Your search for keyword 'composition' returned 20 results in 'Projects'.
The composer as a co-creator of bridges between society and contemporary music: A matter of dialogue?
The source and target domain of this research project is situated at the crossroads of composition, performance and education. The idea of this investigation is to develop field research on the social projects I'm engaged in both in Brazil and in Belgium. I intend to perform, on a long-term basis, a series of compositions for the various ensembles present in these projects. The interaction with these contexts will help me to delve into the three key aspects of this research: my development as a composer by engaging in these different social projects, the impact my composition could have on students' perception and musical development, and finally how this process can help to build a bridge of communication between composer and the majority of society. Would it come precisely from the underprivileged strata of society, the answer to the current state of indifference of most people in society to contemporary music?
Michele Del Prete
My research focusses on site-specific compositional and performance practices of music for organ and electronics and their musical-spatial values. I will compose and perform as electronic performer music for organs and electronics particularly focusing on instruments of the Renaissance-Baroque Dutch and North German/Hanseatic School. The compositional output will consist of tape music based on recorded organ sounds, works for organ and live electronics and works for sound environments of multiple organs and electronics. On the occasion of this research I will investigate the relation between organ and electroacoustic music clarifying which are the explicit and implicit references of electroacoustic practices to much older models, outlining an understanding of electronics as contingent, essentially non-reproducible post-digital practice.
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.