Projecten

Shared Leadership in New Opera Creation

Taum Karni

In traditional opera creation, roles are strictly defined: the composer and librettist create the performance “text” - the score and libretto - usually prior to the gathering of the performing forces. The composer and librettist are the primary creators, with the greatest degree of artistic freedom.  The stage director and the design team have some creative liberty, while relying on the given text dictated by the primary creators. The conductor and the rest of the musicians are interpreters, their roles usually strictly defined, with limited creative freedom. However, in new opera creation, the roles of creator, interpreter and performer are often significantly more loosely defined.  In my research, I shall explore the ways in which a group of artists collaborate to create a new work, and compile a suggested working method for a co-created opera production, with a focus on different types of shared leadership.  

An artistic research on the implementation of the free-bass system on accordion within jazz (-related) music

Rik Cornelissen

The list of accordionists working within of close related to the field of jazz music and improvisation isn’t long. Also, the development of the instrument and repertoire is still in progress and have had an impressive spurt in the last 70 years, although the research literature is limited and related to jazz even absent. The lack of using the highly developed free-bass system within jazz music, and seeing the harmonic and melodic potential of this invention, became my motivation for this research. 

Arte de Contrapunto

Vicente Parrilla

My artistic research aims to revive the Renaissance practice of improvised counterpoint. My basis will be a close study of ms. Paris, BnF, Esp. 219, a treatise allegedly written by Vicente Lusitano. I will examine and learn the numerous contrapuntal techniques of this source, with the goal of incorporating them into my performances as refined historical skills.

Research rooted in practice will help me to present my artistic output on CD recordings featuring improvised counterpoint. Ultimately, I will be able to bring the results of my research onto the postmodern concert stage at the highest possible artistic level.

Basso Continuo Sources from the Dutch Republic c.1620-c.1790

Kathryn Cok

Basso continuo in zijn meest elementaire vorm kan in de periode c.1600 - c.1800 worden beschouwd als een strikte realisatie van de harmonische structuur van een muziekstuk door middel van improvisatie.