Current projects

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A disclosure and contextualization of the Brussels Saxophone School between 1867 and 1903: towards a historically informed performance practice

Bertels Kurt

The goal of this project is an in-depth artistic and theoretical research into the HIPP and the cultural- historical context of the scores for the Brussels Saxophone School, the world's first saxophone school, between 1867 and 1903.

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Exploring guitar techniques through transcriptions and creations

Bibault Pierre

The main focus of this project is the gesture in guitar music. My research, which can include regular repertoire, is more specifically articulated around the development of a new repertoire for guitar through transcriptions and creations.

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New forms of interaction between instruments and electronics

C Silva Igor

n the current arena of composing and performing mixed music specific problems have emerged inherent to the specificities of this kind of practice. Problematics such as the synchronization between performer and electronics, the complexity of digital interfaces and the need for an acoustic fusion between the two have been some of the main issues discussed among academic research in the field. In an attempt to answer this problematics, this project aims at developing new systems that will offer simple, practical and intuitive responses to the problems inherent to mixed music. To address these questions in a more informed way, a bibliographic survey will be held, as well as an extensive analysis of ten works of different composers. In order to find new answers to these questions I propose the composition of five original works, which can solve these issues or create better insights as to the process of solving them. These works will later be performed with the goal of testing the validity or enforceability of the created processes. At last, the created work aims at creating and systematizing new approaches in the compositional and performative practice, hoping to contribute to the artistic and academic development of the mixed music scenario

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Repertorio concertado para bajon hispanico en el S.XVIII

Cristobal Carles

A broad new repertoire for Bajón has come to light in the last few years: highly demanding and virtuoso music, written for an instrument thought to be in decadence in the 18th century, including the cantatas for Bajón, voice and continuo by Juan Manuel De la Puente (1692-1753). This project not only entails the study and transcription of this new material, but also the design and production (by 3D-printing) of the instrument that matches the needs of this challenging repertoire.

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The perception of reality within the documentary setting

De Keersmaecker Tim

The last four/five years I have been working on two documentary films in the context of migration, identity and integration: ‘No Man Is An Island’ and ‘Passe-Partout’. The films have been released and shown around the world.

In my practice as a documentary maker I have always been struggling with the questions: what is reality?  and what is the best possible way of representing reality?

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Joseph Jongen`s forgotten songs, an interpretation diary

Defrise Sarah

Joseph Jongen was born in 1873 and died in 1953 at age 70. He is generally considered as one of the most prominent Belgian composers after César Franck.  Particularly known for his organ and chamber music works, he also composed more than fifty art songs.

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Under the spotlight of observation

Dimitriou Chrissy

A performance is maybe the only art-form that emerges directly from the dimension of passing time. Probably this is the source of a performance’s potential: it is made out of burnt moments and whatever remains belongs solely to memory. Like a sculptor who chisels a sculpture with clay, the performer chisels an interpretation with passing time-moments.
What happens when we observe a performance?
 

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Improving saxophone performance by incorporating recent discoveries in positive science into artistic performance

Dries Koen

While continuously making an effort to improve performance quality, performing musicians don’t cease to challenge their own physical and artistic possibilities.

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The Spanish guitar music represented by the “Generation of 1927”

Efstathopoulos Yiannis

My research will focus on a systematic exploration of guitar compositions produced by Spanish composers belonging for aesthetical choices and style to the “Generation of 27”. One of the main, long-term goals of my research will then be the dissemination of its results through the publication and recording of these works.

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The impact and specificity of social-artistic work.

Geers Jan

What is the impact of social-artistic work or community art?  Community art is most of the time small-scale and less visible in the field of the arts. Working with sociallly vulnerable participants is very specific and the outcome is most of the time not an ordinary work of art that can be sold. It is not prestigious.  But this kind of art does have a big influence on the lives of the participants.

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The Peace Treaty

Gielens Ruud
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One player. The pianist as hybrid instrumentalist.

Ginsburgh Stephane

The aim of this practise-based research is to enhance understanding of performance practice of works engaging a new conception of the pianist performer within the field of new music supported by (1) investigating the creative motivations behind composers making such work; and (2) analysing the compositions themselves. The findings from each of these areas will be assimilated to form a broader picture. The research will engage existing compositions that reflect these issues and a series of newly commissioned works in order to follow the live creative process step by step.

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Interdisciplinary Body

Goryainova Ira

Artistic research in the field of (interdisciplinary) audiovisual arts. The focus of this research is corporeality: the body, its audiovisual representation and the relation between both, as well as the status of it according to a documentarian or fictional approach.

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Flesh and wood: exploring body, time and space in guitar performance.

Isolani Luca

The tacit or even embodied knowledge is a knowledge we experience trough our own body even though in our mind this is not clearly represented.
The tacit knowledge triangle (body-mind-experience) leads to a full rethinking of the instrumental practice opening up the Space – the sphere of action of the player – and the Time – the hic et nunc –  of the guitar performance.
How to develop the “implicit or tacit” knowledge? Further on: how to explore it? How to express it?

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Generation and manipulation of microtonal pitch material in symbiosis with other composition techniques and styles.

Klinkenberg Christian

Since the 1900s, more and more composers started to liberate themselves from the imposed limitations of the twelve-tone equal temperament, reinforced and established by piano as the dominant musical instrument since the seventeenth century. Their liberation, however, have often led to the trap of the ideological use of one specific tone-system throughout their whole life. In my PhD project, I argue for a free microtonal approach by using various sorts of microtonal concepts and techniques. 

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Symbols, words, sound illustrations and meanings in the music of Debussy, Wolf and Scriabin

Konieczny Tomasz

My aim is to find a way of performing musical pieces that would allow to present the music within its intellectual and aesthetic context. Sessions of music, arts, and talks on aesthetics would serve better than the traditional concert practice to create meaningful aesthetic experiences, and to preserve the richness of European tradition.

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Hotel Europa

Kuyl Ivo
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Composing and performing with Emotion,the investigation and recontextualization of late romantic emotion inducing parameters and techniques into contemporary artistic practice

Lamouris Philippe

The word "emotion" in the field of art and especially in music presents us with a paradox. On the one hand, the word is widely avoided, on the other hand omnipresent. It is clear that emotion is consistently present in musical performance.  There are two essential participants in the field of classical music: the musician and the listener. My aim is to bring these two groups closer together by trying to understand the listener's emotional reaction to music and by giving the artists the tools to trigger, control and manipulate these emotional reactions. 

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Building bridges

Le Compte Korneel

As a musician, one is always a researcher. In so-called classical music or in any other style, the musician cannot escape the "research" aspect.

Over the years I wandered from my original infatuation with pop and rock into the world of Classical music. Moving on from electric guitars and basses to the double bass seemed natural enough, and pretty soon I became a professional bass player in opera, symphony, solo and chamber music. Later on, curiosity led me to the discovery of fascinating gut-string bass instruments such as the different types of baroque Violone and the Viennese Bass, with their tunings in thirds and fourths. Studying Ancient Music was one of the most important decisions in my life as a musician. It fundamentally challenged and changed my way of playing and thinking.

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Historically Informed Practice

Madeuf Jean-François

The purpose of my PhD-project is an artistically and theoretically in-depth research of the natural trumpet: its playing techniques and style, historical context, literature and repertoire.
My research is not only based on historical research but, as a musician, I will also judge whether the given information in the historical treatises (or other sources) is valuable for the technique of the instrument and for the interpretation.

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Voices of resistance

Surjan Kinshuk

In India, the 300 million of us who belong to the new, post-IMF “reforms” middle class— the market—live side by side with spirits of the nether world, the poltergeists of dead rivers, dry wells, bald mountains and denuded forests; the ghosts of 2,50,000 debt-ridden farmers who have killed themselves, and of the 800 million who have been impoverished and dispossessed to make way for us. And who survive on less than twenty rupees (0.25 Euro) a day” - Arundhati roy.

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The impact of processing archaic musical elements from the living Eastern European folk music on the engagement of the listener when composing contemporary art music.

Timmermans Linde

Despite the value of contemporary art music it is believed that this is known and valued by too few people (Examining the Composer-Audience Gap in Contemporary Music. Lillehaug). By contrast, today's popular music, the worlds of the media, advertising and politics are highly successful in realising this connection with the audience. Given the social importance of art music (On the social uses and Social Control of Music. Brown & Volgsten), it seems worthwhile to investigate how composers might bridge the gulf with the audience, without lapsing into triviality.

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George Enescu and Romanian pianism: a practical guide for the performance of the piano solo Suites and Sonatas

Timofticiuc Monica

George Enescu (1881-1955) is considered one of the most prominent figures of twentieth-century Romanian music. This research is the first specific and comprehensive study of Gerge Enescu’s Suites and Sonatas for piano solo, which will investigate central aspects of performance issues of the above mentioned works.

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Bow techniques for guitar playing: arrangements of contemporary works for cello, violin and viola played on the classical guitar

Tosidis Kostas

The repertory of the guitar is poor in comparison to other string instruments and, relatedly, enjoys few prominent composers who compose for it. This research will explore the possibilities of playing arrangements of contemporary pieces for cello, violin and viola on the guitar without losing the music’s intention or style. Hence, it will not only extend guitar repertory into new and exciting territories, but will also test the technical possibilities of the instrument.

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[IN]VISIBLE: Towards an Artistic Performance Strategy for Computer Musicians

Van Esser Benjamin

With this research project I aim to demonstrate that the computer musician is indeed an artistic performer, maintaining a similar degree of artistry comparable to that of acoustic instrumentalists.

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The Film Director as Archivist

Van Goethem Peter

The Film Director as Archivist, a doctoral project in the arts, investigates with the aid of existing archive material the relationship between factual and artistic representations of history. At the root of the study is the collection of archive film about Brussels held by Cinematek, the Royal Belgian Film Archive. I have used that archive material in my artistic research in a variety of ways.

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In Search of the Early Seventeenth Century flautino: Repertoire, Instruments and Performance Practice

Van Heyghen Peter

The working title of my doctoral research project reads In Search of the Early Seventeenth Century  flautino: Repertoire, Instruments and Performance Practice

Museums and private collections around the world house a wealth of extant historical recorders which can safely be dated to the sixteenth, the late seventeenth and the early eighteenth centuries. In sharp contrast, no such instruments stemming from the  rst part of the seventeenth seem to have survived. For the performance of the often highly enticing Italian canzoni and sonate by composers of the Monteverdi era which were being rediscovered and added to the recorder repertoire since the late 1960s, recorder players have been using instrument sizes and types derived from earlier, later and non-Italian originals up till today.

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Properties and development of the classical saxophone tone within multiple traditions and in historical context

Van Zoelen Andreas

This project aims to present the wide variety of colourful capabilities that Adolphe Sax has given us in his saxophone.

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Ultrasound of the Other - cinematographic and intersubjective imaging of “the martyr”

Vermeulen Ellen

Ultrasound of the Other - cinematographic and intersubjective imaging of "the martyr" is an artistic research project (PhD in the Arts) that questions the relationship between the director and the Other in intersubjective documentary, with the focus on the Other as so called "bad guy". The field of tension that comes into existance, because the director tries to translate the point of view of the incomprehensible subject, is the wasteland for this investigation. The foundation of the cell promoting the controlled (de)radicalisation makes the topic transmissible: this research will be marked by the empathy for and the rationalization of the motives of the protagonist.

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Otaku futurism/animated life

Volckaert Didier

I’m an Artist / filmmaker and otaku. Otaku is a Japanese term for people with obsessive interests, commonly Anime, Manga and Japanese pop/sub-culture. It has been compared with mental sickness: ‘They’ say we’re perverted by imagery and moe, we lack basic social skills, empathy, even self-awareness.

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“The history of the pig -within us-” Manual for documentary makers.

Vromman Jan

I am writing a 'manual for documentary makers'. This is challenging, it would mean that there are methods, advices, rules for the 'good' documentary. It goes without saying that the manual is rather a book full of questions and concerns. An attempt to approach the documentary in a holistic way. The documentary: 'The history of the pig (within us)' is included in the handbook as a 'case'; and is analogous to the handbook in the sense that also in the documentary a holistic approach is at issue. Both handbook and documentary are greedy, broadly based and contemplative.

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The psycho-acoustical aspects of marimba playing

Zhang Xi

The continuing evolution from traditional to modern marimba performance has ushered with it myriad challenges to the current generation of marimba players. In today's climate, modern marimba performers are dealing with a much greater palette of articulations. One uniting issue among marimba performers: the core nature of a marimba is that it acts as an idiophone, and this leads every marimba player to the question of where to find space for the expression of all the musical elements and articulations needed to convey their musical intentions.

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