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Orpheus Doctoral Conference 2021

Emergence/y. A sound difference

Wednesday, October 6

Times correspond to Central European Time (CET)

Morning session 1 (11:00–13:00 h)

  • 11:00 h: Welcome, introduction
  • 11:30 h: Keynote address by Agostino Di Scipio
    • The Emergence of Emergence (soundwise, musicwise, and beyond)

This talk overviews the author’s engagement with “emergence” in the dynamics of creative musical and sound-art practices. Leaning on notions of neo-cybernetics and related constructivist epistemological views, it will briefly describe audible emergent phenomena (“synchronic”, “diachronic”, and “transversal” emergence, as well as on “upward” and “downward causation”) as phenomena of relevance in music-theoretical discourse in general and for creative musical practices in particular. The author calls for a novel view of the dialectics (or Aufhebung) peculiar to the process of artistic labor: in fact, while it might often be true that “the whole is MORE than the sum of the component parts”, creative praxis also reveals that “the whole is just as often LESS than the single component parts” (in an edgardmorinean manner of saying). Composition becomes critical practice (and thus functions as a trigger of change in the larger social and cultural context) when it turns emergency situations (crisis) into the emergence of change (creation).

  • 12:30 h: Questions

Afternoon session 1 (14:00–16:00 h)
Three 40' presentations by guest speakers (20' + 20' questions/discussion)

  • 14:00 h: Presentation 1. Guest speaker: Cathy Van Eck (Hochschule der Künste Bern)
    • Amplifying what I hear—on technical and compositional amplification
  • 14:40 h: Presentation 2: Ricardo Thomasi (University of São Paulo (USP))
    • Operationalizing feedback-loop in Ecos Studies: Strategies for Performing Audible Ecosystems
  • 15:20 h: Presentation 3: Lucia D’Errico (University Mozarteum Salzburg)
    • Rhopophony (performance/presentation)
      • 16:00 h: 30' pause

Afternoon session 2 (16:30–19:00 h)
Three 40' presentations (20' + 20' questions/discussion) by guest speakers, focused on historical improvisation

  • 16:30 h: Presentation 4. Guest speaker: Niels Berentsen (Haute école de musique de Genève)
    • The Adjacent Consonance Principle. A medieval rule of the octave?
  • 17:10 h: Presentation 5. Guest speaker: David Mesquita (Schola Cantorum Basiliensis)
    • Improvised Counterpoint in Spain around 1700
  • 17:50 h: Presentation 6. Guest speakers: Catherine Motuz (Schola Cantorum Basiliensis) & Josué Meléndez (HFM Trossingen & HfMDK Frankfurt)
    • Intersections of Counterpoint and Diminution Pedagogy
  • 18:30 h: Group discussion on the historical improvisation presentations
    • 19:00 h: end

Thursday, October 7

Times correspond to Central European Time (CET)

Morning session 2 (10:00–13:00 h)
Four 40' presentations (20' + 20' questions/discussion)

  • 10:00 h: Presentation 7: Masafumi Oda (Tokyo International Thought-Art Cross (TITAC))
    • Music Composition from the Outside of Music by using Game Engine
  • 10:40 h: Presentation 8: Daniele Pozzi (Doctoral School for Artistic Research, University of Music and Performing Arts, Graz)
    • Composing (with) Emergence
      • 11:20 h: 20' pause
  • 11:40 h: Presentation 9: Katrina Toner (University of Cambridge)
    • How can a feminist approach to aesthetic philosophy present new compositional possibilities?
  • 12:20 h: Presentation 10: Dougal “Henry” McPherson (University of Huddersfield)
    • Sounding-Moving Emergence in Transdisciplinary Free Improvisation
      • 13:00 h: pause

Afternoon session 3 (14:30–18:15 h)

  • 14:30 h: Breakout session 1
  • 15:00 h: Breakout session 2
  • 15:30 h: Wrap-up
    • 16:00 h: 30' pause
  • 16:30 h: Presentation 11: Carlo Siega (‘Anton Bruckner’ Privatuniversität)
    • The 'Composing Performer’. Creative approaches and re-interpretation practice after the premiere
  • 17:10 h: Presentation 12: Luc Döbereiner & David Pirrò
    • Emergence in Contingency and Synchronization
      • 17:50 h: Conclusion