Date and location
from April 20, 2023 until April 21, 2023
Registration Orpheus Doctoral Conference 2023Eventfrom April 20, 2023 until April 21, 2023
Before the sound: memory and the creative process
The Orpheus Doctoral Conference (ODC) is a yearly event organised by docARTES PhD students. This year's ODC focusses on the theme "memory and the creative process". It investigates various forms of memory and techniques associated with it within artistic creation.
Collecting and recollecting, ordering and disordering, suppressing and uncovering memories are essential strategies for musicians and other creative practitioners. Memory is both a tool towards the final creation and a result of it. Its role in the creative process is a crucial element of current explorations of memory artistically, academically and educationally.
Focusing on the relationship between memory and the creative process, this conference will explore discussions of different aspects of memory. These include but are not limited to muscle, experiential, informational, artificial, collective and cultural memory.
Some questions that have inspired this conference are:
- What strategies for memorisation and recollection have musicians used historically and what strategies do they use today in their creative process?
- How do musicians use artificial or prosthetic memory?
- Can collective or ensemble memory be used creatively?
- How has the act of memorising itself been used as part of creative practice?
- How does cultural memory operate within the creative process?
- How do creative practitioners use memory across multiple artistic projects?
Karl Kügle (Utrecht University, University of Oxford) - KEYNOTE
Following studies of piano performance (Hochschule für Musik Munich, Hochschule für Musik Würzburg, The Juilliard School) and historical musicology (Ludwig Maximilian University Munich, New York University), Karl Kügle has held posts at the University of Maryland, College Park (USA), the Universities of Leuven (Belgium) and Mainz (Germany), The University of Hong Kong, and Utrecht University (Netherlands) where he retains an appointment as Professor in the History of Music before 1800.
Karl Kügle held visiting professorships at the Universities of Chicago (2002), Melbourne (2003), and Cambridge (2013), and was Christensen Visiting Fellow at St Catherine’s College, University of Oxford (Trinity term 2014), a Senior Fellow of the Netherlands Institute for Advanced Study (NIAS, 2014-2015), a Senior Research Fellow of the Leibniz Institute for European History, Mainz (2019) and a Visiting Scholar at the Max Planck Institute for the History of Science in Berlin (2019). He served as Honorary Professor at the University of Hong Kong (2004-2010), Head of the Department of Media and Culture Studies at Utrecht University (2011-2013), and President of the Royal Society for Music History of The Netherlands (KVNM), the oldest musicological society in the world (2009-2014). He was elected Member of the Academia Europaea in 2012.
He leads the ERC Advanced Grant-funded MALMECC project (2016-2021). From 2016 to 2019, he was project leader of the Sound Memories project, a HERA-funded consortium of research teams in the Czech Republic, Germany, Switzerland, The Netherlands, Poland, and the UK jointly investigating the role of music of the past in late medieval and early modern Europe.
Catherine Motuz (Schola Cantorum Basiliensis) - KEYNOTE (online)
Catherine Motuz enjoys an active career as a performer, teacher, and researcher. She is co-artistic director of Ensemble I Ensemble Fedeli and has played and recorded with ensembles including Concerto Palatino, the Amsterdam and Freiburg Baroque Orchestras, Bach Collegium Japan, Abendmusiken Basel, The English Cornett & Sackbut Ensemble, His Majesty’s Sagbutts & Cornetts, and ¡Sacabuche!. As a soloist, she has performed across Canada, at the Midsomer Barock Festival in Copenhagen, and in Austria and Switzerland with countertenor Alex Potter.
Catherine studied historical trombone with Charles Toet at the Schola Cantorum, Basel and with Dominique Lortie at McGill University. She has taught at McGill University, the Université de Montréal, the Royal Conservatoire of the Hague, the Royal Academy in London, and currently at the Schola Cantorum in Basel. She also teaches specialised workshops for early career musicians at LAMP in Nova Scotia, the Neuburger Sommerakademie für Alte Musik and at Alte Musik in Hof.
Catherine’s research activities focus on two related fields in Renaissance music: improvisation pedagogy and emotional expression in music. She has published on the role of memorisation in improvisation, and given workshops on improvised counterpoint at the Universities of Oxford, Birmingham, and Glasgow, the Royal Conservatory of the Hague, CESR (Tours), and at the Alamire Foundation (Leuven). In February 2021, she gave a Keynote presentation at The Hague Royal Early Music Conference: Edition 2021, Historical Music Pedagogy.
Isaac Alonso de Molina (Royal Conservatoire of The Hague) - Workshop 'Memory and Historical Improvisation Strategies'
After a wide-ranging classical music education, graduating from the Conservatory of Valencia in 2001/2002 in four majors (piano, cello, chamber music and music theory), he combined a professional career (playing in the Orchestra of Valencia and teaching improvisation at the Conservatory) with private studies on composition and conducting. Motivated by a strong interest towards Early Music he moved to The Netherlands to study at the Royal Conservatory of The Hague in 2007, where he further graduated in harpsichord with Jacques Ogg, while undertaking an independent task of comprehensive historical research and documentation on which he bases his perspective on musical praxis. He obtained the degree of Master of Music, specializing in historical conducting techniques (maestro di cappella / maestro al cembalo) under the guidance of teachers like Peter van Heyghen, Fabio Bonizzoni and Ton Koopman.
He’s founder and director of La Academia de los Nocturnos (which focuses on Spanish Renaissance and Baroque music), founding member of Cantores Sancti Gregorii (medieval and Renaissance sacred repertory), and regular collaborator of the ensembles Palma Choralis (Italy), Ars Lusitana (Portugal) and La Danserye (Spain). He also founded The Eroica Project, orchestra with which he performed Beethoven's symphonies no. 1-3 on period instruments in 2012-2013.
He teaches at the Royal Conservatory of The Hague and has also been invited to teach and lead projects in other Dutch conservatories (Amsterdam, Utrecht, Tilburg), besides several summer courses in Spain (Valencia, Morella, Pastrana) and Italy (Urbino). He uses historical teaching methods and learning strategies to allow students to acquire a similar set of skills to that expected from musicians in the past.
DAY 1 Thursday April 20, 2023
09:00 - 09:30
09:30 - 10:00
- Luk Vaes (Orpheus Instituut)
- Vera Plosila (docARTES)
10:00 - 11:00
Session 1a Cultural Memory (chair: Maya Fridman)
Majid Sarnayzadeh: Collective Sound and Gesture Memory
Stephan Meidell: Sound-Currents
11:00 - 11:30
11:30 - 12:30
Session 1b Memory in Performance (chair: Vera Plosila)
Aaron M. Frison: To What Do We Owe This Pleasure?
Arja Kastinen: Past in Present - Subconscious as the Producer of Musical Improvisation
12:30 - 14:00
14:00 - 15:00
KEYNOTE Karl Kügle (chair: Chiara Percivati): Shifting Ontologies of Sound and Sight: The Act of Reading as Envoicement, Transduction, Resonance, and Re-Materializing Memory in Pre-modern Europe and Today
15:00 - 15:30
15:30 - 16:30
Session 2 Memory in the Now (chair: Francesca Ajossa)
- Awra Tewolde-Berhan: Collective Authorship as the Remains of Altered States
- Juan Sebastian Delgado: The Tango Trilogy - Learning from playing: improvisational practices in tango music
DAY 2 Friday April 21, 2023
09:30 - 10:00
10:00 - 11:00
Session 3a Memory in Performance (chair: Harry Buckoke)
- Agustín Castilla-Ávila: Before the Silence: Memorising for the Inner Voice
- Rolf Hughes: Unspeakable Dialogues
11:00 - 11:30
11:30 - 12:30
Session 3b Cultural Memory (chair: Stijn Saveniers)
Stephen Kendall: The Sound After the Sound: Echoes in the Tower
Nicholas Cornia: Flemish Archive for Annotated Music - a Presentation
12:30 - 14:00
14:00 - 15:00
KEYNOTE Catherine Motuz: Memory and Musical Expression in the 21st century
(chair: Harry Buckoke)
15:00 - 16:00
Session 4 WORKSHOP (chair: Vera Plosila)
- Isaac Alonso de Molina: Memory and Imagination in Early Music Education
16:00 - 16:30
Sessions 5 CLOSING REMARKS
- € 60 for DAY 1 (lunch and dinner included)
- € 20 for DAY 2 (lunch included)
- € 75 for DAY 1 & 2 (lunches and dinner included)
Participation is free of charge for researchers and students affiliated with Orpheus Institute and docARTES.
Deadline: 17 April 2022
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The Orpheus Institute embraces diversity and strives to be an inclusive environment for everyone.
Enquiries should be sent to email@example.com
- Francesca Ajossa - Orpheus Instituut, LUCA Lemmens
- Harry Buckoke - Orpheus Instituut, Leiden University
- Maya Fridman - Orpheus Instituut, Antwerp University
- Adam Łukawski - Orpheus Instituut, Leiden University
- Chiara Percivati - Orpheus Instituut, Antwerp University
- Vera Plosila - Orpheus Instituut, Leiden University
- Stijn Saveniers - Orpheus Instituut, Antwerp University
- Carlos Eduardo Soares (Caeso) - Orpheus Instituut, Leiden University