The research project proposes an innovative approach for musicians/performers to overcome conceptual and methodological barriers between dance and music, developing a compositional and pedagogical methodology that integrates body and sound. Drawing on the theories of Rudolf von Laban (Choreutics) and Hartmut Rosa (Resonance), the performer’s body is conceived as a “resonance chamber” for sound, where movement is not merely a visual element but an integral component of sound perception and production. Through theoretical contributions on musical gestures (Godøy, Leman) and somatic practices such as Frey Faust’s The Axis Syllabus, the research investigates how gesture can amplify and transform sound, establishing a dynamic relationship between body, instrument, and space that is specific to each instrument. The project develops through artistic practice, workshops, and laboratories involving musicians, dancers, composers, and choreographers, with conservatory and dance school students as experimental participants. The aim is to elaborate a transdisciplinary pedagogical method for musicians/performers, capable of deepening the choreutic, eucinetic, and somatic dimensions of the body–instrument–space relationship, enhancing bodily awareness as a fundamental component of musical interpretation. From this perspective, musical composition is redefined by including movement and space as structural elements of the score, understood as an integrated system of sonic and visual resonances. Consequently, the roles of performer and author are redefined: the performer assumes a dual identity as musician and dancer, while the author integrates compositional and choreographic functions within a single creative process.
Supervisors: Ludwig Albert (Royal Conservatoire Antwerp), Nina Reviers (UAntwerp)
This research is conducted within the international doctoral programme docARTES.
Image: (c) Andrea Ranzi, Luca Finotello
Update: March 2026
