Luk Vaes
Orpheus Institute, DocARTES, Faculty Member
- Koninklijk Conservatorium, Music, Department MemberOrpheus Institute, Orpheus Research Centre in Music, Department MemberUniversiteit Leiden, Academy of Arts, Alumnusadd
- Music, Research Methodology, Performing Arts, Performance Studies, Performance Art, Performativity, and 36 morePerformance As Research, Artistic Research, Pianists and Piano Literature, Piano Pedagogy, Organ And Historical Keyboards (E.G., Harpsichord), Keyboard Instruments, Experimental Music, Performance Practice (Music), Artistic Research of Music, Music Performance Evaluation, Extended techniques in music, Instrumental Theatre, Piano, John Cage, Piano performance and repertoire, Classical piano music, Cluster, Piano Music, Piano Performance, Piano Technique, Henry Cowell, Untraditional Piano Playing, Uncoinventional Piano Playing, Improper Piano Playing, Piano Extended Techniques, Glissando, Prepared Piano, Musicology, Contemporary Music, Improvisation, Creativity studies, Listening (Music), J S Bach, J.S. Bach, Musical Analysis, and John Zornedit
- Luk Vaes is an artistic reseacher / pianist.
Specific research interests: anything to do with piano performance of composed music.edit
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Contrary to this compositional interest in ‘extended techniques’, and the resulting tradition and... more
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Contrary to this compositional interest in ‘extended techniques’, and the resulting tradition and repertoire, the education of the skills necessary to transmit this interest to audiences has been lacking severely. Considering the multitude of extended techniques, and the size of the relevant professional repertoire, the training of these skills should not be postponed until the student is already at the conservatoire.
In collaboration with composer Hans Cafmeyer, the “peyotl” project was set up at the Orpheus Institute, and comprised the development of new music through artistic research, in order to provide teachers at the pre-conservatoire level with the means to approach extended techniques within the traditional piano playing curriculum. While catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, as well as to the technological constraints of the instrument, the methodology includes collaborative composition and classroom- and peer-testing (involving children and teachers). In 2017, a first volume of pieces has been issued. Now, a second volume is ready, with 11 new pieces for a more advanced level.
This lecture-recital will give an overview of the issues, and the ways they have been determined as well as resolved, in the second volume, with live performance of key pieces.
In collaboration with composer Hans Cafmeyer, the “peyotl” project was set up at the Orpheus Institute, and comprised the development of new music through artistic research, in order to provide teachers at the pre-conservatoire level with the means to approach extended techniques within the traditional piano playing curriculum. While catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, as well as to the technological constraints of the instrument, the methodology includes collaborative composition and classroom- and peer-testing (involving children and teachers). In 2017, a first volume of pieces has been issued. Now, a second volume is ready, with 11 new pieces for a more advanced level.
This lecture-recital will give an overview of the issues, and the ways they have been determined as well as resolved, in the second volume, with live performance of key pieces.
Research Interests:
Taking inspiration from the previous presentations about Cage's Imaginary Landscape 5 and Kagel's performance practice idiosyncrasies, a merger of some of the aspects under discussion will be tested live in a participatory environment.... more
Taking inspiration from the previous presentations about Cage's Imaginary Landscape 5 and Kagel's performance practice idiosyncrasies, a merger of some of the aspects under discussion will be tested live in a participatory environment.
Introducing the "HIP Mixer" as an instrument for devising historically informed performances on the basis of flexible or even multiple historical entry-points, a way out of some of the cul-de-sacs that typify HIP recreations of music from the second half of the 20th century is experimented with.
Introducing the "HIP Mixer" as an instrument for devising historically informed performances on the basis of flexible or even multiple historical entry-points, a way out of some of the cul-de-sacs that typify HIP recreations of music from the second half of the 20th century is experimented with.
Research Interests:
Most of John Cage's tape pieces are "indeterminate of their performance", and can be "made" by others on the basis of some type of score that Cage provided. One of Cage's stories is about how his earliest tape piece - Imaginary Landscape... more
Most of John Cage's tape pieces are "indeterminate of their performance", and can be "made" by others on the basis of some type of score that Cage provided. One of Cage's stories is about how his earliest tape piece - Imaginary Landscape 5 - was produced in the studio in just 18 hours. Tudor brings further nuance: "The score was actually performed in the studio. ... It was done live in the studio."
This has been accepted without questioning, but does it always make sense from a performer's perspective? Besides putting the piece in the wider framework of Cage’s performer-oriented compositional activities, an analysis of the score will be shown to reveal some interesting conundrums in both the direction of whether live production would have been possible and of why some aspects of the score seem indeed to have taken into account the performability of the work.
Finally, introducing a live performance by the Orpheus Experimental Music Consort during the conference concert, this presentation will also report on some of the results of trying to perform Imaginary Landscape 5.
This has been accepted without questioning, but does it always make sense from a performer's perspective? Besides putting the piece in the wider framework of Cage’s performer-oriented compositional activities, an analysis of the score will be shown to reveal some interesting conundrums in both the direction of whether live production would have been possible and of why some aspects of the score seem indeed to have taken into account the performability of the work.
Finally, introducing a live performance by the Orpheus Experimental Music Consort during the conference concert, this presentation will also report on some of the results of trying to perform Imaginary Landscape 5.
Research Interests:
During his entire career as a musician, Mauricio Kagel was as much a performer as he was the composer that we mostly think of. His conducting of music composed by others was limited to, roughly, the transition from a Buenos Aires beginner... more
During his entire career as a musician, Mauricio Kagel was as much a performer as he was the composer that we mostly think of. His conducting of music composed by others was limited to, roughly, the transition from a Buenos Aires beginner to the first decade of becoming a new German immigrant, but it didn't take long for his performance urges to become a fixture in the dissemination of his own compositional output. Besides conducting his ensemble pieces, he played in his own Kölner Ensemble für Neue Musik, performed some of his solo works, devised his own interpretations of his compositions in different media, etc.
This presentation will look at how Kagel performed his own music, what this reveals of how he saw the borderlines of interpretative freedom, and, consequently, how this may affect our understanding of his notational prescriptions. Materials include case studies of his own performances of different types of his own compositions, as well as more circumstantial evidence.
This presentation will look at how Kagel performed his own music, what this reveals of how he saw the borderlines of interpretative freedom, and, consequently, how this may affect our understanding of his notational prescriptions. Materials include case studies of his own performances of different types of his own compositions, as well as more circumstantial evidence.
Research Interests:
In the beginning was the performer, can logically be argued, but when thinking of a performer who also composes, most often we turn this relationship on its head and call that musician a “composer-performer”. Nevertheless, though much of... more
In the beginning was the performer, can logically be argued, but when thinking of a performer who also composes, most often we turn this relationship on its head and call that musician a “composer-performer”. Nevertheless, though much of the classical music history has long been aware of this double identity, and despite the research possibilities in this realm engendered by developments in audio and video recording technology and software for analysing their outputs, this field has attracted little more than incidental academic attention. Performer-composers in particular from the post-WWII generation, a particularly diverse range of personalities including Boulez, Stockhausen, Brown, Tudor, Rzewski, Finnissy, Holliger, Globokar, and many others, have been neglected.
Beyond simple notions of idiomatic writing, or of the ethics involved in judging composers as professional performers, questions abound as to how exactly composition and performance interrelate when expressed “in one”. Anton Webern’s own historically conditioned performance practice has revealed how shallow stylistic assumptions can be when based on the score alone, and how performance aesthetics are not necessarily synchronous with compositional advances. Can we extrapolate and extend such findings when evaluating music that is more experimentally composed, including that aimed perhaps at pushing the boundaries of stage practices, possibly in more than one discipline? Can we discern particular characteristics in composers’ approaches to interpretation, including sensibilities they bring to the process of interpreting the works of others? Might or should performers feel bound by the composer’s own performance(s)?
This conference seeks to investigate the creative duality of the one-wo/man performer-composer from the perspectives of artistic research, performance studies, and historical musicology, focussing on the second half of the 20th century, and looking for a variety of interests:
- traces of composers' own performance practice in their compositions
- influences of compositional training or improvisational practices in the performance of composers’ own music or that of others
- aspects of ownership in performance (liberties, elucidation of intentions)
- performance techniques (not limited to piano or conducting, nor to solo performance) and approaches (e.g. haptic vs. architectural), as well as repertoire (composed by the performer or by others)
- theatricals (instrumental theatre, directing,...)
- genre (experimental, new-complexity, electronic, film music,...)
- context (institutions and industries)
keynote speakers: You Nakai, Ian Pace, Kristin Nordeval
Beyond simple notions of idiomatic writing, or of the ethics involved in judging composers as professional performers, questions abound as to how exactly composition and performance interrelate when expressed “in one”. Anton Webern’s own historically conditioned performance practice has revealed how shallow stylistic assumptions can be when based on the score alone, and how performance aesthetics are not necessarily synchronous with compositional advances. Can we extrapolate and extend such findings when evaluating music that is more experimentally composed, including that aimed perhaps at pushing the boundaries of stage practices, possibly in more than one discipline? Can we discern particular characteristics in composers’ approaches to interpretation, including sensibilities they bring to the process of interpreting the works of others? Might or should performers feel bound by the composer’s own performance(s)?
This conference seeks to investigate the creative duality of the one-wo/man performer-composer from the perspectives of artistic research, performance studies, and historical musicology, focussing on the second half of the 20th century, and looking for a variety of interests:
- traces of composers' own performance practice in their compositions
- influences of compositional training or improvisational practices in the performance of composers’ own music or that of others
- aspects of ownership in performance (liberties, elucidation of intentions)
- performance techniques (not limited to piano or conducting, nor to solo performance) and approaches (e.g. haptic vs. architectural), as well as repertoire (composed by the performer or by others)
- theatricals (instrumental theatre, directing,...)
- genre (experimental, new-complexity, electronic, film music,...)
- context (institutions and industries)
keynote speakers: You Nakai, Ian Pace, Kristin Nordeval
Research Interests:
For the 32nd ANPPOM conference in Natal (Brazil), on October 20, 2022
Research Interests:
For the 32nd ANPPOM conference in N?atal (Brazil), on October 20, 2022.
Research Interests:
Presentation for a panel discussion on "Research, artistic praxis and networks of knowledge production in music: old dilemmas and new challenges" during the 32nd ANPPOM conference, in Natal (Brazil), on October 21, 2022. Overviewing the... more
Presentation for a panel discussion on "Research, artistic praxis and networks of knowledge production in music: old dilemmas and new challenges" during the 32nd ANPPOM conference, in Natal (Brazil), on October 21, 2022.
Overviewing the situation of AR in Europe, a look at previous challenges that have (not) been met, and comparing them with work still to be done.
Overviewing the situation of AR in Europe, a look at previous challenges that have (not) been met, and comparing them with work still to be done.
Research Interests:
Research Interests:
Artistic Research has been around for a while, now, certainly in the more general guises of practice-led research. Yet, the differences with the more traditional types of musicology are still often hotly debated. Especially the... more
Artistic Research has been around for a while, now, certainly in the more general guises of practice-led research. Yet, the differences with the more traditional types of musicology are still often hotly debated. Especially the methodology can be a point of contention. Artists are said to rely on a particular type of knowledge, tacitly embedded in their practice, so that their research undoubtedly applies methods that are different from the research that is identified as more scholarly.
This presentation will look at distinctions in the panoply of research in(to) music, specifically at aspects such as method and output, all from the vantage point of my personal artistic and research practice. From historical and compositional perspectives on extended piano techniques to completing unfinished Kagel scores, from prepared piano to playing faster than possible.
This presentation will look at distinctions in the panoply of research in(to) music, specifically at aspects such as method and output, all from the vantage point of my personal artistic and research practice. From historical and compositional perspectives on extended piano techniques to completing unfinished Kagel scores, from prepared piano to playing faster than possible.
Research Interests:
Research Interests:
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist’s fingers gliding over the keyboard, we often feel more... more
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist’s fingers gliding over the keyboard, we often feel more resistance towards someone who hits the keys with the flat of the hand, or is bent over the keyboard to play directly on the strings. Even if these techniques, unlike their common association with ‘new music’, have been in use since the 18th century.
However, the existing repertoire for children is often made by and for grown-ups and their aesthetic preferences. Performance technically, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child always has ready access to the accessories that are sometimes required.
In collaboration with composer Hans Cafmeyer, a project was set up at the Orpheus Institute to develop new music through artistic research, catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, and the technological constraints of the instrument. Hans Cafmeyer has 30 years of experience in teaching children and writing music for them at their pedagogical level; Luk Vaes’ research into the history and performance practices of extended techniques has been envisioned to complement the composer’s inspiration and aspirations at the research level. Together they have created “peytol”, a collection of pieces allowing teachers to integrate extended techniques into the protocol of regular keyboard-specific pedagogy.
The methodology includes collaborative composition, elaborate videotaped classroom- and peer-testing (involving children and teachers), social media feedback, and international curriculum study. A multimedium publication of the first volume of resulting pieces consists of scores as well as videos of children performing the music, and introductory videos per piece.
This lecture-recital will give an overview of the issues and the ways they have been resolved (e.g. composed pedagogy), with live performance of key pieces.
However, the existing repertoire for children is often made by and for grown-ups and their aesthetic preferences. Performance technically, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child always has ready access to the accessories that are sometimes required.
In collaboration with composer Hans Cafmeyer, a project was set up at the Orpheus Institute to develop new music through artistic research, catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, and the technological constraints of the instrument. Hans Cafmeyer has 30 years of experience in teaching children and writing music for them at their pedagogical level; Luk Vaes’ research into the history and performance practices of extended techniques has been envisioned to complement the composer’s inspiration and aspirations at the research level. Together they have created “peytol”, a collection of pieces allowing teachers to integrate extended techniques into the protocol of regular keyboard-specific pedagogy.
The methodology includes collaborative composition, elaborate videotaped classroom- and peer-testing (involving children and teachers), social media feedback, and international curriculum study. A multimedium publication of the first volume of resulting pieces consists of scores as well as videos of children performing the music, and introductory videos per piece.
This lecture-recital will give an overview of the issues and the ways they have been resolved (e.g. composed pedagogy), with live performance of key pieces.
Research Interests:
Performing contemporary music is logically assumed to entail working with the composers. It is naturally assumed that this relationship is straightforward. Even though contemporary music is often thought to be of the ‘now’, with the... more
Performing contemporary music is logically assumed to entail working with the composers. It is naturally assumed that this relationship is straightforward. Even though contemporary music is often thought to be of the ‘now’, with the composers still living, the knowledge the performer seeks to find in the interaction with them is not necessarily satisfactory.
HIPEX is a research project at the Orpheus Institute, established to investigate historical performance practices of experimental music. Strands include live electronics from the 1960s, unfinished pieces by Mauricio Kagel, and iconic works for solo instruments. Composers and historical performers are consulted in order to negotiate the issues of a transhistorical performance.
This presentation will focus on Helmut Lachenmann’s Salut für Caudwell (1977). This monumental work for two guitars is not only known for its radical treatment – sonic and physical – of the instrument, but also for its striking setting of a text by the English Marxist, Christopher Caudwell.
There are currently four sets of materials for Salut, two of which have been published. Extensive research has revealed a myriad of discrepancies between the ‘corrected’ autograph, the manuscript edition, and the print edition. For the moment, Lachenmann, who is now 81, is hesitant to revisit the score and sort out the issues which we have meticulously and extensively catalogued. The guitar duo for whom the piece was composed has given well over 100 performances of the work. They played exclusively from the original manuscript and are unaware of the magnitude of the issues that exist that remain for subsequent performers.
HIPEX is a research project at the Orpheus Institute, established to investigate historical performance practices of experimental music. Strands include live electronics from the 1960s, unfinished pieces by Mauricio Kagel, and iconic works for solo instruments. Composers and historical performers are consulted in order to negotiate the issues of a transhistorical performance.
This presentation will focus on Helmut Lachenmann’s Salut für Caudwell (1977). This monumental work for two guitars is not only known for its radical treatment – sonic and physical – of the instrument, but also for its striking setting of a text by the English Marxist, Christopher Caudwell.
There are currently four sets of materials for Salut, two of which have been published. Extensive research has revealed a myriad of discrepancies between the ‘corrected’ autograph, the manuscript edition, and the print edition. For the moment, Lachenmann, who is now 81, is hesitant to revisit the score and sort out the issues which we have meticulously and extensively catalogued. The guitar duo for whom the piece was composed has given well over 100 performances of the work. They played exclusively from the original manuscript and are unaware of the magnitude of the issues that exist that remain for subsequent performers.
Research Interests:
5 years in the making, lacking since the invention of the piano: PEYOTL by composer-pianist Hans Cafmeyer and researcher-pianist Luk Vaes - volume 1 for piano solo. While improper piano playing is virtualy as old as the instrument, the... more
5 years in the making, lacking since the invention of the piano: PEYOTL by composer-pianist Hans Cafmeyer and researcher-pianist Luk Vaes - volume 1 for piano solo.
While improper piano playing is virtualy as old as the instrument, the pedagogical applications show how much of a taboo this type of approaching the instrument still is. Especially the pre-conservatory teaching suffers from a limited repertoire: pieces are often really for professional pianists but made technically 'simple', or they rely on graphical notation that sparks only a specific kind of interpretation and learning curve, and often neglect the aesthetic interests of children. PEYOTL aims to integrate extended techniques in the pedagogy of proper piano playing, simultaneously stimulating a nuanced approach to the piano's sound and to the techniques' potential.
The first volume of PEYOTL is available for download at http://www.sheetmusicplus.com/title/peyotl-volume-1-digital-sheet-music/20405472??aff_id=553783
Video performances are found on on http://tinyurl.com/hanscafmeyer.
Follow https://www.facebook.com/PeyotlForPiano/page to keep updated on the evolution of this project's output. New volumes and video's are in preparation.
PEYOTL is a research project hosted by the Orpheus Institute.
While improper piano playing is virtualy as old as the instrument, the pedagogical applications show how much of a taboo this type of approaching the instrument still is. Especially the pre-conservatory teaching suffers from a limited repertoire: pieces are often really for professional pianists but made technically 'simple', or they rely on graphical notation that sparks only a specific kind of interpretation and learning curve, and often neglect the aesthetic interests of children. PEYOTL aims to integrate extended techniques in the pedagogy of proper piano playing, simultaneously stimulating a nuanced approach to the piano's sound and to the techniques' potential.
The first volume of PEYOTL is available for download at http://www.sheetmusicplus.com/title/peyotl-volume-1-digital-sheet-music/20405472??aff_id=553783
Video performances are found on on http://tinyurl.com/hanscafmeyer.
Follow https://www.facebook.com/PeyotlForPiano/page to keep updated on the evolution of this project's output. New volumes and video's are in preparation.
PEYOTL is a research project hosted by the Orpheus Institute.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist’s fingers gliding over the keyboard, we often feel more... more
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist’s fingers gliding over the keyboard, we often feel more resistance towards someone who hits the keys with the flat of the hand, or is bent over the keyboard to play directly on the strings. Even if these techniques, unlike their common association with ‘new music’, have been in use since the 18th century.
However, by far most of the repertoire is for professionals. The existing pieces for children are rarely made specifically for young players: aesthetically as well as technically, they are made by and for grown-ups but made a little easier. As all of the repertoire is written since the early 20th century, its atonality is difficult for children to enjoy. Performance technically, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child has ready access to the accessories that are sometimes required.
In collaboration with composer Hans Cafmeyer, a project was set up to develop pieces that cater to children’s aesthetic, technical abilities, needs, and biotope. Hans Cafmeyer has many years of experience in teaching children and writing music for them at their pedagogical level. Luk Vaes’ experience with the history and performance practices of extended techniques from a research perspective, has been envisioned to complement the composer’s inspiration and aspirations.
This presentation will give an overview of the issues and the ways they have been resolved, with live performance of key pieces.
However, by far most of the repertoire is for professionals. The existing pieces for children are rarely made specifically for young players: aesthetically as well as technically, they are made by and for grown-ups but made a little easier. As all of the repertoire is written since the early 20th century, its atonality is difficult for children to enjoy. Performance technically, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child has ready access to the accessories that are sometimes required.
In collaboration with composer Hans Cafmeyer, a project was set up to develop pieces that cater to children’s aesthetic, technical abilities, needs, and biotope. Hans Cafmeyer has many years of experience in teaching children and writing music for them at their pedagogical level. Luk Vaes’ experience with the history and performance practices of extended techniques from a research perspective, has been envisioned to complement the composer’s inspiration and aspirations.
This presentation will give an overview of the issues and the ways they have been resolved, with live performance of key pieces.
Research Interests:
The second half of the 20th century saw an exploration of performance practices that was both radical and systematic, including extended techniques, pushing the limits of playability, questioning every aspect of traditional notation,... more
The second half of the 20th century saw an exploration of performance practices that was both radical and systematic, including extended techniques, pushing the limits of playability, questioning every aspect of traditional notation, developing new ways to musick together, and the position of technology in all of this.
This presentation will outline a project that aims at documenting such aspects of post-WWII performance practices, with research interests that include the position of historical musicians with respect to the composers and other musicians they worked with, and their impact on establishing performance practice traditions.
This presentation will outline a project that aims at documenting such aspects of post-WWII performance practices, with research interests that include the position of historical musicians with respect to the composers and other musicians they worked with, and their impact on establishing performance practice traditions.
Research Interests:
The second half of the 20th century saw an exploration of performance practices that was both radical and systematic. The full investigation of extended techniques for each instrument, the decisive pushing of the limits of playability to... more
The second half of the 20th century saw an exploration of performance practices that was both radical and systematic. The full investigation of extended techniques for each instrument, the decisive pushing of the limits of playability to beyond what’s physically possible, the ruthless questioning of every aspect of traditional notation, the development of new ways to musick together, and the position of technology in all of this, impacted performance practice in its diversity as well as fundamentally.
This innovation wasn’t always the sole result of composers’ impulses: often, historical performers were directly involved in putting authorial thoughts onto paper, sometimes helping to create new performance practices and starting new traditions. Even a new type of performer emerged: the expert soloist who travels the world to work with composers and premiere and record new compositions dedicated to him.
This presentation will outline an ongoing project that aims at documenting such aspects of post-WWII performance practices, with research interests that include the position of historical musicians with respect to the composers and other musicians they worked with and the scores they played, their influence on the performance practice of the works that they premiered and disseminated, and issues of performance practice of specific iconic works. Complementing an overview of the project, concrete examples will be Mauricio Kagel’s own performance practice of his Ludwig van, and the completion of his Tactil and Unter Strom.
This innovation wasn’t always the sole result of composers’ impulses: often, historical performers were directly involved in putting authorial thoughts onto paper, sometimes helping to create new performance practices and starting new traditions. Even a new type of performer emerged: the expert soloist who travels the world to work with composers and premiere and record new compositions dedicated to him.
This presentation will outline an ongoing project that aims at documenting such aspects of post-WWII performance practices, with research interests that include the position of historical musicians with respect to the composers and other musicians they worked with and the scores they played, their influence on the performance practice of the works that they premiered and disseminated, and issues of performance practice of specific iconic works. Complementing an overview of the project, concrete examples will be Mauricio Kagel’s own performance practice of his Ludwig van, and the completion of his Tactil and Unter Strom.
Research Interests:
Research Interests:
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist gliding over the keyboard, we often feel more resistance... more
For almost as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. While we may be at ease with a pianist gliding over the keyboard, we often feel more resistance towards someone who hits the keys with the flat of the hand, or is bent over the keyboard to play directly on the strings. Unlike the common association of such techniques with ‘new music’, they have been in use since the 18th century.
This program gives an overview of the riches of this repertoire, covering three centuries, bypassing some famous composers in favor of unjustly forgotten masterpieces, exploring some extreme ends of the spectrum of possibilities and divulging solutions to practical conundrums.
This program gives an overview of the riches of this repertoire, covering three centuries, bypassing some famous composers in favor of unjustly forgotten masterpieces, exploring some extreme ends of the spectrum of possibilities and divulging solutions to practical conundrums.
Research Interests:
Research Interests:
Research Interests:
The first movement of Robert Schumann’s piano sonata in G has ‘so rasch wie möglich’ for a tempo indication. Towards the end of the movement, the tempo is changed to ‘schneller’, while the last 25 bars are to be played ‘noch schneller’.... more
The first movement of Robert Schumann’s piano sonata in G has ‘so rasch wie möglich’ for a tempo indication. Towards the end of the movement, the tempo is changed to ‘schneller’, while the last 25 bars are to be played ‘noch schneller’. Undermining this agogical set-up, but in line with the impossible nature of the requirement, existing recordings show both an overt non-compliance with what Schumann prescribes and a lack of musical argumentation for the proposed tempi in this movement.
This project investigates possible solutions to the conundrum, drawing on the historical context and notions of experimentation to work out arguments and options that can be used to support performance practical choices.
This project investigates possible solutions to the conundrum, drawing on the historical context and notions of experimentation to work out arguments and options that can be used to support performance practical choices.
Research Interests:
"The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer... more
"The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences. Yet, many of Kagel’s experimental compositions allow for sometimes wildly different performance practices, as evidenced most poignantly by those works where Kagel’s own recorded performances are in conflict with his scores. Reconstructing the historical performance practice can therefore hardly be the goal either.
This presentation will concern itself with how the traditional methods of ‘historically informed performance’ practice fit the project of completing the scores of Tactil and Unter Strom. Amongst others, attention will be given to contextualization as method, the performance of theatricalities, the transfer of performance practical knowledge from a historical to a younger generation, and the problems of where ‘the work’ is situated. Conundrums, pitfalls, challenges and surprises will highlight a process that is characterized by the central importance of performance in Kagel’s richly inventive creative approach around the turn of the 1960’s."
This presentation will concern itself with how the traditional methods of ‘historically informed performance’ practice fit the project of completing the scores of Tactil and Unter Strom. Amongst others, attention will be given to contextualization as method, the performance of theatricalities, the transfer of performance practical knowledge from a historical to a younger generation, and the problems of where ‘the work’ is situated. Conundrums, pitfalls, challenges and surprises will highlight a process that is characterized by the central importance of performance in Kagel’s richly inventive creative approach around the turn of the 1960’s."
""To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing... more
""To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Masterclass and lecture-recital, aimed at young piano students and their teachers. ""
Masterclass and lecture-recital, aimed at young piano students and their teachers. ""
Research Interests:
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer... more
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences.
As a report of the reconstructing adventure, this presentation will elaborate on particulars of the finished research.
As a report of the reconstructing adventure, this presentation will elaborate on particulars of the finished research.
Research Interests:
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer... more
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences.
As a report of the reconstructing project, this presentation will elaborate on particulars of the output.
As a report of the reconstructing project, this presentation will elaborate on particulars of the output.
Research Interests:
""To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing... more
""To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Masterclass and lecture-recital, aimed at young piano students and their teachers.
""
Masterclass and lecture-recital, aimed at young piano students and their teachers.
""
"To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing... more
"To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Masterclass and lecture-recital, aimed at young piano students and their teachers.
"
Masterclass and lecture-recital, aimed at young piano students and their teachers.
"
First concert outside of Belgium, where the reconstruction that Luk Vaes designed of Kagel's "Tactil" and "Unter Strom" opened the Orpheus Research Festival in October 2012. Borealis, the apt host for this double-stage program "is a... more
First concert outside of Belgium, where the reconstruction that Luk Vaes designed of Kagel's "Tactil" and "Unter Strom" opened the Orpheus Research Festival in October 2012.
Borealis, the apt host for this double-stage program "is a festival for contemporary experimental music and sound art: a meeting place, laboratory and development space for adventurous music and ideas witch takes place in Bergen every year."
Borealis, the apt host for this double-stage program "is a festival for contemporary experimental music and sound art: a meeting place, laboratory and development space for adventurous music and ideas witch takes place in Bergen every year."
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Claude-Bénigne Balbastre, Israel Gottlieb Wernicke, Erik Satie, Vladimir Rebikov, Davide Mosconi, Helmut Lachenmann, Hans Cafmeyer, etc. For as long as... more
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Claude-Bénigne Balbastre, Israel Gottlieb Wernicke, Erik Satie, Vladimir Rebikov, Davide Mosconi, Helmut Lachenmann, Hans Cafmeyer, etc.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
""Though already quite a few years in progress, Artistic Research is still the subject of a debate on its identity, both in the context of Bachelor and Master studies as among policy makers at conservatoires and elsewhere. This... more
""Though already quite a few years in progress, Artistic Research is still the subject of a debate on its identity, both in the context of Bachelor and Master studies as among policy makers at conservatoires and elsewhere.
This presentation will offer an array of artistic research projects from the presenter’s personal pre- and post-doc practice, demonstrating key research aspects, and comparing these to how researchers from neighboring disciplines would handle and choose them. All projects are intimately and essentially linked to the piano – the point of departure, methodological tool and aim of these research projects. Among the aspects to be dealt with, are: identity, research questions and problems, method, targeted peers, output and social relevance.""
This presentation will offer an array of artistic research projects from the presenter’s personal pre- and post-doc practice, demonstrating key research aspects, and comparing these to how researchers from neighboring disciplines would handle and choose them. All projects are intimately and essentially linked to the piano – the point of departure, methodological tool and aim of these research projects. Among the aspects to be dealt with, are: identity, research questions and problems, method, targeted peers, output and social relevance.""
Research Interests:
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Christophe Moyreau, Claude-Bénigne Balbastre, Erik Satie, LaMonte Young, Davide Mosconi, Mauricio Kagel, Helmut Lachenmann, Frederic Rzewski, etc. For as... more
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Christophe Moyreau, Claude-Bénigne Balbastre, Erik Satie, LaMonte Young, Davide Mosconi, Mauricio Kagel, Helmut Lachenmann, Frederic Rzewski, etc.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Christophe Moyreau, Claude-Bénigne Balbastre, Erik Satie, LaMonte Young, Davide Mosconi, Mauricio Kagel, Helmut Lachenmann, Frederic Rzewski, etc. For as... more
Works for piano, harpsichord, prepared piano, string piano and extended piano, by Christophe Moyreau, Claude-Bénigne Balbastre, Erik Satie, LaMonte Young, Davide Mosconi, Mauricio Kagel, Helmut Lachenmann, Frederic Rzewski, etc.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
For as long as the piano has existed, composers have used 'extended techniques', now mostly associated with contemporary music. This programme embraces three centuries of keyboard music, and bypasses some famous composers in favour of unjustly forgotten masterpieces to show the richess of and in this repertoire.
"To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing... more
"To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Masterclass and lecture-recital, aimed at young piano students and their teachers."
Masterclass and lecture-recital, aimed at young piano students and their teachers."
Though already quite a few years in progress, Artistic Research is still the subject of a debate on its identity, both in the context of Bachelor and Master studies as among policy makers at conservatoires and elsewhere. This... more
Though already quite a few years in progress, Artistic Research is still the subject of a debate on its identity, both in the context of Bachelor and Master studies as among policy makers at conservatoires and elsewhere.
This presentation will offer an array of artistic research projects from the presenter’s personal pre- and post-doc practice, demonstrating key research aspects, and comparing these to how researchers from neighboring disciplines would handle and choose them. All projects are intimately and essentially linked to the piano – the point of departure, methodological tool and aim of these research projects. Among the aspects to be dealt with, are: identity, research questions and problems, method, targeted peers, output and social relevance.
This presentation will offer an array of artistic research projects from the presenter’s personal pre- and post-doc practice, demonstrating key research aspects, and comparing these to how researchers from neighboring disciplines would handle and choose them. All projects are intimately and essentially linked to the piano – the point of departure, methodological tool and aim of these research projects. Among the aspects to be dealt with, are: identity, research questions and problems, method, targeted peers, output and social relevance.
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer... more
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences.
As an introduction to the festival performance of the reconstructed Unter Strom and Tactil, this presentation will concern itself with aspects of the research process and of the projected research output, showing conundrums, pitfalls, challenges, surprises, and, above all, the importance of being a performer to cope with Kagel’s richly inventive creative approach.
As an introduction to the festival performance of the reconstructed Unter Strom and Tactil, this presentation will concern itself with aspects of the research process and of the projected research output, showing conundrums, pitfalls, challenges, surprises, and, above all, the importance of being a performer to cope with Kagel’s richly inventive creative approach.
In 1969, resp. 1970, Mauricio Kagel wrote Unter Strom and Tactil for three musicians. The historical performers – Kagel himself, Wilhelm Bruck, Theodor Ross and Christoph Caskel– have been the only ones to play and record these... more
In 1969, resp. 1970, Mauricio Kagel wrote Unter Strom and Tactil for three musicians. The historical performers – Kagel himself, Wilhelm Bruck, Theodor Ross and Christoph Caskel– have been the only ones to play and record these masterpieces of instrumental theatre. Since there is no score, and neither the historical audio or video recordings provide adequate information for bringing these experimental works to the stage again, audiences are deprived of performances of both pieces..
Although, late in his life, Kagel had envisioned working out a score for future performances by other musicians, this never materialized. With Kagel’s death, there remains only one adequate possibility to perform Tactil and Unter Strom, i.e. through reconstruction of the original performance practice in collaboration with the surviving original perfomers.
Pianist and Kagel-specialist Luk Vaes (B) has embarked upon this venture together with his guitarist friends Stefan Östersjö (S) and Seth Josel (US/G). The reconstruction will be carried out on the basis of deep and extensive source research as well as a production process that is set-up and supervised by all of the original performers.
Although, late in his life, Kagel had envisioned working out a score for future performances by other musicians, this never materialized. With Kagel’s death, there remains only one adequate possibility to perform Tactil and Unter Strom, i.e. through reconstruction of the original performance practice in collaboration with the surviving original perfomers.
Pianist and Kagel-specialist Luk Vaes (B) has embarked upon this venture together with his guitarist friends Stefan Östersjö (S) and Seth Josel (US/G). The reconstruction will be carried out on the basis of deep and extensive source research as well as a production process that is set-up and supervised by all of the original performers.
In 1969, resp. 1970, Mauricio Kagel wrote Unter Strom and Tactil for three musicians. The historical performers – Kagel himself, Wilhelm Bruck, Theodor Ross and Christoph Caskel– have been the only ones to play and record these... more
In 1969, resp. 1970, Mauricio Kagel wrote Unter Strom and Tactil for three musicians. The historical performers – Kagel himself, Wilhelm Bruck, Theodor Ross and Christoph Caskel– have been the only ones to play and record these masterpieces of instrumental theatre. Since there is no score, and neither the historical audio or video recordings provide adequate information for bringing these experimental works to the stage again, audiences are deprived of performances of both pieces..
Although, late in his life, Kagel had envisioned working out a score for future performances by other musicians, this never materialized. With Kagel’s death, there remains only one adequate possibility to perform Tactil and Unter Strom, i.e. through reconstruction of the original performance practice in collaboration with the surviving original perfomers.
Pianist and Kagel-specialist Luk Vaes (B) has embarked upon this venture together with his guitarist friends Stefan Östersjö (S) and Seth Josel (US/G). The reconstruction will be carried out on the basis of deep and extensive source research as well as a production process that is set-up and supervised by all of the original performers.
Although, late in his life, Kagel had envisioned working out a score for future performances by other musicians, this never materialized. With Kagel’s death, there remains only one adequate possibility to perform Tactil and Unter Strom, i.e. through reconstruction of the original performance practice in collaboration with the surviving original perfomers.
Pianist and Kagel-specialist Luk Vaes (B) has embarked upon this venture together with his guitarist friends Stefan Östersjö (S) and Seth Josel (US/G). The reconstruction will be carried out on the basis of deep and extensive source research as well as a production process that is set-up and supervised by all of the original performers.
The use of Extended Piano Techniques in repertoire for teaching children To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the... more
The use of Extended Piano Techniques in repertoire for teaching children
To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Aimed at teachers and policy makers of music academies. Includes theory, history and presentation of repertoire.
To further the dissemination of repertoire containing or based upon Extended Piano Techniques, it is crucial that interest in this matter is not introduced at the level of college education but starts at an earlier age. Next to existing repertoire that has artistic as well as pedagogical value, new repertoire is being commissioned with the express intent to interest children in directly manipulating piano sounds (e.g. playing on the strings, prepared piano), in listening to the inner workings of sound, in learning about the mechanics of the instrument, etc.
Aimed at teachers and policy makers of music academies. Includes theory, history and presentation of repertoire.
The estate of Mauricio Kagel (1931-2008) contains two notable works of which the scores were left unfinished. Despite having never been available from his publishers, «Tactil» and «Unter Strom» were nevertheless performed, and... more
The estate of Mauricio Kagel (1931-2008) contains two notable works of which the scores were left unfinished. Despite having never been available from his publishers, «Tactil» and «Unter Strom» were nevertheless performed, and studio-recordings (audio as well as video) by Kagel’s own Kölner Ensemble für Neue Musik were distributed – in the case of «Tactil», Kagel even played the keyboard part. Besides the most obvious questions that lead from this odd situation (e.g., how exactly did they perform from sometimes barely written out scores? And why was it apparently impossible to complete the pieces if Kagel clearly considered them fine for performing and recording?), some wider perspectives with regards to the composer’s estate are treated. These works were performed under Kagel’s direct supervision, yet there are serious discrepancies between archived materials and recorded performances. Furthermore, it appears that the official ‘archive’ – the collection at the Paul Sacher Foundation – does not hold all pertinent materials, turning the limelight towards the performers. At the same time, the value for this archival research of the concept of ‘stratification’ – taken from Deleuze and Guattari – is scrutinised and weighed against the notion of ‘sedimentation’.
Research Interests:
Half a century ago, DGG issued an LP with studio recordings of two compositions by Mauricio Kagel: the 1970 Tactil and the 1969 Unter Strom. Yet, to this day, and despite multiple performance by musicians close to and including the... more
Half a century ago, DGG issued an LP with studio recordings of two compositions by Mauricio Kagel: the 1970 Tactil and the 1969 Unter Strom. Yet, to this day, and despite multiple performance by musicians close to and including the composer, no scores for these pieces are available.
The completion of the scores as well as the reconstruction of the historical performance practices were undertaken as a project for the Orpheus Instituut research cluster HIPEX. This article zooms in on aspects of the archival work that was part of the research. In particular, sedimentation is considered as a constructive way to look at how the historical performers and their practices influenced the trajectory of the two unfinished compositions. At the same time, the concept is tested in order to build on the more popular notion of stratification as exemplified in the work of two other artistic researchers. Finally, the idea of an archive is practically extended to beyond the classical paper document libraries, including not only historical instruments but also historical performers' practices and their own related archives.
The completion of the scores as well as the reconstruction of the historical performance practices were undertaken as a project for the Orpheus Instituut research cluster HIPEX. This article zooms in on aspects of the archival work that was part of the research. In particular, sedimentation is considered as a constructive way to look at how the historical performers and their practices influenced the trajectory of the two unfinished compositions. At the same time, the concept is tested in order to build on the more popular notion of stratification as exemplified in the work of two other artistic researchers. Finally, the idea of an archive is practically extended to beyond the classical paper document libraries, including not only historical instruments but also historical performers' practices and their own related archives.
Research Interests:
For nearly as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Whilst most of us may be at ease with a pianist’s fingers gliding over the keyboard, many feel... more
For nearly as long as the piano has existed, composers have been interested in producing sounds for which the instrument was not conceived. Whilst most of us may be at ease with a pianist’s fingers gliding over the keyboard, many feel more resistance towards someone who hits the keys with the flat of the hand, or is bent over the keyboard to play directly on the strings. Yet, these techniques have been in use since the 18th century, unlike their common association with ‘new music’. In contrast to this extensive repertoire for professionals, pieces that are written to introduce such techniques to children exhibit mostly adult aesthetic preferences. As regards performance technique, the composers have not distinguished between the different pedagogical chronologies and algorithms of learning to play the keyboard and the inside of the piano, nor do they seem to have imagined whether a child always has ready access to the accessories that are sometimes required to do so. In collaboration with composer Hans Cafmeyer, a project was set up at the Orpheus Institute to develop new music through artistic research, catering to children’s aesthetic horizons, their technical abilities, pedagogical needs, and personal biotope, and the technological constraints of the instrument. With Hans Cafmeyer’s decade-long experience in teaching children, in addition to writing music for them which suits their pedagogical level, as well as Luk Vaes’ research into the history and performance practices of extended techniques, “peyotl” was created, a collection of pieces allowing teachers to integrate extended techniques into the protocol of regular keyboard-specific pedagogy. The multimedia publication includes the score as well as online videos of the composer and children performing the music.
Research Interests:
Research Interests:
Research Interests:
Research Interests: Impact Evaluation, Artistic Research, Musical Instrument Pedagogy, Music Teacher Education, Artistic Research of Music, and 12 moreSocial impact, Conservatoire training, Conservatories, Music Pedagogy - particularly instrumental teaching in post-compulsory education., Analyses of music teaching techniques, Conservatoire, Music teaching, Teaching Music, Impact of Social Sciences and Humanities, Music Teaching Methodogy, Music Teacher Identity, and Pedagogy for Music Teaching
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Overview of the history of the cluster performance technique on the organ.
[Dutch -> see also https://www.academia.edu/7095764/Three_Centuries_of_Keyboard_Clusters_a_Tale_of_two_Instruments for English]
[Dutch -> see also https://www.academia.edu/7095764/Three_Centuries_of_Keyboard_Clusters_a_Tale_of_two_Instruments for English]
Research Interests:
Research Interests:
Overview of the history of extended piano techniques. [Dutch article]
Research Interests:
Overlooking the history of Extended Piano Techniques, the identity of the piano as a sound producing tool is found to be in a near-continuous state of crisis. As much as it is possible to identify the generic piano and its proper... more
Overlooking the history of Extended Piano Techniques, the identity of the piano as a sound producing tool is found to be in a near-continuous state of crisis. As much as it is possible to identify the generic piano and its proper performance technique, it is impossible to deny that composers have always looked at the improper potential for extracting sounds from the instrument.
Research Interests:
5 years in the making, lacking since the invention of the piano: PEYOTL by composer-pianist Hans Cafmeyer and researcher-pianist Luk Vaes - volume 1 for piano solo. While improper piano playing is virtualy as old as the instrument, the... more
5 years in the making, lacking since the invention of the piano: PEYOTL by composer-pianist Hans Cafmeyer and researcher-pianist Luk Vaes - volume 1 for piano solo.
While improper piano playing is virtualy as old as the instrument, the pedagogical applications show how much of a taboo this type of approaching the instrument still is. Especially the pre-conservatory teaching suffers from a limited repertoire: pieces are often really for professional pianists but made technically 'simple', or they rely on graphical notation that sparks only a specific kind of interpretation and learning curve, and often neglect the aesthetic interests of children. PEYOTL aims to integrate extended techniques in the pedagogy of proper piano playing, simultaneously stimulating a nuanced approach to the piano's sound and to the techniques' potential.
Volume 1 of PEYOTL is available for download at http://www.sheetmusicplus.com/…/peyotl-volume-1-d…/20405472…
There will be several volumes of scores as well as video performances by the composer, by children, video manuals, etc. on http://tinyurl.com/hanscafmeyer.
News of additional materials, volumes, etc. will be posted at on academia.edu as well as on https://www.facebook.com/PeyotlForPiano/
PEYOTL is a research project hosted by the Orpheus Institute.
While improper piano playing is virtualy as old as the instrument, the pedagogical applications show how much of a taboo this type of approaching the instrument still is. Especially the pre-conservatory teaching suffers from a limited repertoire: pieces are often really for professional pianists but made technically 'simple', or they rely on graphical notation that sparks only a specific kind of interpretation and learning curve, and often neglect the aesthetic interests of children. PEYOTL aims to integrate extended techniques in the pedagogy of proper piano playing, simultaneously stimulating a nuanced approach to the piano's sound and to the techniques' potential.
Volume 1 of PEYOTL is available for download at http://www.sheetmusicplus.com/…/peyotl-volume-1-d…/20405472…
There will be several volumes of scores as well as video performances by the composer, by children, video manuals, etc. on http://tinyurl.com/hanscafmeyer.
News of additional materials, volumes, etc. will be posted at on academia.edu as well as on https://www.facebook.com/PeyotlForPiano/
PEYOTL is a research project hosted by the Orpheus Institute.
Research Interests:
Research Interests:
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer... more
The scores to Unter Strom (1969) and Tactil (1970) were left unfinished, so they can only be performed today after a process of reconstruction. As both pieces were ‘made’ by drawing extensively on a very particular composer-performer relationship, integrating ‘Instrumental Theatre’ and the handling of ‘experimental sound producers’, the methodological basis for any attempt at reviving such works cannot be limited to investigating archival materials and historical recordings, but must entail the original performers’ experiences.
Output format: multimedia publication, including a book, a DVD of performances and video documentation of the reconstruction processes, and the reconstructed scores.
Output format: multimedia publication, including a book, a DVD of performances and video documentation of the reconstruction processes, and the reconstructed scores.
Research Interests:
So-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them – e.g. playing directly on the strings, cluster- and glissando-techniques –... more
So-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them – e.g. playing directly on the strings, cluster- and glissando-techniques – exist in a substantial part of the repertoire for the piano and have done so for more than a couple of centuries now, the use of the techniques on stage still sparks off negative reactions by audiences, composers, performers and tuners as well as owners of pianos. Any one-sided approach towards appreciation has proven to be inadequate: academic analyses do not succeed in handling the matter satisfactorily, endeavors by musicians to teach and advise on the "proper" use of the techniques have come short of applying an in-depth and a historically informed perspective. A comprehensive and exhaustive survey of the extended techniques as a whole can serve to alleviate the risk that the relevant repertoire sinks into oblivion, contributing to a reassessment of the subject, in turn benefitting contemporary professional performance practice, concert programming, composers’ interest and musical as well as music-historical education. The subject and its related terminology are scrutinized and (re)defined where necessary. The acoustical properties of the techniques are explained from the perspective of the performer to ensure proper insight in the way they produce sound. Over 16.000 compositions have been considered to write the history of improper piano playing, comparing manuscripts with first and subsequent editions of solo as well as chamber and concerto music, original compositions as well as transcriptions, from the "classical" as well as the "entertainment" sector. Original preparations collected by John Cage were tracked down and described in minute detail so that alternatives can be considered on the basis of professional information. Historical recordings as well as personal experiences and interviews with composers are used to pinpoint historical performance practices. To help the pianist prepare for concerts with the relevant repertoire, measurements of the internal layout of the most common grand pianos are listed in order to anticipate possible problems in advance.
Research Interests:
Research Interests:
Research Interests:
A CD of Bach's pieces for solo violin prominently displays both the violinist and the collaborating musicologist. This effort is looked at from the perspective of artistic research. What would have been different if the violinist had been... more
A CD of Bach's pieces for solo violin prominently displays both the violinist and the collaborating musicologist. This effort is looked at from the perspective of artistic research. What would have been different if the violinist had been the doing the investigation.