Redefining the Conductor’s Role in New Music Ensembles
Artistic and Socioeconomic Motivations for Employing Conductor in New Music Ensembles Specialized in Performing Integrated Concerts
conducted by Thomas R. Moore between 2018 and 2022 at the Royal Conservatoire Antwerp (AP Hogeschool) and the University of Antwerp (ARIA), within the research groups CREATIE and UP
Promotors: Koen Kessels (Conservatoire) and Pascal Gielen (UAntwerp)
| PROGRAMME SATURDAY 19 FEBRUARY | |
| 10:00 - 13:00 |
PHD DEFENCE |
| 21:00 - 22:00 |
CONCERT 'HANDS ON (HANDS OFF)' |
"Over the last seven decades, the role of the conductor has evolved in new music ensembles that perform integrated concerts. It was problematized by John Cage; doubled (or split) by Charles Ives, Karlheinz Stockhausen, and Mark Applebaum; manipulated by Thierry De Mey, Simon Steen-Andersen, and Stefan Prins; instrumentalized by Alexander Schubert, Alexander Khubeev, Michael Maierhof, and Pieter Matthynssens; and deployed tactically by Serge Verstockt, Jessie Marino, and Carl Rosman. For these composers and artistic directors and others in their genre, the presence of the conductor is no secondary phenomenon of the music, by an affirmative and active choice to deploy one to meet specific artistic and/or socioeconomic needs. The systematic study of this relatively new and developing situation allowed me to find tools and methods for forming the required piece-specific performance practices with the aim of better functioning as a tactical and curated conductor."
-- Thomas R. Moore
→ Link to Thomas Moore's thesis
(photo by Wannes Cré)