From a Higher Institute for Music to an established hotspot for advanced studies and research in music in 20 years.


  • The Orpheus Institute and six other European institutions join forces in a 3-year Erasmus+ strategic partnership: "RAPP Lab – Reflection-based Artistic Professional Practice".


  • The Orpheus Institute acquires the prestigious library of Ton Koopman. The focus of the collection is 17th- and 18th-century music, its cultural context and performance practice. A new research cluster Resounding Libraries is established around the collection.
  • The Orpheus Institute celebrates the birth of Ludwig van Beethoven, 250 years ago, and the fifth anniversary of the research cluster Declassifying the Classics, in which Beethoven’s piano music plays a distinguished role.
  • ECHO, a new online, open access, peer-reviewed journal is launched. The journal is an initiative of the MTT (Music, Thought and Technology) research group at the Orpheus Institute.


  • The first MOOC (massive open online course) on Artistic Research is Music is launched by the Orpheus Institute and is an immediate success.
  • The research group Performance, Subjectivity, and Experimentation organises the festival and symposium Who is the 'I' that performs?.
  • A second edition of the Orpheus Research Summit takes place, as well as a third edition of the DARE conference on artistic research and the philosophy of Deleuze and Guattari.
  • Orpheus Research Fellows Paulo de Assis and Lucia D'Errico are the series editors of a new books series on artistic research, published by the independent and interdisciplinary publisher Rowman & Littlefield International.


  • The Orpheus Institute organises its first Historical Piano Summer Academy,  directed by Tom Beghin and Erin Helyard. Seven young talented pianists from all over the world participated in this intensive ten-day course.
  • The 5-year ERC project MusicExperiment21, led by Paulo de Assis, is concluded and published several outputs: four books (all available through Open Access), two CDs and one vinyl LP.
  • The first Orpheus Research Summit: advanced professional development for artistic researchers in music, a brand new event for established artist-researchers takes place.
  • The Orpheus Institute and eight other European institutions join forces in a 3-year multi-disciplinary Erasmus+ strategic partnership for higher education: "Advancing Supervision for Artistic Research Doctorates".


  • The Orpheus Institute produces the documentary "Inside the Hearing Machine", revealing the findings of the artistic research project led by Tom Beghin.
  • In the context of the ERC project “MusicExperiment21” by researcher Paulo de Assis, the second edition of the DARE conference is organised. This conference is fully dedicated to the relation between artistic research and Deleuze and Guattari’s philosophy and welcomes artists and academics from all over the world to the Orpheus Institute.


  • The Orpheus Institute celebrates its 20th anniversary in the academic year 2016-2017, with a 48-hour programme full of music, discussions and festivities as the main event.
  • The Grant Agreement with the Flemish Department of Economy, Science and Innovation and the Flemish Ministry of Education is renewed for 5 years after a positive external evaluation of the educational and research activities of the Orpheus Institute.


  • In the context of the ERC project “MusicExperiment21” by researcher Paulo de Assis, the first DARE conference is organised. This is the first international conference fully dedicated to the relation between artistic research and Deleuze and Guattari’s philosophy.
  • The Orpheus Institute publishes a first Open Access publication: ‘Experimental Affinities in Music’ (Paulo de Assis). Open Access provides direct, free and online access to academic publications without copyright restrictions from publishers. The idea is that publically funded research should be open to everyone around the world.


  • The inter-university doctoral programme docARTES celebrates its 10th anniversary with a magazine, an update of the brochures and flyers and a festive event.
  • Tom Beghin, a Flemish pianist and researcher based in Canada, is attracted for a new research cluster “Declassifying the Classics”. This research project is financially supported by the InBev-Baillet Latour Fund and accomplished in cooperation with Piano’s Maene.
  • Jonathan Impett is appointed Director of Research at the Orpheus Research Centre.
Tom Beghin
Jonathan Impett


  • The Orpheus Research Centre in Music [ORCiM] expands its group of researchers through a Call for Fellowships.
  • A new curriculum for docARTES is implemented.
  • The ORCiM Grant Agreement with the Flemish Department of Economy, Science and Innovation is renewed.


  • Research Fellow Paulo de Assis receives an ERC Starting Grant (European Research Council) for his project Music Experiment21. This grant reinforces Orpheus Institute's position as a centre of excellence for artistic research in music, standing alongside more established scientific disciplines.
  • A new Grant Agreement with the Flemish Ministry of Education is signed.


  • Orpheus Institute carries out major renovation works to create more space for its research centre. The new facilities include a specially equipped auditorium/laboratory, individual study rooms and a large meeting room.
  • In order to professionalize ORCiM’s research strategy and management an international Research Advisory Council (RAC) is established.
Vierde verdieping


  • Celebrates Orpheus Institute’s first two musicians to obtain a docARTES PhD. Luk Vaes and Jed Wentz obtain their degree of Doctor in the Arts at Leiden University.
  • ORCiM reveals its 3-year research focus on Artistic Experimentation, a project to be conducted in cooperation with the University of Music and Dramatic Arts (Graz, Austria), Sibelius Academy (Helsinki, Finland), Queensland Conservatorium (Brisbane, Australia) and the University of York (York, U.K.).
  • Orpheus Institute is proud to be one of the chosen few, selected by the AEC (Association Européenne des Conservatoires) to appear as a case study and example of good practice in artistic research in the publication 'Researching Conservatoires'.


  • The Orpheus Research Centre in Music [ORCiM] is officially opened on February 12, 2009 by Flemish Minister of Economics, Enterprise, Science, Innovation and Foreign Trade Mrs. Patricia Ceysens.
  • On account of the official opening of ORCiM, the Orpheus Institute founds E.N.A.R., a European Network for Artistic Research in Music, aiming at stimulating the artistic research discourse between musician‐researchers in Europe. In 2011 it evolves into E.P.A.R.M. (European Platform for Artistic Research in Music), and is hosted by the AEC (Association Européenne des Conservatoires).
  • A new publication series comes into being to present the research produced and promoted by the Orpheus Research Centre in Music [ORCiM].
  • ORCiM celebrates its first Research Festival in September, a showcase of research in‐and‐through musical practice.


  • Introduction of two new seminar series: 
    - [MAO] Module Artistic Research, dealing with topics opening new perspectives on Artistic Research: a collaboration with all four Music Departments in Flanders (Antwerp, Brussels, Ghent and Leuven). 
    - Music Theorist in Residence, appointing an internationally recognized expert in collaboration with the Dutch‐Flemish Society for Music Theory, the University and Conservatory of Amsterdam and the KU Leuven.
  • Introduction of Orpheus Institute’s new workshop Recording Techniques for young chamber music ensembles.
  • The first Call for Fellowships for ORCiM results in a team of 15 Research Fellows from 10 different nationalities, selected out of 60 applications from 25 different countries. They will form the backbone of ORCiM.
  • ORCiM organizes its first international seminar: 'The Musician as Listener'.
  • Orpheus Research Centre in Music receives funding through a Grant Agreement with the Flemish Department of Economy, Science and Innovation (EWI).


  • Orpheus Research Centre in Music [ORCiM], based at Orpheus Institute, is Europe’s first international artistic research centre in music. ORCiM’s mission is to produce and promote the highest quality of research into music.
  • Orpheus Institute welcomes a new Flemish docARTES partner: KU Leuven Association - Lemmensinstituut.
  • Renewal of Orpheus Institute’s Grant Agreement with the Flemish Department of Education.


  • A group of 8 major higher education institutions in Europe joins forces, under the coordination of the Orpheus Institute as founding member, to develop the first joint European Doctoral Curriculum in musical arts: DOCUMA.
  • The first edition of a new seminar series 'Artistic Witnesses' is organized at the Orpheus Institute in cooperation with BOZAR MUSIC. Renowned musicians performing at Bozar reflect on their artistic practice at the Orpheus Institute.
  • Flanders witnesses the first edition of a joint study day on ‘artistic research in music' organized by Orpheus Institute in collaboration with all four Music Departments of the Flemish higher education institutions in Flanders: Antwerp, Brussels, Ghent and Leuven.


  • The Orpheus Institute and 6 institutional partners team up for an international think tank on ‘Artistic Research': EMPaR, Enquiry into Musical Practice as Research.


  • Launching of what has become one of Europe’s leading doctoral programme in musical arts for performers and composers: docARTES.  * Orpheus Institute joins forces with renowned universities and higher music education institutions in Flanders and The Netherlands. Since 2004 docARTES has received around 300 applications.
  • M.I.D.A.S.: Music Institutions with Doctoral Art Studies, an initiative of the Orpheus Institute to establish a European network for institutes organizing doctoral programmes in the arts, similar to docARTES.


  • A new chamber music masterclass series is introduced to provide artistic guidance to young, professional ensembles.
  • A specialised and discipline‐specific library is opened to the public.
  • One of Orpheus Institute’s most popular seminars, the 'International Orpheus Academy for Music & Theory' sees its first edition in April 2003.


  • Flemish Prime Minister Guy Verhofstadt and Flemish Minister of Education Marleen Vanderpoorten attend Orpheus Institute’s official opening ceremony at the institute’s newly renovated 19th century building in Ghent, Belgium.


  • The first 'Laureate of the Orpheus Institute' titles are awarded to young inspiring musicians.
  • Three publications are published in the Orpheus Institute’s new publication series: 'The Collected Writings of the Orpheus Institute'.
  • Orpheus Institute receives a Grant Agreement from the Flemish Department of Education.


  • A “Higher Institute for Music” is born. Peter Dejans is appointed director. The Flemish Department of Education wants to encourage master students interested to reflect on their own musical practice and engage in research.
  • The Orpheus Laureate programme takes off with its first candidates.