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- Antwerp University
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Winnie Huang is a Chinese-Australian violinist currently based between Belgium and France. An active performer of new music, Winnie is a founding member and solo violinist of Paris based new music ensemble soundinitiative.
Winnie works with young and established composers, such as Bernhard Lang, Alexander Schubert, Jessie Marino, Mauro Lanza, Georges Aperghis, Raphael Cendo, and Joanna Bailie among others. She continuously performs with leading contemporary ensembles such as Ensemble Linea (France), United Instruments of Lucilin (Luxembourg), and Argonaut (Australia), frequenting festivals such as Ars Musica, Manifeste, Klang Festival, Festival Royaumont, Bludenzer Tage zeitgemäßer Musik, Lucerne Festival, Internationale Ferienkurse für Neue Musik in Darmstadt, Ruhrtriennale, and BIFEM, among others.
An engaging teacher, Winnie has consistently taught in France and Australia and has guest tutored at many major institutions of education, including The Raffles Institution and Nanyang Academy of Fine Arts (Singapore), and The Buchmann-Mehta School of Music at Tel Aviv University (Israel) among others.
Winnie’s strong interest in the performance of music and movement is explored in her post-graduate research in the genre of musical gestural pieces and awareness in physical performance, and through collaborating with composers, developing and commissioning highly gestural contemporary works.
Investigating the role of the performer in musical-gestural pieces
On the international stage, we are seeing an increasing presence and growing phenomenon of musical-gestural pieces. Musical-gestural pieces feature prominently physical elements for visual aesthetics, explicitly notated by the composer. Notated as musical scores, performed by highly trained musicians, the role of the musical-gestural performer is one that spans multiple disciplines, between music and movement, and requires a multifaceted and highly skilled interpreter with specific capabilities. The rise of this genre, demands investigation from the point of view of the performer providing insight for future artists and academics in this field.
My doctoral trajectory will investigate the collaborative process in musical-gestural pieces. I will develop a performance practice allowing understanding of the skills required, with a focus on notational and practice problematics, and the physical embodiment of the pieces during the process. Research in the genre of musical-gestural pieces will be completed through artistic collaborations with composers in this field, through analysis and examination of the process, and through public performances. Necessary understanding of this phenomenon will create informed composers and performers, and allow the artistic community the unique opportunity to better comprehend this genre, generating broader interest in new musical-gestural works.