The AEC European Platform for Artistic Research in Music (EPARM) Conference 2017 took place at the Royal Conservatoire in Antwerp from 20th to 22nd April under the title “Staging Research: from the laboratory to the stage and back again”.
The EPARM preparatory Working group is in charge of organizing the AEC Annual EPARM meeting (Forum and Conference). The Working Group is formed by coopting active individuals in the relevant field of specialization within AEC member institutions. Proactivity, as well as geographical and gender balances are the applied criteria to guarantee the diverse and dynamic character of the group, who should ideally recreate the diversity of AEC members institutions.
Working Group Members:
Peter Dejans – Chair (Orpheus Institute Ghent)
Leonella Grasso Caprioli (Conservatorio di Vicenza)
Kevin Voets (Artesis Plantijn Hogeschool Antwerpen – Royal Conservatoire)
Henrik Frisk (Royal College of Music Stockholm)
Mirjam Boggasch (Musikhochschule Karlsruhe)
Ulf Baestlein (KUG Graz)
AEC European Platform for Artistic Research in Music
EPARM Conference 2017
20-22 April, Antwerp
Staging Research: from the laboratory to the stage and back again
Music production found itself increasingly rooted in research activities long before artistic research emerged in higher music education in a formalised fashion. Especially since the second half of the twentieth century not only the development and production of new music, but equally the rediscovery, redesigning and staging of ancient music, was increasingly characterised by experimentation, interdisciplinary collaboration, source research, the application, exploration and use of new technologies and other typical research endeavours. Research innovations embedded in music production led, inter alia, to the development of historically informed performance practice and the emerging of highly specialised laboratories for the creation of contemporary art music in for instance Paris, The Hague and Liège.
In this regard, the introduction of formalised artistic research and its implementation in higher music education is a logical and necessary evolution, following up on trends and novel demands in the wake of the development of professional music performance and production. This conference edition aims at formatting a current state of affairs of the relation between artistic research performed at the academia and the implications on the field of music production, and vice versa.
An in depth look at the various existing and possible interactions between the “laboratory” and the “stage” can be approached via a variety of questions regarding the opportunities, confines and challenges of the relationship:
- How can research be presented on stage and how can research be influenced by the process of bringing it to the stage?
- How can research activities relate to artistic production?
- Do artistic criteria change when bringing artistic research to the stage?
Furthermore, the demand for performing research with relevance to society (either specialised and/or at large) is kindred to the relation between professional production and the audience. Questions may arise like:
- What are the possible interfaces to research for an audience, and how can the audience be invited to “take part”, or “read”, the research presented on stage? How can we allow the audience to listen to the research?
- How can an audience be allowed access to the laboratory of artistic research? Would there be an advantage for such an open laboratory?
In conclusion comparisons between general and more specific research processes on one hand and the modi operandi of artistic production on the other can prove to be enlightening, regarding questions as:
- How can the threefold relationship between research-practice-production interactively develop in a research process that involves a staging of results?
- An important aspect of research is the transformation of results into new research questions. How can a performance of research on stage give rise to new research questions? How can such a staging participate in the development of novel concert formats? Given its interdisciplinary nature, what other fields of research may be useful in the attempt to explore onstage research?
- What are or could be the different functions of research in artistic productions within music institutions (like opera houses, ensembles, orchestras, recording companies, concert halls etc.)?
EPARM 2017 will present cases in which there is a manifest relation between artistic research and music production – in particular examples where such a relation is not only present but is properly documented and shared as good practice.
European Platform for Artistic Research in Music EPARM Conference
20th -22nd April 2017
Royal Conservatoire Antwerp, Belgium
Staging Research: from the laboratory to the stage and back again
Thursday, 20th April
13:30 – REGISTRATION opens at Niveau Witte Zaal
Informal Networking – Coffee available
14:00 – 14:45 Guided Tour of deSingel & Royal Conservatoire Antwerp
Start: Grand Café
By Antwerpen Averechts
15.00 – 15.45 Opening Event – Witte Zaal
Musical Introduction
Official Welcome by:
Stefaan De Ruyck, Head of the Royal Conservatoire Antwerp
Stefan Gies, CEO of the AEC
Peter Dejans, EPARM Chair
Kevin Voets, Royal Conservatoire Antwerp
16.00 – 17.15 Performance Revelations – deSingel Theaterstudio
17.15 – 17.30 Short break with a drink – Witte Foyer (White Foyer )
17.30 – 18.30 Plenary Session I – First Keynote – Witte Zaal
Keynote Speech by Chaya Czernowin, composer, Harvard University
Interviewed by Luc Joosten, dramaturgist
18.30 – 20.00 Reception (drink and sandwiches) – Topstudio
Friday 21st April
09.30 – 10.00 Informal Networking with Refreshments – Witte Foyer
10.00 – 11.15 Plenary Session II – Second Keynote – Witte Zaal
Musical Introduction
Presentation on the performance Revelations – Second Keynote
PARALLEL SESSIONS I – II – III
Witte Zaal (White Hall) – A
11.30 – 12.00 Parallel Session I A – Staging the stages: Research as a musical journey, Charulata Mani, Queensland Conservatorium of Music, Griffith University, Brisbane, Australia
12.00 – 12.30 Informal Networking with Refreshments (Witte Foyer)
12.30 – 13.00 Parallel Session II A – Schubert Revisited, Frank Havroy and Gunnar Flagstad, Norwegian Academy of Music, Oslo, Norway
13.00 – 13.30 Parallel Session III A – The Role of the Trans-spectator in De(s)Figuration. Mal Fünf – Participatory Art and the Politics of Spectatorship, Laurentiu Beldean, Transilvania University, Brasov, Romania
Gele Zaal (Yellow Hall) – B
11.30 – 12.00 Parallel Sessions I B – Music in Disorder: Counterplay, Complexity and Collective Improvisation, Klas Nevrin, Royal College of Music, Stockholm, Sweden
12.00 – 12.30 Informal Networking with Refreshments (Witte Foyer)
12.30 – 13.00 Parallel Sessions II B – Empathic Creativity: A self-reflexive approach to post-free jazz composition, Andrew Bain, Birmingham Conservatoire, UK
13.00 – 13.30 Parallel Sessions III B – Musical Dialogues Decoded: Multi-Modal Methodologies in Improvisation Research, Sebastian Trump, Nuremberg University of Music, Germany
Blauwe Foyer (Blue Foyer) – C
11.30 – 12.00 Parallel Sessions I C – Performance Practice of Electroacoustic Music: A Practice-Based Exchange between Musicology and Performance, Toro Perez and Lucas Bennet, Zurich University of the Arts, Switzerland
12.00 – 12.30 Informal Networking with Refreshments (Witte Foyer)
12.30 – 13.30 Parallel Sessions II C – Medializing Artistic Research in Afghanistan, Markus Schlaffke, Bauhaus University, Weimar, Germany
13.30 – 15.00 Lunch, Witte Foyer
15.00 – 15.45 Plenary Session III “New developments at European Level” by Georg Schulz – Witte Zaal
Plenary Discussion on the AEC White Paper on AR bibliography
The AEC database for student’s projects on artistic research in music
The Florence Principles on the Doctorate in the Arts by ELIA
PARALLEL SESSIONS IV – V – VI
Witte Zaal – A
16.00 – 16.30 Parallel Sessions IV A – Documenting and disseminating my Doppelgänger: Reflections on the “staging” of an improvised, interactive performance in both live and online contexts, Stephen Emmerson, Queensland Conservatorium Griffith University, Brisbane, Australia
16.30 – 17.00 Informal Networking with Refreshments (Witte Foyer)
17.00 – 17.30 Parallel Sessions V A – Ethics, aesthetics, and audiences: Navigating music production and artistic research in operatic context, Geoffroy Colson, The University of Sydney, Australia
17.30 – 18.00 Parallel Sessions VI A – The existence of artistic research in music production, Adilia Yip, Royal Conservatoire Antwerp, Belgium
Gele Zaal – B
16.00 – 16.30 Parallel Sessions IV B – All the world’s a stage: artistic research and site-specific composition, Hans Roels, Royal Conservatoire Antwerp, Belgium
16.30 – 17.00 Informal Networking with Refreshments (Witte Foyer)
17.00 – 17.30 Parallel Sessions V B – Musical gestures in performance: a creative space in music making, Kerstin Frodin, Luleå University of Technology, Piteå, Sweden
17.30 – 18.00 Parallel Sessions VI B- A Personal Investigation into the Effects of the Study and Experience of Acting on Musical Performance, Karin Schaupp, Queensland Conservatorium, Griffith University, Brisbane, Australia
Blauwe Foyer – C
16.00 – 16.30 Parallel Sessions IV C – Context of Music, Knut Olaf Sunde, Norwegian Academy of Music, Oslo, Norway
16.30 – 17.00 Informal Networking with Refreshments (Witte Foyer)
17.00 – 17.30 Parallel Sessions V C – The Researching Performer, Marina Chiche, Musikhochschule Trossingen, Germany
17.30 – 18.00 Parallel Sessions VI C – Between word and music: Gibberish, Shaya Feldman, Orpheus Institute Gent and Leiden University, Belgium/The Netherlands
18.30 – 19.15 Guided tour of deSingel
Start: Grand Café
By Antwerpen Averechts
20.15 Dinner Grand Café deSingel
Saturday, 22nd April
9.00 – 9.30 Informal Networking with Refreshments – Witte Foyer
9.30 – 10.30 Plenary Session IV – Third Keynote – Witte Zaal
Lecture performance on the music of Paolo Litta (1871-1931)
Q & A
10.30 – 11.15 Flash Information Forum – Witte Zaal
11.15 – 11.45 Informal Networking with Refreshments – Witte Foyer
PARALLEL SESSIONS VII – VIII
Witte Zaal
11.45 – 12.15 Parallel Sessions VII A – A sound tasting – Including the audience in research for new music instruments, Tim Duerinck, Gent University, Belgium
12.30 – 13.00 Parallel Sessions VIII A – Preparing cycles as a creative strategy, Sarah Callis and Daniel-Ben Pienaar, Royal Academy of Music, London, UK
Gele Zaal
11.45 – 12.15 Parallel Sessions VII B – Room for Interpretation: Musical Tempo and Room Acoustics, Sverker Jullander and Peter Sundkvist, Luleå University of Technology, Piteå, Sweden
12.30 – 13.00 Parallel Sessions VIII B – Songs of the Forest – research, performance, book and workshops, Magda Pucci, Leiden University, The Netherlands
Blauwe Foyer
11.45 – 12.15 Parallel Sessions VII C – Artistic Research as a demonstration of an Ecology of Practices: the Creative Laboratory of CORPoREAL, Kathleen Coessens, Royal Conservatoire Antwerp, Belgium
12.30 – 13.00 Parallel Sessions VIII C – Vexations: La Serie, Adriano Castaldini, Conservatorio di Musica “G. Tartini”, Trieste, Italy
13.00 – 13.30 Closing Session, Witte Zaal
Please fill in your Participant questionnaire
News from the AEC
Closing remarks
by Eirik Birkeland, AEC President
13.30 Free Lunch arrangements
Documents
General
Final Reader EPARM 2017 Antwerp.pdf
Charulatha Mani Presentation.pdf
PDF Programme EPARM 2017 Antwerp.pdf
Travel Information Antwerp EPARM 2017
Practical information
Hotel Information EPARM Antwerp 2017
Room Reservation FORM Crowne Plaza Hotel
Room Reservation Form Ramada Plaza Hotel
