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=37e0dcd1e2914bc67072fe297101be2c&e=1725261900)
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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Grenzen van het hoorbare: over de meerstemmigheid van het lichaam
(last edited: 2023)
author(s): Mark van Tongeren
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In our culture, vocal harmonics fuction as independent musical elements since only a few decades. Thresholds of the audible explores the changing relationship between singers, listeners and harmonics. As a research method a series of compositions (Nulpunten/’Zeropoints’) has been developed, which attempt to make a fresh approach to overtone singing and to the sonic source material of the human body. They spark off further investigations of reality and illusion of our auditory world. Using his experiences with Tibetan monks and Sardinian brotherhoods and the ‘transverbal’ oeuvre of Michael Vetter, Mark van Tongeren develops his notion ‘multiphony of the body’. The last word, according to him, must be given to readers/listeners, who are challenged to shift their thresholds of the audible with the cd It starts here and the performance Incognito ergo sum.
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Laborinth II : denken als experiment : 472 'meditaties' over de noodzaak van het creatief denken en experimenteren in het uitvoeren van complexe muziek van 1962 tot heden
(last edited: 2023)
author(s): Arne Deforce
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Arne Deforce is only available in Dutch.
Boek I : Het hier voorliggende proefschrift Laborinth Π Boek II : De ‘Laborinth-art-box’, een speciaal op 15 exemplaren gemaakt collectors item, met daarin de boeken 1 en 3, de originele partituren van Brian Ferneyhoughs Time and Motion Study II, John Cages Etudes Boreales met begeleidende vingervellen met de publicatie van de vingerzettingen, werkverslagen, het citaten boek ‘De partituur van het denken’, drie cd’s met de integrale opname van de cellowerken van Giacinto Scelsi, Morton Feldman en Iannis Xenakis verschenen bij het label Aeon, een Laborinth Π-affiche, het programmaboekje van de Laborinth Π-cellomarathon. De ‘laborinth-art-box’ werd gemaakt naar een ontwerp van Arne Deforce in gepolierd plexiglas, 34 x 47, 6,5 cm. Boek III : De partituur met alle vingerzettingen en annotaties van het nieuwe werk Life-form voor cello en elektronica van Richard Barrett dat speciaal werd gecomponeerd voor de artistieke presentatie van het proefschrift. De artistieke presentatie bestaat uit: (1) de creatie van het nieuwe cellowerk Life-from van Richard Barrett in opdracht van het Concertgebouw Brugge, Centre Pousseur Liège, November Music s’Hertogenbosch, Akademie de Kunsten Universiteit Leiden. Première 10 november 2012, Festival November Music, Hervomde Kerk te s’Hertogenbosh, en 11 november Festival Surround, Concertgebouw Brugge. (2) een cello marathon van drie concerten op één dag met werken van James Dillon, John Cage, Jonathan Harvey, Raphael Cendo, Iannis Xenakis, Helmut Lachenmann, Iannis Xenakis, Richard Barrett. 12 november Kees Vanbaarenzaal, Conservatorium Den Haag.
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Giovanni Girolamo Kapsperger (ca. 1581 – 1651) : Betrachtungen zu seinem Leben und Umfeld, seiner Vokalmusik und seinem praktischen Material zum Basso continuo-Spiel
(last edited: 2023)
author(s): Anne Marie Dragosits
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The thesis of Anne Marie Dragosits presents a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all genres being still mostly neglected from musicologists and performers. The thesis aims to change the perception of the composer via three different angles: A reconstruction of his life and career with a substantial amount of new biographical information builds one pillar of the book, whereas in the second part his vocal works are approached and contextualized as prototypes of radical „stile novo“ in Roman characteristic. The last third is dedicated to questions about basso continuo and Roman performance practice in Kapsperger’s lifetime, dealing also with the composers’ own material on continuo as fount of inspiration for continuo players of all instruments.
Important notice from the author:
Further research after finishing the PhD has unearthed important new archival material. Some of my hypotheses have been strongly confirmed, but some chapters of the biographical part of this thesis are not valid any more. Please find an updated version of Kapsperger’s biography here:
https://www.lim.it/en/essay/5964-giovanni-girolamo-kapsperger-9788855430470.html
Vienna, the 14th of November 2020
Anne Marie Dragosits
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Harmonic duality : from interval ratios and pitch distance to spectra and sensory dissonance
(last edited: 2023)
author(s): Juan Sebastian Lach Lau
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Dissonance curves are the starting point for an investigation into a psychoacoustically informed harmony. Its main hypothesis is that harmony consists of two independent but intertwined aspects operating simultaneously, namely proportionality and linear pitch distance. The former aspect is related to intervallic characters, the latter to ‘high’, ‘low’, ‘bright’ and ‘dark’, therefore to timbre. This research of Juan Sebastian Lach Lau derives from the development of tools for algorithmic composition which extract pitch materials from sound signals, analyzing them according to their timbral and harmonic properties, putting them into motion through diverse rhythmic and textural procedures. The tools and the reflections derived from their use offer fertile ideas for the generation of instrumental scores, electroacoustic soundscapes and interactive live-electronic systems.
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‘Ūd Taqsīm as a Model of Pre-Composition
(last edited: 2023)
author(s): Nizar Rohana
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In this research project, Nizar Rohana analyzes and reflects on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898-1964) and Riyāḍ al-Sunbāṭī (1906-1981). Rohana encodes and underlines their most significant traits in order to:1) enrich and develop my melodic-rhythmic vocabulary;2) deepen my understanding of the structural, melodic and rhythmic processes underlying the genre; 3) design a structural framework or a model for pre-composing taqsīm-like pieces of music.
To put it another way, the dissertation discusses the creation of pre-composed taqāsīm. The pieces follow a specific model of pre-composition that was designed while taking al-Qaṣabjī and al-Sunbāṭī’s taqsīm practice as a reference and a source of inspiration. This model contributes to both artistic research and practical knowledge, and provides new insights into structural, melodic and rhythmical processes of the genre. The artistic outcome of this project includes five new works for solo ‘ūd.
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An improvisatory approach to nineteenth-century music
(last edited: 2023)
author(s): Bert Mooiman
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In the field of Western art music, improvisation has become a much discussed topic. In this interdisciplinary study Bert Mooiman argues that in this context, improvisation is not to be seen as a quasi-autonomous skill or art form, but as an aspect of music-making in general. With this research, Mooiman offers a ‘panorama’ of nineteenth-century styles and situations of music-making that together sketch a picture of improvisatory aspects of nineteenth-century music. Music was generally experienced as a wordless language, and he argues that making music was understood as a rhetorical act: performers strove for musical persuasion. This study focuses on the performer: it explores how performers in the nineteenth century might have thought during the real-time act of music-making, and how performers today might learn to use musical languages from the past actively again. For this last aspect, the area of music theory is relevant; Mooiman concludes his dissertation with a discussion of how traditional music theory is challenged by improvisatory music-making.