Your search for keyword 'composition' returned 18 results in 'Projects'.
As a fluid development form my concept of compositional practice as the either conscious or subconscious reuse and re-processing of pre-existing materials, and so from the idea that all new music is necessarily embedded with the historical, I propose a new historical mode for Early Music wherein curation, editing, and performance are identified as fundamentally creative activities. I propose the application of poststructural philosophy and contemporary historical theory by Michel Foucault, Hayden White, Roland Barthes, Keith Jenkins, and other to the practice of Early Music. My objective is both to shed the Romanticist and Modernist aesthetics and theory inherent in recent research and performance of music written before 1800 and to suggest a new aesthetic and theory where history operates outside of empiricism and narrativity.
Cathy van Eck
Cathy van Eck's research takes the artistic use of the devices that bring sound waves into electricity and back as its central focus point; they are commonly called microphones and loudspeakers. These devices have become essential for many forms of music making. Through the same pair of loudspeakers, people listen to diverse music and sound, such as violin sonatas, rock songs or simply the latest news. Accordingly, microphones and loudspeakers are often designed to remain transparent; that is, "inaudible" in the final sound result.
The focus of the research lies in the approach of reducing, denying, or taking away essential elements of music making in order to let the musician become theatrical.
At a time where repertoire from different ages and places is readily accesible, the perception of heritage and tradition has been deeply transformed. Aesthetic choices and orientations are strongly related to themes such as the relationship with the past, cultural heritage, and narratives related to both collective and individual memory.