docARTES is a doctoral programme for performers and composers. It offers a unique environment for critical reflection on musical practice.
The ingenious designs of Leonardo da Vinci, the influence of mathematics on the compositions of Bach and Stockhausen, the aesthetic conceptual frameworks of Expressionism - all these are outstanding examples of research in the creative or performing arts, of synergy between art and science. In their research, artists can create remarkable links between different disciplines. The research they do is possible only because they are artists. Conversely, they develop their artistry through their research. Their work is invaluable to our information society, which is partly sustained by art.
We all know that art and music historians do research on the creative and performing arts. Research in the arts, however, has never been promoted by Flemish or Dutch art schools or universities. For centuries, students have been receiving PhDs in literature, religion or philosophy. But not in the creative or performing arts. DocARTES offers an international inter-university doctoral programme for practice-based research in musical arts. The docARTES curriculum is run at Orpheus Institute in Ghent, together with Flemish and Dutch partner institutes since January 2004.
Artists that receive doctorates in the creative and performing arts earn their titles through a combination of artistic achievement and theoretical reflection. They must produce artistic work of the highest level, including concerts, performances, master classes or other events. Their research findings must be reported in their thesis, which they defend in public.
More than just stimulating and facilitating artist-researchers, docARTES provides a 4-year doctoral curriculum, consisting of research and training. It allows doctoral students to develop their artistic qualities, broaden their academic knowledge and expand their methodological skills. This curriculum is supplemented by individual research supervision. docARTES is also integrated in a professional artistic research biotope, preparing doctoral fellows for a professional career as artistic researcher.
The docARTES curriculum is run at Orpheus Institute in Ghent, together with Flemish and Dutch partner institutes since January 2004.
Connection with other research
- The amorphous 6-string
- The analytical- reconstructive process of the reduced orchestral works in France from the post-Lully generation (1687-1744)
- Between oral and written tradition- Reconstructing 'lost' singing practices of Quattrocento Italy
- Thinking through the guitar : the sound-cell-texture chain
- Between air and electricity: microphones and loudspeakers as musical instruments
- Frans Preumayr's nineteenth century virtuosic bassoon repertoire
- Thresholds of the audible
- Shifting identities : the musician as theatrical performer
- Composed performers: the music-performing body from a compositional perspective
- Giovanni Girolamo Kapsperger (ca. 1581 – 1651): Betrachtungen zu seinem Leben und Umfeld, seiner Vokalmusik und seinem praktischen Material zum Basso continuo-Spiel
- Reconstructing Nineteenth Century Improvisational Practice at the Piano
- What late medieval chant manuscripts do to a present-day performer of plainchant
- Scorescapes: on sound, environment and sonic consciousness
- Extended piano techniques: in theory, history and performance practice
- Bárbara Varassi Pega - Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann
- Giovanni Punto (1746-1803), Cor Basse Virtuoso
- UNACCOMPANIED IMPROVISATION - The Multi-textural Nature of the Guitar
- ARCHITECTURES OF SPEED - reinventing the tools, functions and potentials of speed within rhythmical frames in music
- The confrontation between voice and electronics
- THE PRONUNCIATION OF MUSIC - A matter of expression
- ENHANCING INSPIRATION Metric/Rhythmic modal improvisation as a tool for composition in contemporary modal music
- THE 8' AND 16' VIOLONE IN J. S. BACH'S MUSIC
- Reinventing the Stroh violin
- Romanticizing Brahms: Early Recordings and the Reconstruction of Brahmsian Identity
- Multiple paths. Towards a performance practice in computer music
- Harmonic duality: from interval ratios and pitch distance to spectra and sensory dissonance
- The cognitive continuum of electronic music
- Crossing boundaries in improvised music
- Printed Keyboard Intabulations of Secular Vocal Works and Dances in 16th-century Italy
- Keyboards Unite
- STRUCTURAL AND EXPRESSIVE FUNCTIONS OF FLEXIBLE TREATMENT OF MUSICAL TIME, IN THE PERFORMANCE OF 19TH CENTURY MUSIC
- Transcription and the role of memory in contemporary music
- Laborinth II: denken als experiment: 472 'meditaties' over de noodzaak van het creatief denken en experimenteren in het uitvoeren van complexe muziek van 1962 tot heden
- Dolce Napoli: approaches for performance - Recorders for the Neapolitan Baroque repertoire, 1695-1759
- Basso continuo sources from the Dutch Republic c. 1620-c. 1790
- The relationship between gesture, affect and rhythmic freedom in the performance of French tragic opera from Lully to Rameau
- PERFORMING THE PRESENT Improvisation and Composition in Solo Oud Performance
- Knowledge and creation in historical performance practice- Inextricable partners in the tacit dimension
- Case study Käte van Tricht (1909-1996)
- In search of a politesse du chant - Rediscovering salon vocal performance practice through the lens of the airs sérieux in the Recueils d’airs serieux et à boire de differents autheurs, 1695-1699
- Playing-techniques of the Italian 18th century salterio