This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.
The Orpheus Institute docARTES programme invites artists, composers, performers and all artistic researchers to participate in its 2019 doctoral conference, where we will engage in reflections on the tangible interdependences between music-makers and their tools. We invite participants from a wide range of disciplines – those that concern new and old instruments, as well as those in the field of musical automaton and their expressive use – in order to bring together multiple perspectives, and cover an extended range of artistic experiences: from historically informed performance to contemporary and electroacoustic music creation.
The one-day conference opens with a concert, which welcomes both artistic presentations and scholarly papers, giving special attention to practice-based research.
“Music, Humans and Machines” Orpheus Doctoral Conference, aims to offer the possibility to get a better understanding and to widen the perspectives about the complex relationship between musicians and their instruments, especially pertinent in this moment where human expressivity is entangled in inanimate “machines”. Although the disciplines may be diverse, the conference will focus on the interplay between artistic vision and its mechanical realisation, and through addressing this common thread, new and transdisciplinary ideas may arise.
- Fari Bradley (London College of Communication - LCC, University of the Arts - UAL, London) and Nic Collins (School of the Art Institute of Chicago)
The Democracy of Noise – Calling for a Resistance to the Present
- Nicholas Cook (University of Cambridge)
Materiality, cognitive extension and the virtual in musical creation
18:00 - keynote speakers: Fari Bradley + Nic Collins
20:00 - public concert, Orpheus Institute Concert Hall
10:00 - 16:00 - Paper presentations
16:00 - Keynote speaker: Nicholas Cook
- Aart Strootman — MA MM MM
- Viola Yip — Lazy Studies
- Johan Svensson, Karin Hellqvist — Marionette
- Stephane Ginsburgh — Piano Hero #1 by Stefan Prins
- Bjarni Gunnarsson — Translation, traces and intervention
- Liz Allbee, Hannes Hoelzl, Alberto de Campo — Aether Ore
- Yuet Ka Hui — Clavichord: Haydn’s Thinking-Fantasy-Machine
- Matteo Gemolo — ‘Affects’ & ‘effects’ in the post-modernist repertoire for period instruments: the case of the Traverso
- Elizabeth Dobbin — The mechanics of the voice: ornamentation as a tool for affective performance Jean-Antoine Bérard’s instruction-manual for the larynx
- Michael Boyle — Touching the Score at the End of the Pen. On the Responsibility of the Tools of Composition for Musical Works
- Heppy Longworth — (Dis)embodied Voices: Ontologies of Voice in the Age of Sound Recording
- Chiara Percivati — Different Tubes: The Prepared Clarinet Project
- Kristine Healy — Overcoming the instrument: Vocality in the discourse of instrumental music performance
- Dana Papachristou — Soundscapes and soundscape compositions according to Gilles Deleuze et Félix Guattari
docARTES PhD students started in 2017:
- Prach Boondiskulchok
- Daniela Fantechi
- Marco Fusi
- Marie Guilleray
- Goran Krivokapic
- João Rival