PROGRAMME
9:30 - 10:00: Arrival with coffee/tea
10:00-10:15: Welcome and introductions
10:15-11:15: SESSION 1: POLYPHONY
Arturo Moscoso: From Manchicourt to Victoria: Shifting Aesthetics in Sixteenth-Century Sacred Music
This presentation examines two polyphonic settings of the Kyrie—one by Pierre de Manchicourt and the other by Tomás Luis de Victoria—based on the same cantus firmus. Despite sharing text, melodic material, and compositional procedures, the works reveal strikingly different aesthetic worlds. Their juxtaposition will serve as a lens through which to explore broader shifts in sacred musical aesthetics surrounding the Council of Trent and the emergence of a new Catholic artistic orthodoxy.Nicholas Cornia: Accademia degli Incompresi: A Daring Archive on the Verge Between Speculation and Fact
The Italian Academies in the 16th and 17th centuries were fundamental cultural spaces of resistance, transgression and experimentation for generations of like-minded intellectuals and artists. This group of men and women created a utopian republic of letters where controversial and heterodox ideas could freely circulate. While the concept of a fictional academy is not novel, the Accademia degli Incompresi pushes it further, transcending the physical boundaries of space and time, fiction and fact, in order to advocate for the daring poems of this speculative intellectual network through imaginary polyphony that never was— but perhaps ought to have.
11:15-11:30 short break
11:30-12:30 SESSION 2
Nicolas Kummert: RAMEAU(x): Improvising new branches of Jean-Philippe Rameau’s music
RAMEAU(x) investigates how Jean-Philippe Rameau’s harpsichord music can be reactivated through improvisation and real-time electronic transformation. Using saxophone, voice, and electronics, the project approaches historical repertoire as a living resource, exploring how its musical ideas can continue to evolve through contemporary performance practices, improvisation, and new sonic environments.Alastair Matthews: Sound thinking? Exploring the performance/analysis relationship through historical recording imitation
This lecture-recital examines how experimenting with analysis through the prism of historical recording imitation may offer new creative performance opportunities and a new, practice-centred framing of the analysis/performance relationship. Alastair Matthews bases his experimental approach on imitations of Hofmann’s recording of Chopin’s Nocturne op.48 no.1 and Paderewski’s recording of Schubert’s Impromptu op.142 no.2, interacting with analyses of these pieces before and after close recording imitation. He then applies these tools much more freely to an exploration of an analysis of Chopin op.37 no.1.
12:30-13:30 Lunch
13:30-15:00 Project Early Music
Short presentations
Casa Saga, B.O.X. Baroque, Pieter Theuns, Charlotte Schoeters
Project UP - Performance in Practice and EMuLA
Postdoc 'Beyond the Myth of Abscence: Towards a Practice-Based Grammar for Pluriversal Experimental Music by Kobe Van Cauwenberghe
Doctoral research 'The Book of Giants: The Author as Curator between Divine and Artifical Agency' by Eli Elise Hoopman
Discussion
15:00-15:15 Coffee and tea
15:15-16:00 Session candidates / end for the other participants