Developing new methods for performing improvised music

Which role did improvisation play in 19th-century music making?

How can historically-informed performers step outside the confines of the work-concept?

Improvisers in experimental music do not record their music in a conventional score, but in ever-changing 'tactile pathways'. This is the proposition put forward by researcher Christopher Williams. PhD defence 13 December.

How can working with musical materials of the past influence and help shape an extemporaneous practice at the piano?

How are notation and improvisation interfaced in contemporary and experimental music?

Tactile Paths is an artistic research project that aims to expand and articulate the feedback between notation and improvisation in experimental music.

How to further develop and enrich one's own improvisation and composition skills and techniques, and to develop a framework to continually expand one's own performance repertoire.

How can we enhance inspiration in metric modal improvisation and subsequently, in modal composition?

Prof. dr. Marcel Cobussen has published a free e-pub: The Field of Musical Improvisation.

Why does the textural gap between the music that one can improvise and that which one can practice and learn to play (as in completely written-out music) seem to be bigger in the case of the guitar than, for example, in that of keyboard instruments?

This thesis focuses on the concepts of freedo and fixity as two central topics of my artistic research. I present, analyze. and contextualize four of my works which have explicit links to fleedom and fixify and which demonstrate the dynamic interrelationship between the two.

Arts and leisure

Today’s performances of medieval polyphony have a lot in common with those of other ‘classical’ or ‘early’ music. Ensembles perform pieces written by known or lesser known composers, which the listener can revisit by listening to recordings or reading a score.

Microbial rhodopsins are photosensitive pigments implemented in the growth and adaptation of a large population of microorganisms.

Arts and Culture, ARC session

Composer, bass player and ACPA alumnus Ilya Ziblat Shay presented a paper at the Music Weekend and Midlands New Music Symposium, organised by Nottingham Forum for Artistic Research.

Knowledge and culture subproject 1: "Music Cognition" of Leiden University Centre for Linguistics

Launched in 2017, The Importance and Power of Music in Our Society is an open online course, taught by Professor of Auditory Culture Marcel Cobussen and music philosopher Hafez Ismaïli M’hamdi and accessible to anyone with an internet connection.

What are the critical elements in sonic materialization of fixed media electroacoustic music and how can these parameters be classified? How would interpretation be defined in performing fixed media music? What are the creative and new ways of presenting fixed media music by incorporating all the presentation…

docARTES is a doctoral programme for performers and composers. It offers a unique environment for critical reflection on musical practice.

Based on recent scientific insights and both historical and recent music examples, the author develops a concept of 'intercorporeality' that sheds new light on the relationship between music performers, composers and music consumers.

In this on-line dissertation, jazz saxophonist Dick de Graaf investigates a variety of compositional and improvisational models and techniques in contemporary jazz and Western art music, and discusses possible applications of these materials in current jazz practices.

Recently, four books have been published which contain a chapter by ACPA senior researcher, lecturer and PhD-supervisor Dr. Marcel Cobussen.

Between 1600 and 1800 countless manuals appeared on the subject: the improvised bass part on the harpsichord, pianoforte or organ. Musician and researcher Kathryn Cok unravels the secrets of the Dutch basso continuo accompaniment for modern-day musicians.

How do we experience electronic music? How does electronic music operate on perceptual, cognitive and affective levels? What are the common concepts activated in the listener’s mind when listening to electronic music? Why and how are these concepts activated?

From The Cognitive Continuum of Electronic Music: "The use of the electronic medium to compose music entails a variety of cognitive idiosyncrasies experienced by both the artist and the audience."

The results of this research project demonstrate the generous contribution that the Dutch Republic has made to the genre of basso continuo, including a survey of twenty-six Dutch sources from the 17th and 18th centuries.

On 20 December 2013, the Netherlands Organisation for Scientific Research (NWO) announced that 37 teachers will be conducting doctoral research funded by a Doctoral Scholarship. Using this scholarship, teachers are enabled, in addition to their educational activities, to conduct research leading to…

The music studio is a multipurpose room measuring 9.4 x 8.9 m, with marmoleum on the floor and 40 chairs. Music system and piano available. Cost of rental studios: Students*: € 10,- per uur Employees UL: € 20,- per hour Others: € 30,- per uur (a daypart of 4 hours zost € 95, a daypart of 8 hours…

My research takes the artistic use of the devices that bring sound waves into electricity and back as its central focus point; they are commonly called microphones and loudspeakers. These devices have become essential for many forms of music making.

The Leiden Academic Course Center offers a large variety of short and longer music courses. The music category includes various Singing courses, but also courses such as African percussion and Musical Workshop. A number of courses are offered at different levels. At the end of the course it is possible…

This thesis investigated how microphones and loudspeakers could become musical instruments.

Music as a multi-faceted and integral part of our society.

How can musical interactions impact neural and behavioral processes? Can we isolate aspects of musical interactions that are crucial to the effectiveness of music-based health interventions? Can specific patient groups be identified for whom music-based interventions are most likely to be effectiv…

Can children’s physical play events be considered as improvisational dance? And if so, what are the shared underlying structures and characteristics?

How can classical music be restructured while still retaining the core of what we love about its repertoire and our ability to share it with audiences, while coming up with ways of making it financially viable.

Arts and leisure , Arts and leisure

Interpretation and Composition Outside the Work Concept

The aim of this research is to define the relationship between sources of articulation for different kinds of instrument in the period between the beginning of XVI century (first extant indications) and the end of XVIII century.

This research project proposes multiple paths towards the development of a performance practice in computer music. It starts with the author’s transition from traditional instrumentalist to electronic musician, assessing the roles of composer, performer and instrument builder as integrated in computer…

From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular…

This thesis proposes multiple paths towards the development of a performance practice in Computer Music.

Composer Paul Craenen (1972) is actually a pianist, but as part of his PhD ceremony, he performed a composition on PVC pipes. Craenen studies the position and role of the body in music. ‘I am interested in what precedes the resulting sound’.

ACPA Professor of Auditory Culture and Music Philosophy Marcel Cobussen will give a lecture at the Gaudeamus Academy Workshop Weekend. The GMW Academy is a prelude to the contemporary music festival Gaudeamus Muziekweek, taking place from 7 to 11 september in diverse venues within the center of Utr…

How is it possible to play a song that is part of the rituals of other people? How to transpose an idea to the stage while maintaining respect for indigenous communities? Are these performances a way of throwing light on these indigenous communities looking for a strategy of decolonization? How is it…

What are the precise identities, possibilities and current practice examples of the various time frames in music and what bearings do they have individually and in combinations on the speed of the music?

Promotor: C.J. ten Cate