Orpheus Instituut
The focus of music research on conservation relies on a particular view of music as an essentialised object, being safeguarded against the ravages of linear time. Western music pedagogy is still dominated by institutions that view it as their mandate to conserve the canon of Western classical music. Historical musicology and performance practice research are often likened to processes in art conservation. More broadly, there is a sense that music research has been slower than other disciplines to embrace progressive analytical approaches rooted in critical theory.
However, over the last few decades, incursions from the fields of anthropology and the social sciences have opened up new fields of inquiry within music research, breaking down the subject-object dualism to engage meaningfully with, through, and in music. Artistic research (AR) offers a unique response to this challenge by repositioning musical practice not merely as an object, but as a research process in and of itself.
Some questions that have inspired us are:
Pursuing interests in opera, HIP, electronic music and stage design, Bruno Forment is the principal investigator of the ‘Resounding Libraries’ research cluster at Orpheus Instituut. He studied composition/music theory and art studies (PhD, UGent, 2007). He was a visiting BAEF and Fulbright fellow at the University of Southern California. The support of FWO-Flanders allowed him to continue his postdoctoral research on 18th-century opera and on illusionistic scenography, and more particularly on the 'Dubosq' collection, Europe's largest collection of historical stagesets, which he discovered in Kortrijk and saw recognized as Flemish top heritage. He is the author and editor of (Dis)embodying Myths in Ancient Régime Opera (Leuven UP, 2012), Theatrical Heritage: Challenges and Opportunities (Leuven UP, 2015), Zwanenzang van een illusie (KGOKK, 2016), Droomlanders: Tovenaars van het geschilderde toneeldecor (Davidsfonds, 2021), and Performing by the Book? Musical Negotiations between Text and Act (Leuven UP, 2024). He published articles in among others Cambridge Opera Journal, Eighteenth-Century Music, and Early Music, next to book chapters in among others Staging Verdi and Wagner (Brepols, 2015) and Carmen Abroad: Bizet's Opera on the Global Stage (Cambridge, 2020). His work has been awarded by the Schweizerische Musikforschende Gesellschaft, Goldberg Early Music Magazine and the Province of Western Flanders. He is on the editorial board of Eighteenth-Century Music (Cambridge UP).
Martino Gozzi is an Italian writer and translator, born in Ferrara in 1981. He has published three novels and a memoir. In 2002, he was awarded a scholarship by the Mondrian Kilroy Fund. His first novel, Una Volta Mia, was published in 2004 by peQuod. His subsequent novels, Giovani promesse (2009) and Mille volte mi ha portato sulle spalle (2013), were published by Feltrinelli.
Martino has translated a variety of works by English and American authors, including Marlon Brando, Keith Richards, and Steve Earle. Among other projects, he co-translated Life by Keith Richards, alongside Andrea Marti and Marina Petrillo (2012). He has also worked as a screenwriter and ghostwriter. Currently, he serves as the Head of Studies at Scuola Holden.
Kyoung Hwa KIM (khkim328@hanyang.ac.kr) is a Research Associate Professor at the Music Research Center at Hanyang University in Seoul. She earned her Ph.D. in Musicology from Hanyang University, focusing on the contradictory relationship between Schoenberg’s progressive style and traditional paradigm. Her research interests include 20th- and 21st-century music, modernism, avant-garde music, sound studies, and auditory culture. Since 2015, she has been participating in the Sound Studies project at Hanyang University.
Her research focuses on sound art, the performativity of listening, gendered auditory experiences, and the role of sound in public engagement. She examines the intersections of sound, space, aesthetics, and ethics, with a particular focus on acoustic environments, digital listening spaces, and sound art in public contexts. Her research critically investigates how listening operates as a performative act that shapes social and cultural meanings, challenging conventional hierarchies of sound and perception. Framing auditory experiences as social, philosophical, and sensory practices, her work bridges sound studies, musicology, and gender theory. She explores sound not only as a medium but as a site of conceptual and critical engagement, analyzing its role in artistic practice, public discourse, and contemporary auditory culture.
Jeremy Cohen’s electrifying violin performances have earned him nationwide accolades. Classically-trained and a student of Itzhak Perlman and Anne Crowden, Cohen’s eclectic style reflects his respect for a wide range of violinists from Perlman and Fritz Kreisler to Joe Venuti and Eddie South. Cohen has performed as soloist with numerous orchestras including the Virginia Symphony, the California Symphony, the Oakland East Bay Symphony, and the Reno Philharmonic. His recording credits include motion picture and television soundtracks including The Dukes of Hazzard and Jane Fonda’s Dollmaker, and as concertmaster on recordings with Linda Ronstadt, Ray Charles, Aaron Neville, Howard Keel and Cleo Laine. He appeared on Carlos Santana’s Grammy-winning CD Supernatural, Santana’s Shaman, and the original Star Wars compilation CD with John Williams. On the stage he was the solo violinist in San Francisco’s two-year production of Forever Tango and toured nationally with the Broadway production of The Best Little Whorehouse in Texas. He has toured and recorded with the Turtle Island String Quartet.
A faculty member of the Henry Mancini Institute in Los Angeles (1997 to 2006) and visiting artist at the Frost Music School, University of Miami (2015 and 2016), Cohen also taught for six years at the Stanford Jazz Workshop. Cohen publishes original works and arrangements for string players on his Violinjazz Publications imprint, many of which are accompanied by online tracks and YouTube videos.
09:30 - 10:30 Register and gather at Conference hall
10:00 - 10:15 Welcome address by convenors and Keynote speaker Martino Gozzi
10:15 - 11:00 Presentation by Keynote speaker Bruno Forment: Collapsing Presentism Through Music: The Cabinet as a Historical Experience Generator
11:00 - 12:00
12:00 - 12:15 Coffee break
12:15 - 13:30 Presentation by Keynote speaker Martino Gozzi: Storytelling in Retrospect: The Creation of the Holden School in Torino
13:30 - 14:30 Lunch break
14:30 - 15:30
15:30 - 16:00 Round Table with keynote speaker Martino Gozzi: Creative education curricula in the twenty first century
16:00 - 16:30 Coffee break
16:30 - 17:30
17:30 - 18:30 Interview and Round Table with guest speaker Jeremy Cohen
19:00 Dinner
9:30 - 10:00 Register and gather at Conference hall
10:00 - 11:00 Presentation Special Guest Speaker: Kyoung Hwa Kim: Who Gets to Speak? Decentralizing the Gendered Voice
11:00 - 11:30 Nivea Freitas - Expanding Interpretation: Context, narrative and the Performer’s Role in Reframing Western Music
11:30 - 11:45 Coffee break
11:45 - 13:00 Last Presentations, Final Discussion
13:00 End Conference
