Academy of Creative and Performing Arts
![Academy of Creative and Performing Arts](https://media.researchcatalogue.net/rc/cache/0c/33/19/87/0c331987ef31f53a68c102d63113afad.png?t=303fe4cfff7613dceb75adc6e03a638b&e=1725247500)
About this portal
The portal is used for the presentation of dissertations, papers, essays, artistic work, and work-in-progress of the ACPA PhD candidates. Furthermore, it is used by supervisors and other coaches to insert comments on the work of these candidates.
contact person(s):
Marcel Cobussen ![](/rc/images/email.gif)
,
Gabriel Paiuk ![](/rc/images/email.gif)
url:
http://www.hum.leiden.edu/creative-performing-arts/
Recent Activities
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Repertoire for a Swedish bassoon virtuoso: Approaching early nineteenth-century works composed for Frans Preumayr with an original Grenser & Wiesner bassoon
(last edited: 2023)
author(s): Donna Agrell
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Frans Preumayr's nineteenth century virtuosic bassoon repertoire. An approach with a fine Grenser & Wiesner bassoon from Dresden: Issues of material and technique.
What techniques and tools must be developed by period bassoonists in order to successfully approach the performance of Frans Preumayr's virtuosic repertoire?
"A Very Fine Eleven-Keyed Stained Maple Bassoon by H. Grenser & Wiesner, Dresden, circa 1825" - as titled in an entry in a London auction catalogue - is one of the few surviving examples of a complete period bassoon with all its parts, offering valuable information for both period instrument builders and players today.
This research project of Donna Agrell is based specifically on the unique opportunity that the Grenser & Wiesner instrument presents us with: an investigation of early nineteenth century bassoon works written for the Swedish virtuoso Frans Preumayr by composers such as Franz Berwald and Bernhard Henrik Crusell. Solutions for technical problems found in this repertoire are sought and described, and include a discussion of reed styles and fingering systems for the period bassoonist.
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Dolce Napoli: Approaches for performance
(last edited: 2023)
author(s): Inês de Avena Braga
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This thesis of Inês de Avena Braga examined two previously neglected topics, Baroque Italian recorders and the Neapolitan Baroque repertoire for the recorder, and then combined both aspects. First, information was collected on all Italian Baroque recorders currently known, including biographical references about the makers of these recorders, as well as technical drawings, measurements and photographs. The practical experience with the copies of a few of those recorders was described by the author. Second, the Baroque repertoire composed in Naples for the recorder was researched, uncovering a rich and forgotten corpus of music written and copied between 1695 and 1759. The Neapolitan recorder works were also listed with a brief analysis and further commentary on the recorder part, with a view of connecting the works with the instruments that might have once been used to play them. Furthermore, an overview of the social and cultural atmosphere of Naples in the early eighteenth century was offered as contextualization to the musical ambience, aided by iconographical references. Conclusions on performance practice are presented as a result of the combination of both research aspects. The artistic outcome of this study has brought together, also in performance, the two main aspects of the research: 'new' instruments and 'new' works.
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Het Urban Future-project
(last edited: 2023)
author(s): Hans Scholten
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Central to this research of Hans Scholten is the Urban Future-project, which consists of a large archive of artworks made from 2002 until now. The original question underpinning this project was: what influence do chaos, entropy and fragmentation have on the viability of the rapidly developing urbanizing world?
In the course of the research project, the (literature and field) explorations led to the assumption that there is a demonstrable and necessary link between the quality of life in the city and vital social cohesion on the one hand and chaos, entropy and fragmentation on the other. In the artistic part of the research focuses on the question: is it possible to make the supposed connection between quality of urban life and chaos, entropy and fragmentation visible in artwork and, if so, how? In the written dissertation, working methods and strategies are contextualized and analyzed. The visual part derives from an artist's position which uses non-verbal, sensorial strategies to reach new insights. It mainly focuses on the visual and aesthetic possibilities of aspects of fragmentation, chaos and entropy because Scholten considers these aspects, as productive forces, to be the core of the experience of urbanization.
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Finding one's own voice as an indigenous filmmaker
(last edited: 2023)
author(s): Itandehui Jansen
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In this dissertation of Itandehui Jansen, the ‘Voice’ of the filmmaker from a political and aesthetic perspective is examined. Within film practice the own ‘Voice’ refers mainly to the aesthetic style of a filmmaker. Within the field of postcolonial studies 'Voice' is related to the access that postcolonial subjects have to the production of discourse. Movies and other media can be seen in this context as a form of discourse. For Indigenous filmmakers both approaches to ‘Voice’ and having a ‘Voice’ are important.
This study explores the way in which Indigenous filmmakers, particularly from Latin America, express their 'Voice' both politically and aesthetically in their films.
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ReForm
(last edited: 2023)
author(s): Ruchama Noorda
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This dissertation of Ruchama Noorda, together with the artworks documented in it, is the result of an investigation across multiple media over a seven-year period of the cultural, artistic and spiritual legacy of the late nineteenth- and early twentieth-century Lebensreform (Life Reform) movement.
In the course of this research Noorda situates this movement with its origins in Europe and its promotion of a back-to-nature lifestyle (health foods, sexual emancipation, rational dress/nudism, pantheism/syncretic New Age religions) in a long line of radical reform projects, that lead back to the Reformation and the Anabaptist rebellions in sixteenth-century Germany, the Netherlands and Switzerland. At the same time, Noorda links the passage to America of Lebensreform beliefs and practices to the rise of the hippy counter-culture in California and the global spread in the decades since the nineteen-sixties of today’s ecological, organic food and naturopathy / Wellness movements.
In both the dissertation and the series of artworks discussed within it, Noorda sets out to unravel and confront the complicated legacy of Theosophy and Anthroposophy, the holistic systems of belief that formed the spiritual backbone of the Lebensreform phenomenon. In the process Noorda probes the question of how it came to be, that an occult world view based on a synthesis of world religions could appeal equally to purist avant-garde proponents of abstraction such as Kandinsky and Mondriaan and to figurative painters and illustrators such as Fidus (Hugo Höppener) and Fritz Mackensen, whose work promoted an idealized ‘Aryan’ aesthetic in line with German National Socialist ideology. As such the present work forms part of the larger reappraisal currently under way among artists and scholars of the history of utopian counter-cultural thinking and alternative life-style experimentation in the West. Following in the footsteps of historians such as Peter Staudenmaier, Janet Biehl, and Susan A. Manning, Noorda argues that this reappraisal forces us to acknowledge the anti-rational esoteric roots of Modernism along with the progressive strands in Modernist thinking and practice, that tend to be foregrounded in most historical accounts. However the interest in this project as an artist is not conventionally historical or academic but rather personal and performative. And the way the arguments are made, for the most part through installations, drawings, sculptural objects, video works, artist statements and performances, bears little relation to the orderly modes of presentation and detached forms of analysis that mark traditional academic discourse. Instead, the project unfolded over time as a prolonged archaeological dig into two intersecting strata, the muddy history of the Lebensreform movement and the own formation as someone born into an anthroposophical/Reform Church household in Leiden. The tension between Progress (social engineering/the collaborative ideal) and ℞egression (back to nature/childhood/basics) dictates the rhythm of the dig.
The excavation metaphor gets literalized as Noorda moves closer to home, and in many of the artworks (Dutch) mud and compacted soil become the primary material: both the medium in which the inquiries are conducted and the consumable message/medicine dispensed at the door in pill-form to the departing exhibition visitor.
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Die Partimenti von Giovanni Paisiello Ansätze zu ihrem Verständnis
(last edited: 2023)
author(s): Nicoleta Paraschivescu
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The Partimenti of Giovanni Paisiello: Towards Their Understanding in Context.
Full version only available in German.
This doctoral thesis of Nicoleta Paraschivescu focuses on Paisiello's partimenti and how to approach their realization and performance. To that end I completed an in-depth profile of his pedagogical activities and expanded the already well-known sources—the Regole published in St. Petersburg (1782)—with newly discovered partimenti by Paisiello. Crucial for this study were connections between Paisiello's partimenti and not only his own compositions but also those of his teacher Francesco Durante and his other contemporaries. This broader perspective required taking into account the genre-specific contexts in which Paisiello’s partimenti reside. The inclusion of larger musical forms and complex progressions as compositional models significantly expands the spectrum of possibilities in the realization of his partimenti. A central idea emerging from this study is that partimenti provide a key to the musical language of the time and offer vast possibilities for realization and ornamentation.