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.

Sound & Score brings together music expertise from prominent international researchers and performers exploring the intimate relations between sound, score and notation, and the artistic possibilities that this relationship yields for performers, composers and listeners.

His instrument, his technique, his music and his life

In this dissertation the author digs into the constituent elements of River Plate tango in order to decode how specific musical materials were organized and combined by four outstanding musicians: Pugliese, Salgán, Piazzolla and Beytelmann.

In this research project the constituent elements of River Plate tango are investigated in order to decode how specific musical materials were organized and combined by four outstanding musicians: Osvaldo Pugliese, Horacio Salgán, Astor Piazzolla and Gustavo Beytelmann.

This dissertation derives from the development of tools for algorithmic composition which extract pitch materials from sound signals, analyzing them according to their timbral and harmonic properties, putting them into motion through diverse rhythmic and textural procedures.

This research derives from the development of tools for algorithmic composition which extract pitch materials from sound signals, analyzing them according to their timbral and harmonic properties, putting them into motion through diverse rhythmic and textural procedures.

Worlds of sound is important for everyone who is interested in listening to music of the 20th century or for anyone involved in studying or performing contemporary music. The central question is how to interpret music in case the performer is not willing to depend on personal taste or conventions.

Playing the piano with your forearm, plucking the strings, sawing through the piano: pianist Luk Vaes's doctoral dissertation covers all the techniques of play for which a piano is NOT designed. His defence ceremony will consist of three concerts and a public defence. 'Musicians were using the interior…

So-called

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’.

Interpretation and Composition Outside the Work Concept

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."

Understanding the nature, characteristics and function of the secular vocal intabulations and dances found in Italian printed keyboard sources in the 16th century

The present study aims to establish and develop guidelines for effective use of the classical guitar’s scoring potential.

Although the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. Where orchestral instruments have a long history of scoring guides that help composers develop their craft, the number of studies dedicated to guitar…

The links between gesture affect and rhythmic freedom in the performance of the tragédie en musique are explored in a number of videos.

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.

The ideas in this thesis pay tribute to the French post-structuralist philosophers Jean François Lyotard, Jacques Derrida and Gilles Deleuze & Félix Guattari. In the terms of Deleuze they are rhizomatic structures of ideas that speak about the foundation on which the interpretation of a complex, ‘unheard’…

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?

In September, the eighth issue of the Journal of Sonic Studies will be online, dealing with sounds and/from outer space.

Apart from his activities as coordinator of the Academy of Creative and Performing Arts, Rogier Schneemann is co-founder, guitarist and composer of the Dutch-Italian group Azure Hiptronics, originally formed in 2006.

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

In our culture, vocal harmonics fuction as independent musical elements since only a few decades. Thresholds of the audible explores the changing relationship between singers, listeners and harmonics.

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

This dissertation explores various perspectives on the term immersion, and its relation with, and transformation through, a composer’s practice.

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…

In our culture, vocal harmonics function as independent musical elements since only a few decades. Thresholds of the audible explores the changing relationship between singers, listeners and harmonics.

Frans Preumayr's nineteenth century virtuosic bassoon repertoire - An approach with a fine Grenser & Wiesner bassoon from Dresden: Issues of material and technique

This thesis examined two previously neglected topics, Baroque Italian recorders and the Neapolitan Baroque repertoire for the recorder, and then combined both aspects.

Anna Scott is a Canadian pianist-researcher interested in using the early twentieth century recordings of the Brahms circle of pianists to question persistent gaps between the loci of knowledge, ethics, and act in both modern mainstream and historically-informed performances of Brahms’s late piano w…

This PhD project examined two previously neglected topics, Baroque Italian recorders and the Neapolitan Baroque repertoire for the recorder, and then combined both aspects.

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

This research project seeks to problematize understandings of Brahms's identity: by investigating the origins and vestiges of the aesthetic ideology of control; by analysing and copying the recordings of pianists in the composer's inner circle; and by applying these pianists' styles in ways that are…

This book is witness to Hendrik Vanden Abeele’s research into the development, construction and creation of a present-day performance practice of late medieval plainchant, based partly on his work with the Belgian chant group Psallentes.

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.

Baroque flautist Jed Wentz followed two years of dancing classes in order to develop the right feeling for the gestures required for the Baroque French opera genre ‘tragédie en musique’. In his dissertation, the links between gesture affect and rhythmic freedom in the performance of the tragédie en…

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

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

The thesis presents a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all genres being still mostly neglected from musicologists and performers.

This research project aims to investigate the development, construction and creation of a present-day performance practice of late medieval plainchant, based partly on his work with the Belgian chant group Psallentes.

The research projects takes a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all genres being still mostly neglected from musicologists and performers.

The focus of the research lies in the approach of reducing, denying, or taking away essential elements of music making in order to let the musician become theatrical.

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.