This course provides a theoretical background to understanding the harmonic principles of Just-Intonation and the different temperaments that are currently in use in today’s performance practices. The classes will present students with practical insights, training methods and exercises to refine their ability to tune intervals and sequences of chords in relation to specific temperaments throughout history, from baroque to contemporary music. The aim of the module is to offer a more comprehensive understanding on the phenomenon of intonation, allowing the participants to develop and finely tune their aural skills with practical experiments and performances. Individual string players and pre-formed string ensembles are welcome.

This course provides a theoretical background to understanding the harmonic principles of Just-Intonation and the different temperaments that are currently in use in today’s performance practices. The classes will present students with practical insights, training methods and exercises to refine their ability to tune intervals and sequences of chords in relation to specific temperaments throughout history, from baroque to contemporary music. The aim of the module is to offer a more comprehensive understanding on the phenomenon of intonation, allowing the participants to develop and finely tune their aural skills with practical experiments and performances. Individual string players and pre-formed string ensembles are welcome.

David Brynjar Franzson - The Cartography of Time (2016/19) - WP of the version for VdA and electronic

Due to the improvisatory nature of Giacinto Scelsi’s compositional process, and the oral transmission of his interpretational practice, we are confronted with the inevitability of losing direct sources of performance instructions, with the passing of the composer and his original players.
The most problematic aspect of Scelsi's legacy is its reliance on the score, written by his assistants in traditional European notation. As  eminent researchers in musicology and music philosophy have pointed out, the current hierarchical view on the score restricts the performers’ creative freedom, requiring to comply with an ‘exact-replica’ of the score. Instead, in rehearsals, Scelsi demanded artistic participation from his performers, urging them to overlook the accurate reproduction of the score and to initiate the creative momentum of an original improvisation.
The lecture will present the peculiarities of Scelsi’s artistic routine, through exhaustive documentation of this improvisations, the instruments he used and his demand for interpreters’ creative engagement, while performing his works. These elements will become the starting point for developing strategies of alternative notation, of the original Scelsian improvisation recordings, in the form of video animated scores. 
The development of a collection of animated scores for specific works in the Scelsian catalogue will be essential to the establishment of a coherent performance practice of Scelsi’s music. Though the use of animated scores, my research seeks to provide current and future Scelsian players with a greater degree of creative freedom, establish a performance practice and question the existing hierarchical composer-score-performer structure in classical music.

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Lecture on Giacinto Scelsi's compositional process and performance practice for students of the Advanced Master in Contemporary Music programme at KASK.

performance/installation of Charlie Sdraulig's one to one, work for violinist and one member of the audience. During Sdraulig's residency at the Cité internationale des arts of Paris the piece will be performed several times for invited auditors.

Final concert during CREATIE Festival.

This course aims to introduce performers and composers to different modalities of collaboration that may be undertaken while working together. Based on the seminal work of Christopher Small, Musicking (1998), the module will reconsider the traditional hierarchical structure of collaboration, allowing for a more democratic participation in the creative process. It will investigate the individual contributions to each artistic figure involved in the process of creation of a performance, pushing each member of the creative team to re-think their role, expanding their skill set and abandoning their comfort zone. The results of the experimentation of this role-flexible, not-hierarchical project, will be publicly presented during CREATIE Festival 2019 (3-5 December). Participation is open to performers of any instrument and composers.

CREATIE (Royal Conservatoire Antwerp, BEL) and Mixed Currents (CeReNeM, University of Huddersfield, UK) join forces in organizing this conference-festival about collaborations in contemporary performance. We will explore challenges and consequences of close collaborations in new music, innovative collaborations and new performance formats and inclusive collaboration models within the performative scene of today.

During this 3-day conference-festival, CREATIE and Mixed Currents will offer a wide variety of concerts, lecture-performances, panel discussions, papers and lunch concerts with students of the Royal Conservatoire Antwerp.

INTERNATIONAL PANEL GUESTS:
Patricia Alessandrini (Stanford University),
Sam Hayden (Trinity Laban Conservatoire of Music),
Jessie Marino (Stanford University),
Charlie Sdraulig (Stanford University),
Tanja Erhart (Candoco).

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performance/installation of Charlie Sdraulig's one to one, work for violinist and one member of the audience. During CREATIE Festival 2019 the piece will be performed several times for spectators selected via a lottery.

This course aims to introduce performers and composers to different modalities of collaboration that may be undertaken while working together. Based on the seminal work of Christopher Small, Musicking (1998), the module will reconsider the traditional hierarchical structure of collaboration, allowing for a more democratic participation in the creative process. It will investigate the individual contributions to each artistic figure involved in the process of creation of a performance, pushing each member of the creative team to re-think their role, expanding their skill set and abandoning their comfort zone. The results of the experimentation of this role-flexible, not-hierarchical project, will be publicly presented during CREATIE Festival 2019 (3-5 December). Participation is open to performers of any instrument and composers.