Analogy and the Erotics of Interpretation is a practice-based doctoral research project that aims to investigate how analogy and metaphor function as transformative artistic tools in interpreting 19th-century piano music. The project is rooted in my practice as a classical concert pianist, yet my approach is intentionally experimental and nomadic. Through this research, I aim to challenge established interpretative traditions within my field ...
This project aims to create a multifaceted database for researching, studying, and performing medieval and Renaissance music (up to the year 1600) in the Low Countries. IDEM intends to create a unique instrument for the preservation, study, and valorisation of the Low Countries’ cultural heritage, including both sources presently kept in the Low Countries, and sources held abroad but directly related to the region. The database will integrate ...
Music is present in every culture in the world. We as a species seem to have an urge to make music. While the diversity of music cultures around the world is phenomenal, they do seem to have patterns in common. Especially for pitch, one of the fundamental building blocks of music, there are strong reasons to believe that there are commonalities amongst cultures on how pitch is organised A better insight in these common patterns may help to ...
At the beginning of nineteenth century the art of arrangement lives his Golden Age: at a time which does not yet have the technical means of sound reproduction, the publication of transcriptions of symphonies, concertos and operas makes it possible to hear or to evoke in the salon music that was intended for public concerts or theatres. The rediscovery of this practice is the main goal of this research project. ...
At the beginning of nineteenth century the art of arrangement lives his Golden Age: at a time which does not yet have the technical means of sound reproduction, the publication of transcriptions of symphonies, concertos and operas makes it possible to hear or to evoke in the salon music that was intended for public concerts or theatres. The rediscovery of this practice is the main goal of this research project. ...
Musical works are virtual entities. They are made of material and immaterial constitutive parts. On the one hand, they are conglomerates of highly distributed material objects such as scores, manuscripts, sketches, annotated copies, different versions, transcriptions, performances, and recordings. On the other, they are sustained by immaterial qualities such as musical and economic value, aesthetic judgment, performative and musicological ...
At the beginning of the nineteenth century the phenomenon of the arrangement was endemic. As attested to by musical editors’ catalogues of the time, repertoire of all kinds was regularly readapted and rewritten for all sort of instruments. Modern musicology has interpreted this practice as the nineteenth-century equivalent of modern “downloading”: a system of dissemination of the public concert’s repertoire in the domestic setting at a ...