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=fa47e9f6288cf802cb8f25318b473db3&e=1725276300)
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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Phónè and the political potential of metal music : a scholarly intervention
(last edited: 2023)
author(s): Kai-wen Chiu
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The thesis of Kai-wen Chiu studies the political potential of metal music from the perspective of phónè in metal,with phónè referring to both voice and sound. I propose that metal, with its loud,distorted phónè, has the potential to challenge the politically charged separation of the meaningful collective voice of a people from the production of sheer sound. Throughout the thesis, I investigate this potential at four levels. The first chapter examines the connection between metal and scholarly subcultural politics. In the second chapter, I study how metal can inform us about power relations running through everyday life, especially with regard to issues of race and gender. The third chapter tackles aspects of power relations that are enacted at the site of phónè, and that draw attention to metal’s loud and distorted phónè. In the final chapter, I examine political activism in Taiwanese metal, demonstrate its relevance, and reflect on its shortcoming. The trajectory of this thesis marks a form of political engagement through phónè in metal, from the perspective of a scholar and a Taiwanese.
Phónè, Voice and sound, Biopolitics, Giorgio Agamben, Taiwanese metal music, Metal music studies
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Territoriality and choreography in site-situated performance
(last edited: 2023)
author(s): K.G. Guttman
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The PhD project of K.G. Guttman 'Territoriality and Choreography in Site-Situated Performance' is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of residential sites in Canada and the Netherlands. Site-situated performance refers to an artistic process that begins and ends on-site, working within the specific conditions of a location. The key terms territoriality and choreography here represent concepts and practices that express and navigate space-time(s). The project animates qualities of territoriality through a choreographed encounter between host-dancer, guest-audience and site-performance. Written and explored from the perspective of a Canadian settler scholar and artist, the project attunes to the material and discursive agency of the guest, host and site within colonial and settler colonial conditions. The project develops a critical and creative mode of engagement with the social, material and political characteristics of a site and with the world-building potential of performance.
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Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation
(last edited: 2023)
author(s): Ilya Ziblat Shay
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation is a practice-based research project that aims to highlight the role of freedom and fixity in music and to develop a discourse based on these two concepts. This research of Ilya Ziblat Shay suggests a creative approach based on the interrelationship between freedom and fixity, for example their combination, juxtaposition, and tension, and describes them as abstractions or placeholders for musical agents such as rhythm, notes, structure, timeline, and interactive computer systems. Another important notion is the inherent coexistence of the two concepts, and proposing the constant oscillating between them as a creative musical approach. Furthermore, the research aims to establish the use of freedom and fixity as a productive paths for extra-musical disciplines. Four works by the author are used as case studies to examine the integration of the research concepts as tangible musical forms. In each of the case studies the concepts are embodied differently, thus different relationships develop between them in each piece. This study relies on the author's experience and experimentation as a composer, performer, improviser, and electronic-music practitioner, and draws inspiration from works by other musicians and scholars.
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In Search of A Lost Language: Performing in Early-Recorded Style in Viola and String Quartet Repertoires (October 2019)
(last edited: 2023)
author(s): Emlyn Stam
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Early recordings made between the 1880s and mid-1930s reveal a wide gap between the performance practices of a century ago and those of today. Though many contemporary musicians often claim fidelity to composers’ intentions, they clearly prefer to avoid the risks associated with playing in ways familiar to the very composers to whom they pledge fidelity. Given this state of affairs, I, Emlyn Stam, suggest a re-thinking of the concept of Werktreue, predicated upon the notion that 19th-century performers enacted their fidelity to works and composers by creating altered and highly personalized versions of the detail, structure and time of composers’ works. My own performances aim to enact this performer-centred Werktreue in order circumvent the frequently restrictive nature of modern performance practices while closing the gap between these practices and those heard on early recordings of viola solo, viola/piano and string quartet repertoires.
The question my work engages with is: how might viola and string quartet playing in the performer-centered, moment-to-moment and communicative style heard on early recordings be brought about today? In order to achieve this aim, the study of relevant literatures on early-recorded style is combined with historical research and the detailed analysis and ‘all-in’ copying of early recordings.
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Veranderend kunstenaarschap : de rol en betekenis van de kunstenaar in participatieve kunstpraktijken
(last edited: 2023)
author(s): Rina Visser
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Rina Visser is only available in Dutch.
De positie van kunst en kunstenaars in de westerse samenleving is de afgelopen decennia sterk veranderd. Veel kunstenaars voelen zich maatschappelijk betrokken en zoeken naar aansluiting bij de samenleving. Participatieve kunstpraktijken zijn daarvan een goed voorbeeld. Bij deze kunstvorm werken kunstenaars samen met burgers in hun eigen leefomgeving. De kunstpraktijken zijn gericht op maatschappelijke vraagstukken. Burgers worden met inzet van verbeeldingskracht geactiveerd om te reflecteren op hun eigen situatie en zo tot een andere visie te komen. Het werkterrein van de participatieve kunstenaar wordt daarmee van atelier, theater of concertzaal naar de samenleving verplaatst. Participatieve kunstpraktijken zijn zowel sociaal-maatschappelijk als kunst gericht. Door deze nieuwe manier van werken komt de kunstwereld en de kunstenaar in een ander daglicht te staan. Om deze veranderingen nader te kunnen vaststellen, zijn vijf participatieve kunstpraktijken in de Randstad onderzocht. Uit het onderzoek blijkt dat ook de artistieke identiteit van de kunstenaar van invloed is op de inhoud en vorm van de kunstpraktijk. Sommige kunstenaars zijn gericht op het kunstwerk als eindresultaat. Anderen vinden het sociale proces van de deelnemers belangrijker. Ook de invulling van de deelnemersparticipatie blijkt daarmee samen te hangen. Participatieve kunstenaars vervullen een nieuwe rol in de samenleving, namelijk die van netwerkkunstenaar.
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La Cetra Cornuta : the Horned Lyre of the Christian World
(last edited: 2023)
author(s): Crawford Young
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
“La Cetra Cornuta : the Horned Lyre of the Christian World ”A musical instrument of substantial importance in the history of Christianity, specifically during the Romanesque, Gothic and Renaissance periods in Italy, the cetra was the forerunner of the stringed instrument known in English since the 16th-c. as “cittern”.This study of Crawford Young presents a detailed examination of the chordophone, featuring an iconographical catalog assembled from the visual arts c. 1100 - c. 1540. The field of iconographical data presented in the catalog is then analyzed, together with relevant literary and music theory sources from the same period, to give a definitive account of the instrument’s morphology, evolution, construction, cultural identity, musical function and repertories. Art historians as well as music historians and players of mediëval and Renaissance instruments will find answers to questions raised about this uniquely Italian ancestor of the High Renaissance and Baroque cittern, as will anyone seeking to gain a more focused view of musical instrument history in Italy during the centuries that shaped Western culture; for here is a stringed instrument recalling Classical Antiquity, and one of quintessential importance to both Christians and Humanists: made in Italy.