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.
This research cluster explores the intersection of historical technology and rhetoric, and its relevance for modern-day performance. Taking as its core repertoire the works of Haydn, Mozart, and Beethoven, and maintaining a focus on the keyboard in its various technological guises, we hypothesize that, for a revival of the art of rhetoric to work, we need not just awareness of historical rules of performance (traditionally known as "performance practice") but also sensitivity to historical socio-cultural contexts, including social identity, skill, and gender of our historical counterparts (composers, composer-performers, performers, dedicatees, targeted users, or listeners).
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.
MusicExperiment21 (ME21) is a five-year artistic research programme (2013-2018) funded by the European Research Council and based at the Orpheus Institute Ghent.
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.
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.
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.
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.
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.
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.
This critical edition constitutes the first edition of …..sofferte onde serene… based upon archival and analytical research.