Een licht utopische tekst over de vernieuwing van publieke plaatsen via participatieve muziekrobots. (2024)
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Een korte tekst die de geschiedenis van in situ muziek bondig schetst.
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Van 2016 tot 2020 heb ik een blog bijgehouden over in situ muziekperformances. De tweetalige blog (NL, ENG) is ondertussen verdwenen (door updates...) maar hier vind je nog de volledige archief backup in pdf-formaat.
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Mijn webpagina met bronnenmateriaal over in-situ muziek (Engels).
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”Building in-situ instruments for the Street Sonatas #1 and #5” is een kort (Engels) artikel met bijhorende video, verschenen in het Braziliaanse tijdschrift Vortex (vol. 9, no. 2, 2021).
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”Taking Part in the World: Discourses on Music, Time, and Place in In-situ Music” is een artikel dat in 2021 gepubliceerd werd in het tijdschrift Liminalities. Dit is de korte samenvatting van het (Engelse) artikel:
Performing music in dialogue with the direct surroundings has an international, 60 year old history. Many studies on individual in-situ musicians treat in-situ music as a practice at the periphery of other arts, without attempting to find common characteristics among in-situ musics. This article aims to study in-situ music as an artistic field with its own history and body of practices and stories. This article focusses on the discourses of in-situ musicians on music, place and time. After an introduction on the methods and multiple terminologies of in-situ music, the broad historical development of in-situ music is sketched. Next, a common discourse, based on three subconcepts, is detected in interviews and documentations of in-situ musicians: the notion of the world as a physical, dynamic and diverse place, inhabited by multiple, living beings and natural forces; the concept of agency, through which places, beings and forces influence and shape each other; and finally, the collective character of an in-situ performance, which stresses the embodied presence of participants and audience at one, shared moment and place. These three subconcepts are synthesized into one notion of 'taking part in the world'. Finally, a reflection is added on the existence of many audiences, on-site and off-site, human and non-human, revealing contradictions in the discourse on the collective nature of in-situ music.
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Een interview (2020) met Erik Woltmeijer van Waterlanders, een Nederlands, multidisciplinair collectief dat voorstellingen voor specifieke gelegenheden en locaties maakt.
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Een blog tekst (juni 2020) over sensuele, wereldse kunst, een reflectie over in situ muziek geschreven na het lezen van 'The Spell of the Sensuous' van David Abram.
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”Street Music (1968) Re-visited op OORtreders 2018”, te vinden op de blog website van c-takt. Deze tekst gaat over de realisatie van Street Music van Frederic Rzewski die ik samen met Jasper Vanpaemel en het Collectief Publiek Geluid maakte voor het Oortreders festival van Musica.
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”Adding voices to the world's polyphony: the role of technology in in-situ composition”, gepubliceerd in de Proceedings van de Global Composition conference on sound, ecology and Media Culture in 2018. Het artikel wil een andere blik werpen op (geluids)technologie en die niet gebruiken om artificiële, controleerbare klankwerelden en composities te maken maar wel om in dialoog te gaan met een levende omgeving buiten de concertzaal. Dit is een korte samenvatting in het Engels:
In this paper a context is sketched to understand the role and concept of technology in in-situ composition. First, background information is given on the history and the use of the terms 'site' and 'in-situ' music. Next, technology is situated within an art work which is sensitive to the immediate surroundings. These surroundings are considered as an instantiation of the complex, diverse and dynamic physical world. In a following part, this living world is interpreted as full of human and natural agency and therefore 'performance' and 'instrument' are crucial in on-site music and its technology. Finally, recent compositions of the author are described in which a 'distributed instrument' is created, integrating sound production, supporting technology and the site into one overarching instrument.
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Het boek ”Score by Score” van kunstenares Min Oh in het Koreaans en Engels bevat een uitgebreid interview over mijn recent werk en de notatie van locatiespecifieke muziek. Dit boek is verschenen bij uitgeverij Workroom Specter.
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”Bridging the Gap: A Study of Artistic Research in Composition in Flanders”, gepubliceerd in het (open access) Journal of Urban Culture Research (2016, vol. 13). Dit is een korte samenvatting:
Dit artikel presenteert een studie van het artistiek onderzoek in compositie in Vlaanderen, meerbepaald de interactie tussen de artistieke praktijk en het onderzoek op master en doctoraal niveau. De resultaten geven aan dat er drie kloven bestaan, één tussen het discours over artistiek onderzoek en de resultaten van de artistieke onderzoekers, een tweede tussen de artistieke praktijken en het onderzoeksdeel en een derde tussen het onderzoek op master en postmaster niveau. Vervolgens doet de auteur voorstellen om deze problemen aan te pakken en de disseminatie van onderzoeksresultaten te verbeteren. Hij suggereert ook om een gemeenschappelijke onderzoeksomgeving voor compositie te creëren en het onderzoeksontwerp en methode expliciet te maken, in dialoog met bestaande kennisdomeinen binnen de studie van compositie.
Luk Vaes schreef over dit artikel ook op zijn blog over artistiek onderzoek.
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Mijn artikel ”Comparing the main compositional activities in a study of eight composers” verscheen in het tijdschrift Musicae Scientiae (2016, vol. 20, 3). Dit is een korte samenvatting in het Engels:
This article addresses the problem of comparing individual creative processes in music composition, across aesthetic visions, research concepts, data collection and analysis methods. Eight professional composers are studied in a real-world setting in search of broad compositional activities that are both common to the composers studied and that are meaningful for individual compositional processes. To compare individual creative processes, the analytic route, specifically the last analysis phases of the research process, is made as transparent as possible. The need for a synthesis phase is clarified by presenting two visual syntheses, apart from four textual synthesis themes: an ”events time line” - a general chronological account of salient compositional activities - and a ”music in progress” visualization, displaying the development of the new composition.
To apply similar criteria in the analysis of eight creative processes, an analysis framework is proposed, consisting of four main compositional activities (planning, exploring, writing and rewriting) and three attributes (productivity, level of musical abstraction and creativity). The results of the study show how the eight processes are individually characterized by a specific configuration, that is, the four main compositional activities appear in a selective presence, chronological order and hierarchy. Although no activities or strategies common to all eight composers were found, some configurations were also recognized in creative processes outside the current study. Finally, indications are discussed that general models of compositional processes and actions, such as evaluating, may be related to specific configurations of the four main activities.
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Dit is de versie van mijn doctoraat "The Creative Process in Contemporary Polyphonic Music: A Study and Reflection on the Main Activities and Processes in the Act of Composition.” Een korte samenvatting kan je hier vinden. Het oorspronkelijke ingediende doctoraat bevatte ook een CD met opnames (sommige opnames zijn live opnames en geen degelijke opnames). De CD staat hier (als een zip file met mp3 files, in totaal 154MB).
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Artikel “Cycles of Experimentation and the Creative Process of Music Composition” (in het boek Artistic Experimentation in Music: An Anthology, edited by Darla Crispin and Bob Gilmore, 231-39. Leuven: Leuven University Press, 2014)
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Artikel “Interview with Agostino Di Scipio.” (in het boek Artistic Experimentation in Music: An Anthology, edited by Darla Crispin and Bob Gilmore, 315-21. Leuven: Leuven University Press, 2014)
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Artikel “Data-Collection Methods and Reflection within a Self-Study on the Creative Process of Music Composition.” (in Knowing (by) Designing, edited by Johan Verbeke and Burak Pak, 157-64. Brussels: LUCA, Sint-Lucas School of Architecture, 2013)
In research on the creative process in music composition it has been a challenge to develop real-time data collection methods that do not disrupt this process in its natural setting, especially for composers who do not solely use the computer to compose. A two year self-study is presented in which the traceability of the creative process is enhanced by creating real-time data collection methods that are based upon the knowledge and practices of the composer. Some methods are closely related to 'administrative' practices within the creative process, others take advantage of the availability of mobile technology. Over more than one year, several compositions were made without any significant obstruction caused by these data collections methods. This self-study also functions as a reflective research project with a close interaction between research and artistic practice. Parts of the data collection methods such as the verbal accounts have now become a composition method.
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Artikel “Integrating the Exposition in Music-Composition Research.” (in The Exposition of Artistic Research: Publishing Art in Academia, edited by Michael Schwab and Henk Borgdorff, 153-64. Leiden: Leiden University Press, 2014)
In this book chapter a research mode for music-composition research is proposed where unfinished sketches are presented to a selected audience. These composed 'open sketches' focus on artistic problems and new possibilities. The creation of these sketches requires both a neutralizing distance and artistic composition skills. To investigate expressive and communicative issues seriously in music-composition research, a central role for the audience is inevitable. By having these 'open sketches' performed and by explaining the context, the artist-researcher, together with the selected audience can create an experimental space that enables close interaction between the composer's intentions, the composer's music, and the perceptions of the audience. This 'open sketch' mode has the potential to communicate in a transparent way about composition problems and its active involvement of an audience can help the researcher to distinguish between finding information and practices that are personally enriching and others that add new insights for a community of people.
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Artikel “Abunch, a Tool to Teach Live Electronics in Pre-College Music Education.” (Journal of Music, Technology and Education 5, no. 2 (October 18, 2012): 181-93)
This article proposes an outline for a live electronics course in pre-college music education, examines whether open source music software is suited to teach live electronics and finally presents Abunch, a library in Pure Data created by the author, as a solution for the potential educational disadvantages of open-source music software.