Orpheus Research Centre in Music [ORCiM]
"From Analysis to Music" seminar
Four examples of how analysis may inform musical practice
Wed May 27, 2009 from 1.30 p.m. until 7.30 p.m.
Registration is possible through mailt:email@example.com
Fee: 10 euros
It has been argued that musical analysis can aid musicians in enhancing their artistic activity. But how can they actually employ musical analysis for composing new works and for fruitfully informing instrumental practice?
This seminar does not seek a theoretical answer which would be just one among the many already existing. It aims rather to show concrete examples of performances and compositions in whose genesis musical analysis has played an important role.
For this purpose, the Orpheus Research Centre in Music [ORCiM] has asked four outstanding musicians (two composers and two performers) to present results of their artistic activity linked to or generated from specific analytical views. By inviting musicians to reflect on their practice and to articulate their thoughts, ORCiM acknowledges them as researchers capable of creating theories, knowledge and artistic understanding as a means for artistic development.
Piano Professor Royal Conservatory of Brussels, Belgium and member of the artistic pedagogical committee of the Orpheus Institute
"Beethoven in neuer Deutung ?
An analysis of some Beethoven's sonatas in the light of Arnold Schering's literary-musical (or musical-literary?) model. Words or music... the everlasting battle of love."
Fulvio Delli Pizzi
Teaches composition, musical analysis and semiotics at the "Guiseppe Verdi" Conservatory in Milan, Italy
"Relationships between analytical and compositional work.
A process of descending from a musical idea to the sense of writing."
Performer, Fulbright Scholar at Juilliard School New York, U.S.A. now based in London, U.K.
"Performance as Analysis, Analysis as Performance.
Illustrating the mutual interdependence between performance and analysis with reference to the piano music of Brahms, Boulez, Stockhausen and Finnissy."
Teaches Analysis, Music Technology and Composition at the Royal Conservatory of Brussels, Belgium
"Composing the remembrance of an inspiration: an algorithmic approach
From the fifth movement of Beethoven's string quartet op.132 to Sinfonia 3 'Erinnerung' for (double) string quartet, ensemble and live electronics (2008)."