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Experiments are More Refreshing than New socks

Mon17

December 2018

The first edition of 'Experiments are More Refreshing than New Socks' presents a promising line-up of researchers within the performance scene. Interactivity and collaboration are key.

PROGRAMME

10h: welcome

10h10: Vitja Pauwels, Casper Van De Velde, Hendrik Lasure / Artificial Extensions of Acoustics in Music Practice 
lecture-performance
They explore the additions, consequences and impact that electronics generate for acoustic instruments, with as a starting point the idea that the studio situation shifts more and more towards the stage, the live situation. For this festival each of the researchers performs a short solo in which they explore the possibilities of their self-developed electronic extensions (respectively for guitar, piano and drums).

10h45 Winnie Huang / The Beat and The Body 
workshop
Our bodies are instruments that can mold and shape space and time. To express emotions and deliver intention within constructed and limited time. Moving without dancing, music without pitch. With a nod towards Laban Movement Analysis, Noh theatre, Mauricio Kagel, Gerhard Stäbler and musical-gestural works, this 1 hour experience will be a brainstorm, collaborative compositional workshop leading into a moving musical-gestural creation, developed and performed during CREATIE-festival. 

12h: Liselotte Sels / EMRUZ | Iradj Sahbai
lecture-performance
Iradj Sahbai (1945) is a French-Iranian composer and conductor who studied in Tehran, Strasburg and Paris (where he followed the teaching of Olivier Messiaen and won the composition prize). In this session, students and researchers of the Royal Conservatoire Antwerp present recent solo and chamber works of his, paired with an earlier composition (Belgian premieres) and new harpsichord music by Iranian composers.

12.30 break (Witte Foyer)

14u Umut Eldem / Synaesthesia and Sound-Colour Associations as An Interdisciplinary Metaphor
lecture-performance
The idea that synaesthesia might have something in common with how we pair different senses together pushed Umut to experiment on how to apply it to the creative process. In this presentation we will be looking at several composers with synaesthesia, his experiments, and what the relationship between the senses, colours, and sound mean for our aesthetic perception of music. The presentation will be followed by a performance of Umut's work "Prelude", for Electronics, Narrator, and Light.

15u Marco Fusi / Animated notation and audio scores: exploring alternative communication systems and performance results. 
workshop with Irene Vilanova Domínguez, Farinha Sara Fernandes de Carvalho, Melanie Gruwez
Italian composer Giacinto Scelsi creative process was unconventional and radically new in its approach to music creation. The workshop will present different possible depictions of Scelsian original recordings. The participants will be required to perform animated video scores, that feature unorthodox ways of representing sounds (such as shapes, lights, movements), and to consider audio material as a “score” to be reproduced. Engaging with these unusual representations of sonic phenomena, the performers will be forced outside of their comfort-zone, and their artistic and creative input will have a major impact on the final sonic result.

16u Hans Roels / Catch Air
performance
Two performers use a large tube with microphones to catch the wind and local air currents on top of high buildings and other elevations. Ruben Orio and Hans Roels will demonstrate the instrument on the roof of deSingel. Next, Hans will elaborate on the design and detail how it was attuned to the site and the musicians' ensemble during a preparatory experimentation phase.

17u Daniela Fantechi and Schallfeld Ensemble / Schallfeld Ensemble presents “Sistema di prossimità”
Sistema di prossimità has been written within the project “Composing with piezo”. Piezoelectric microphones transduce sound energy directly transmitted by the vibrating surface of the instrument where they are placed, changing considerably its original sound quality. In Sistema di prossimità they are used not only to amplify the instruments, but also to play different idiomatic gestures — such as glissando, tapping, scraping —  introducing a new palette of sounds. The instrumental sound matter becomes less predictable, bringing new questions within the compositional process.

18u Ine Vanoeveren / Tomorrow’s music in practice today: a practical guide towards deciphering contemporary music
book launch 
This book is a handbook for students in order to give them independency and autonomy in deciphering and performing contemporary music. The complex and new way of notating music can be overwhelming at first, but with these tips and tricks, students will develop new skills quickly, and improve as an independent contemporary performer. The book covers profound rhythmical challenges, the incorporation of a color code, a comprehensive explanation of extended techniques, a basic electronic survival guide, Contemporary Informed Performance Practice tricks and tips on how to practice new music. 

18u30 reception (in Witte Foyer)

 

PRACTICAL

Monday 17.12.2018
10:00 - 18u30
Gele zaal (Yellow hall), Royal Conservatoire Antwerp (Desguinlei 25, 2018 Antwerp)
Free event! 
 


 

Location