general interest: experimental music, polyphony in contemporary music, simultaneity in contemporary art, collaborative artistic research and algorithmic and electronic music

Michael SCHWAB (U.K.)

• Education:PhD in Photography ('Image Automation: Post-Conceptual Post-Photography and the Deconstruction of the Photographic Image', Royal College of Art, London, 2008); MA in Photography (London College of Printing, 2000); M.A. in Philosophy ('Nietzsche and Heidegger: Metaphysics as Problem', University of Hamburg, 1996)
• Employment: Tutor, Royal College of Art, London; Research Associate, Y (Institute for Transdisciplinarity), Bern University of the Arts; Project Leader 'The Artistic Research Catalogue', University of the Arts, The Hague
• Publications and Achievements: Since 2003 exhibitions and events focusing on artistic research; 'Paris', 2008 (artist's book); First, the Second: The Supplemental Function of Research in Art', Zürich: Jahrbuch der Züricher Hochschule der Künste, 2009; 'The Power of Deconstruction in Artistic Research', Working Papers in Art and Design, Vol. 5; ‘First, the second: Walter Benjamin’s theory of reflection and the question of artistic research’, Journal of Visual Arts Practice 7:3, pp. 213-223; Co-initiator of JAR, the Journal for Artistic Research (in preparation)
• ORCiM Project & General Interest: Observer and potential collaborator with particular interest in the role of spatiality in the context of artistic research; similarities and dissimilarities of research in music and visual art; questions of transdisciplinarity

Luk VAES (Belgium)

• Education:PhD (Leiden University (NL)/Orpheus Institute (B) 2009 - "Extended Piano techniques"); MM (SUNY at Buffalo (US) 1993); Higher Degree piano (Royal Conservatory, Ghent (B) 1989); private studies with Aloys Kontarsky (Cologne (G) 1989-91).
• Present and Previous Employment: coordinator of doctoral curriculum at the Orpheus Institute (B; 2010-); research fellow at the ORCiM (B; 2010-); liaison officer for the doctoral curriculum at the Royal Conservatory of the Hague (NL; 2010-); founding director of November Music Flanders new music festival (1998-2009); free-lance solo pianist & lecturer (1988-); free-lance recording producer (1992-); artistic director Steurbaut Sound Recording Centre (2003-2010).
• Achievements: prizewinner of solo piano competitions for new music (Belgium, Germany, Italy, US); concerts at the major new music festivals in the EU and US since 1988; award-winning CD with music by Mauricio Kagel; forthcoming book on extended piano techniques and related articles/conference appearances.
• ORCiM Project & General Interest: in general: practical applications of artistic research into matters of piano playing; concrete project: devising ways to perform the piano part of Ravel's Tzigane  on a present-day piano with the original Luthéal sounds.