The project Sounding Philosophy, funded by the Norwegian Artistic Research Program (2021-2025), integrates the fields of music composition, philosophy and science to understand how theories of reason and the mind can be approached from creative, metaphysical and scientific perspectives. This project builds on research-creation initiated by a Guggenheim Fellowship in 2017-2018, presentations at the interdisciplinary annual conference of the Swiss Philosophical Society in September 2018 and discussions undertaken in the context of the Grieg Academy Composition Research Group in 2018-2024.
The question of reason and the mind has been dealt with in the fields of art, philosophy and science and this has given way to contemporary theories of emergence, e.g. by the Nobel-Price Winner in Physics Robert Laughlin. Emergence can be described as the condition of an entity having properties distinct from the properties of the parts of the system from which it emerges, an important concept within the theoretical framework of complex systems. While philosophers have described thinking, doing and perception as different “states of mind,” scientists have not only concerned themselves with the question of how intelligence in the universe is possible but also how intelligence plays a role in the evolution and emergence of nature. Philosophers, such as Spinoza and Kant, regarded both philosophy and art not merely as rational modes of explanation but also as expressions of spirit (spiritus) and intelligence (Geist). Such questions of spirit also relate to new developments in emergence theories in physics and philosophy.
“Intuition” has been the ongoing theme of the artistic research project Sounding Philosophy in 2023-2024.
From February 4–6 2024, the project Sounding Philosophy, supported by the Norwegian Artistic Research Program, once again focused on compositions of Morton Feldman (1926–1987), looking into how intuition and stasis play a role in his late works. Morton Feldman was one of the most adventurous American composers of the last century. Feldman’s music transports the listener into new realms of musicals experience where time and memory interact in always new and surprising ways.
The first concert presented Feldman’s monumental Trio (1980), performed by the Valen Trio on February 4, 2024 in the University Aula.
A conference on February 5, 2024 in the Grieg Academy investigated the roles of intuition and stasis in Feldman’s work, with a lecture by Prof. Walter Zimmermann from the Berlin University of the Arts (read by Dániel Péter Biró) as well as by Fidan Aghayeva-Edler and members of the Valen Trio.
A second concert on February 5, 2024 in Gunnar Sævigs sal, Grieg Academy investigated Feldman’s legacy from the vantage point of his colleagues and students, as performed by Grieg Academy piano alumnus Fidan Aghayeva-Edler.
A workshop by Fidan Aghayeva-Edler on February 6, 2024 in Gunnar Sævigs sal, Grieg Academy presented works of Grieg Academy students and discuss her research into extending sonorous possibilities on the piano.
Concert 1
February 4, 2024
19:30 – 21:00
University Aula
University of Bergen
Morten Feldman Trio (1980)
performed by the Valen Trio
Morton Feldman’s Trio (1980) is one of his most important later works, presenting for the listener new modes of perceiving musical memory, form and time.
Conference on the Late Work of Morten Feldman
Monday February 5, 2024 14:30 – 17:30 Prøvesalen Grieg Academy
Dániel Péter Biró:
“Polarities of Distinction: An Introduction to the Late Works of Morton Feldman”
A brief introduction to the late works of Morton Feldman, their aesthetic framework and connection to philosophical concepts of intuition.
Walter Zimmermann (lecture read by Dániel Péter Biró)
“Memory-Seismogram in Morton Feldman’s Trio (1980)”
What is important to me about Morton Feldman? It is that he very consistently formulated what all the other music that was characteristic of the post-war period had left out. In essence, he redefined the concept of the subject. Intuition took the place of serial construction and, although his pieces were highly constructed, they were constructed on the spur of the moment. He opposed the suppression and control of sounds by allowing them to breathe, giving the sound its own breath, the duration it needs. This, ultimately, attacked the ritual of listening, replacing the teleological listening-stream with listening that frees the listener from being told something: the listener is released from the imposition of following a message, programmatic or domesticating. Feldman invalidated that kind of listening with his sound carpets or sound screens, which replace the old listening with one that becomes active, exploring the sound, taking time to explore the various constellations and crystallizations, allowing the sounds to become themselves. So, simply, he became important to me as another magnet that enabled me to do my things independent of the German school, and I thank him for that. Besides collecting Morton Feldman’s Essays for publication (Beginner Press 1984), I organized performances of these new long pieces, including the world premiere of the piano trio (on April 15th, 1984), in long sessions on three consecutive days in my Beginner Studio in Cologne.
Fidan Aghayeva-Edler, Einar Røttingen and Ricardo Odriozola: “The Degrees of Stasis”
Morton Feldman was inspired by contemporary artists, such as Mark Rothko, Robert Rauschenberg, Philip Guston and by oriental rugs, which he collected. In his writings he often mentions stasis (as utilized in painting), scale and pattern as important components for his work. The (a)symmetry in his patterns, the way he proceeds from one thing to another in his music, the importance of silence as “positive void”, the notation’s effects on composition and the antagonism of attack and decay in relation to instrumental sound will be analyzed, as found in Feldman’s Trio (1980) and Palais de Mari (1986) presenting sections from these works.
Concert 2
Fidan Aghayeva-Edler and the Legacy of Feldman
February 6, 2024 19:30 – 21:00 Gunnar Sævigs sal Greig Academy
In this concert, Fidan Aghayeva-Edler presents a concert of works by Feldman and by composers who were influenced by his music.
Program:
Linda Catlin Smith Nocturnes and Chorales (2013):
I Nocturne II Chorale III Nocturne IV Nocturne V Chorale 2 VI Chorale 3 VII Chorale 4 (for Satie) VIII Nocturne Chorale IX
Morton Feldman Palais de Mari (1986)
Ursula Mamlok 2000 Notes (2000) I Gruff II quarter and sixteen equals 72+ III quarter equals 48 IV dotted eighth equals 112+
Bunita Marcus …but to fashion a lullaby for you… (revised 1998)
Fidan Aghayeva-Edler, piano
Workshop with Fidan Aghayeva-Edler Tuesday February 6, 2024 14:00 – 17:00 Gunnar Sævigs sal Grieg Academy
Pianist Fidan Aghayeva-Edler presented a workshop about extended piano techniques, presenting a new work by Grieg Academy student Simão Alves as well as other works from the 20th and 21st centuries. Biographies The Valen Trio consists of John Ehde (cello), Einar Røttingen (piano) and Ricardo Odriozola (violin). The trio started in 2009 and took its name after the Norwegian composer Fartein Valen. Besides playing trios from standard repertoire, the Valen Trio focuses on commissioning new works and highlighting lesser-known works from it 20th century. The trio’s first CD from 2012 on the record label LAWO reflects this profile and contains works by Fartein Valen, Klaus Egge and Ketil Hvoslef, the latter commissioned by the Valen Trio. The CD has received rave reviews at home and abroad; Classic music magazine writes “An all-rounder outstanding CD, one of the best of its kind I have heard in a very long time” and Stavanger Aftenblad states that the CD "sets a new standard for one of the most important works in Valen’s production - an outstanding publication of Norwegian chamber music!’. Of international magazines Gramophone writes respectively and Fanfare “The players’ ensemble and intonation are flawless and their understanding of each other and the repertoire highly impressive” and "they play Valen’s rhythmic, energetic music with love and great attention to detail and with the stylistic knowledge that comes from a serious study of the composer and knowledge of the culture in which he worked.” In 2013, the Valen Trio premiered the work “I rørsle” by Knut Vaage during the Bergen Festival and in 2015 the Valen Trio toured Norway and Denmark with trios by Grieg, Martinu and Dvorak and with trios by Max Reger and Gabriel Faure. The Valen trio has recorded the British composer Andrew Keeling’s Trio “Unquiet Earth,” reissued on the CD “Spirtitus” in 2016. Knut Vaage composed the trio “Svev”, and Sigurd Fischer Olsen the trio “Mold,” premiered by the Valen Trio in 2018 at the Borealis Festival for experimental music. “Svev” was released on CD at LAWO in 2020. New projects in 2023 were the performance of Frank Bridge Trio no.2 and premiere performance of a commissioned work by Torstein Aagaard-Nilsen at the Bergen Chamber Music Association.
Fidan Aghayeva-Edler is a pianist based in Berlin, Germany, currently focused on performance of contemporary music and improvisation. She is active in Berlin’s contemporary music scene and works closely with composers. Her recordings were broadcasted by the Bayerischen Rundfunk, RBB Kultur, Klassikcast of the Goethe Institut, MDR Figaro, KAN Israel, Radio France, Český rozhlas etc. Here solo albums include “Verbotene Klänge: Sechs Suiten” (2019), released by Kreuzberg Records, with the music of persecuted composers, and “Fenster” (2022), released by GENUIN, with the works of seven contemporary female composers, which got nominated for the Preis der Deutschen Schalplattenkritik and ECHO Klassik. Her further collaborative projects include CDs and albums “Klavierwerke” (2016), “Twenty for piano” (2020), “The Black Garden” (2020). As a soloist and with an ensemble, she has performed in various venues across Europe, such as Philharmonie Berlin, Grieghallen Bergen, and became part of the “musica reanimata” concert series at Konzerthaus Berlin, Impuls Festival, Borealis Festival, NUNC! 5, I Baku Contemporary Days Festival, Bergen Festspillene, akademie kontemporär at HfMT Hamburg, Junge Akademie Exhibition AdK Berlin, Klangteppich among others. She works closely with the Ensemble Berlin PianoPercussion and with soprano/composer Margarete Huber, with whom she performs regularly. Her focus lies on the rediscovery of music by persecuted composers. She tries to represent the music of male, female and non-binary composers equally in her concert programs. She is constantly discovering new musical spheres, such as improvised performances (solo or in an ensemble) with extended piano techniques, realizing interdisciplinary projects (including poetry and dance), exploring instruments and genres. She gives contemporary piano techniques workshops at music high schools and festivals across Germany and Europe.
Walter Zimmermann is a composer of stage, orchestral, chamber, choral, vocal, piano, and electro-acoustic works that have been successfully performed and recorded across Europe. From 1968-70, he was pianist in the Ars Nova ensemble in Nuremberg and studied composition with Werner Heider. From 1970-73, he studied with Mauricio Kagel (at the Kölner Kurse für Neue Musik) and at the Institute of Sonology in Utrecht (with O.E. Laske) and the Jaap Kunst Center of Ethnology in Amsterdam. In 1974, Zimmermann began his stay in the USA, first in Hamilton, New York to study computer music, and then around the States to have conversations with 23 American composers (which were published in the book Desert Plants). In 1977, he opened his Beginner Studios in Cologne and gave regular concerts of new music until 1984. In 1992, he and Stefan Schädler organized the Anarchic Harmony Festival in Frankfurt to honor John Cage on his 80th birthday. He has received numerous awards, including the Förderpreis from the city of Cologne (1980), First Prize at Ensemblia in Mönchengladbach (1981), a scholarship to stay at the Villa Massimo in Rome (1987), the distinguished Prix Italia for his Die Blinden (1988), and the Schneider-Schott Preis (1989). Prof. Zimmermann has taught composition at the Liège Conservatoire (1980-84) and in Karlsruhe (1990-92) and has been Professor for Composition at the Hochschule der Künste in Berlin since 1993; he has also lectured at the Darmstadt International Summer Courses (1982, 1984) and at the Royal Conservatory in Den Haag (1988). He has written the books Desert Plants (1976), Insel Musik (1981) and Morton Feldman Essays (1985).
Dániel Péter Biró is Professor for Composition at the Grieg Academy in Bergen, Norway. He studied in Hungary, Germany, Switzerland and Austria before receiving his Ph.D. from Princeton University in 2004. From 2004-2009 he was Assistant Professor and from 2009-2018 Associate Professor for Composition and Music Theory at the University of Victoria in Victoria, BC, Canada. In 2010 he received the Gigahertz Production Prize from the ZKM-Center for Art and Media. In 2011 he was Visiting Professor at Utrecht University and in 2014-2015 Research Fellow at the Radcliffe Institute for Advanced Study, Harvard University. In 2015 he was elected to the College of New Scholars, Scientists and Artists of the Royal Society of Canada. In 2017 he was awarded a Guggenheim Fellowship. He is currently directing the project Sounding Philosophy as part of the Norwegian Artistic Research Program (2021-2025).
The Sounding Philosophy conference in September 2023 began with a sound installation of Marta Gentilucci, Assistant Professor in Composition, Cambridge University. Her Cartographies du corps is a sound-visual installation, and is the result of a creative collaboration with the photographer Susan Meiselas. Cartographies du corps traces a map of the skin and the gestures of aging women that speak about engaged lives, still filled with energy, full of beauty – a beauty that comes from the layering of their experience.
The installation Cartographies du corps ran from September 8-10, 2023 in Studio A in the Grieg Academy.
A meeting between composer Marta Gentilucci, local composers and Grieg Academy composition students in a session of research-based teaching of music composition occured on September 10, 2023 at 15:30.
The conference on September 11, 2023 from 9:30 – 17:00 in Gunnar Sævings sal, and in Studio A, Grieg Academy, focused on questions of intuition in music composition, sound installations, music performance, music technology, computational chant research, philosophy and science.
Conference participants included Dr. Gunnar Hindrichs, Professor of Philosophy, University of Basel, Dr. Grit Schwarzkopf, Researcher, Grieg Academy, Dániel Péter Biró, Professor for Composition, Grieg Academy, Dr. Marta Gentilucci, Assistant Professor in Composition, Cambridge University, Dr. Peter van Kranenburg, Lecturer, Department of Information and Computing Sciences, Utrecht University, Juan Vassallo, PhD Fellow, Grieg Academy, Sergej Tchirkov, PhD Fellow, Grieg Academy, Örjan Sandred, Professor for Composition, University of Manitoba, Dr. Ermis Theodorakis, Hochschule für Musik und Theater, Leipzig, Dr. Hagit Yakira, Associate Professor for Dance, University of Stavanger, Dr. Tijs Ham and soprano Juliane Harberg.
After the conference, a concert was presented by Ermis Theodorakis, piano Juliane Harberg, soprano, Sergej Tchirkov, accordion and Dániel Péter Biró, guitar and students and alumni of the Grieg Academy with works by Julia Constance Wiger-Nordås, Anton Webern, Ethel Mary Smyth, Ermis Theodorakis, Örjan Sandred, Alfred Zimmerlin and Iannis Xenakis.
PROGRAM
Cartographies du corps
SOUND INSTALLATION of Marta Gentilucci
Friday, September 8, 19:00 – 22:00 Saturday, September 9, 15:00 – 19:00 Sunday, September 10, 15:00 – 21:00 Studio A, Grieg Academy
Sunday, September 10:
COMPOSITION WORKSHOP with Marta Gentilucci
Sunday, September 10, 15:30 – 18:30 Vaktmesterbolig, Grieg Academy CONFERENCE OPENING and VERNISSAGE Sunday, September 10, 2023 19:00 Studio A, Grieg Academy
CONFERENCE
Monday, September 11, 10:00 – 17:00
Gunnar Sævings Sal and Studio A, Grieg Academy
Chair: Sergej Tchirkov
10:00: Dániel Péter Biró: Conference Introduction: “Intuition in Artistic, Philosophical and Scientific Research” In this introductory talk, Dániel Péter Biró will discuss how various concepts of intuition from across the ages inform our understanding of how intuition plays a role in artistic, philosophical and scientific research and how intuition might help us to understand how various types of research thinking can be combined in a holistic manner.
10:15: Juan Vassallo: “Outward Threads – Computation and Intuition in Contemporary Music Composition” ‘Outward Threads’ delves into contemporary music creation employing computer-assisted composition, algorithmic poetry, and electroacoustic mediums. It challenges the perception of technology-based composition as alienating and fully deterministic while reevaluating intuition as a logical-associative cognitive process. The project explores the interplay between computation and intuition, enhancing artistic expression through their dialogical synergy.
11:00 Peter van Kranenburg: “On Computational Modelling of Melody” Over the last decades, the study of computing resulted in a body of knowledge and practices concerning algorithms and data structures. These methods are generally abstract, in the sense that particular datastructures or algorithms may find application in a diversity of concrete fields. E.g., a graph can be used to represent such diverse phenomena as social networks, the layout of components on a circuit board, physical road maps for navigation, relations between traditions in Medieval liturgical chant, or the architecture of neurons in an artificial neural network. In this talk, I will discuss the possibilities of computational methods for the study of music, with a particular focus on the proces of modelling. Some examples from the field of modelling melody will be presented, in particular about the analysis and understanding of melodic similarity and of tonal structures in religious recitation.
11:45: Alexander van der Haven: “Neither Jews nor Muslims: The Hymns of the Turkish ma’aminim, last of the Sabbatians” The Turkish Ma’aminim, or Dönmes as they are best known, are descendants of Jews who followed their messiah Sabbatai Tsevi into Islam in the late seventeenth century. On the basis of a recording of a (reconstructed) nineteenth-century ma’aminim hymn, which will be presented, the lecture will show how the ma’aminim, despite outside perspectives of them being crypto-Jews or wayward Jews, have developed an independent religious tradition that is neither, and both, Islamic and Jewish.
12:30: Lunch Served in Gunnar Sævings Sal
Studio A Grieg Academy
13:30: Session 2: Intuition of Body and Space
Chair: Karen Werner
13:30: Marta Gentilucci: “Encounter, exchange and inspiration: Cartographies du corps” Cartographies du corps is a sound-visual installation, and is the result of a creative collaboration between the composer Marta Gentilucci and the photographer Susan Meiselas.
14:15 Coffee Break in Gunnar Sævings sal
Gunnar Sævings sal, Grieg Academy
14:30 Session 3: “Intuition In Philosophical and Musical Form” Chair: Arnulf Mattes
14:30 Gunnar Hindrichs: (1) “Intuitive Understanding of the Whole (Spinoza - Kant - Schelling)” Grasping the whole needs a specific mode of knowledge. Often, the concept of intuition is employed for its definition. The presentation gives a sketch of three important versions of the intuition of a whole: Spinoza’s scientia intuitiva, Kant’s intuitive understanding, and Schelling’s intellectual intuition.
Anton Webern: Variations Op. 27 (1936) for piano solo, Ermis Theodorakis
(2) “Intuitive Power of Judgment and the Unity of Form: Goethe and the Schoenberg Circle” Goethe used the term “intuitive power of judgment” in order to define our cognition of natural metamorphoses. His idea had some influence on the Schoenberg circle and its search for an adequate theory of musical form. The presentation introduces Goethe’s idea and draws lines to Schoenberg’s “Musikalischer Gedanke” and Erwin Ratz’ analysis of form.
15:00 Grit Schwarzkopf: (1) “Euclid and Hilbert” Axioms are the foundations of science. Scientific theories are formulated on their basis. In 325 BC, Euclid explained this relationship in Stoicheia (The Elements). In 1917 Hilbert expounded on this relationship and postulated that the axiomatic method be used for scientific work. Axioms cannot be justified, as they are intuitively positioned.
Musical Response: Anton Webern: Five Songs after poems by Stefan George Op. 4 (1908-09) Juliane Harberg, mezzo soprano Ermis Theodorakis, piano
(2) “What is intuition?” The question of what intuition actually serves to evokes a variety of positions. Intuition has to do with thinking: as immediate understanding or as a sudden access to the whole or as a counterpart to rational, discursive thinking. What if we understood intuition as the only form of thinking?
15:45: Coffee Break in Gunnar Sævings sal
Gunnar Sævings Sal, Grieg Academy
16:00 Session 4: Intuition in Composition and Performance Chair: Erik Håkon Halvorsen
16:00 Örjan Sandred/Dániel Péter Biró “Intuition in Programming, Composition and Performance in Cracks and Corrosion (2004/2017)” In this discussion, Örjan Sandred and Dániel Péter Biró will discuss the role of intuition in programming, pre-compositional planning using computer aided composition (CAC), and performing with a discursive electroacoustic setup.
16:45 Sergej Tchirkov / Alfred Zimmerlin
“Three movements from Akkordeonbuch (2020-2022)”
In this presentation Sergej Tchirkov will play some fragments from Akkordeonbuch – a large-scale composition by Alfred Zimmerlin. A specific focus of the discussion will be put on the role of the body as one of the central aspects in the production process and how it relates to intuitive performance.
Respondent: Tijs Ham
17:30: Conference Dinner
CONCERT
Monday, September 11, 20:00 Gunnar Sævigs sal, Grieg Academy
Julia Constance Wiger-Nordås: Inntreden (2023) for clarinet in A, guitar and pitched gongs Pavel Girunyan, clarinet, Dag Håheim, guitar, Øyvind Dahl-Paulsen, gongs Dániel Péter Biró, conductor
Anton Webern: Variations Op. 27 (1936) for piano solo
Ethel Mary Smyth: Requies (1913) Possession (1913) for mezzo soprano and piano
Ermis Theodorakis: Melody (2005) for any solo voice
Ethel Mary Smyth: After Sunset (1913) On the Road (1913) for mezzo soprano and piano
Anton Webern: Five Songs after poems by Stefan George Op. 4 (1908-09) Juliane Harberg, mezzo soprano Ermis Theodorakis, piano
–– Intermission ––
Örjan Sandred: Cracks And Corrosion (2004/2017) for guitar and live electronics Dániel Péter Biró, Guitar Arthur Pierre Antoine Hureau-Parreira, electronics
Alfred Zimmerlin: _Three movements from Akkordeonbuch (2020-2022) Thinking Partner, Immersed Queen Mary’s Rose Garden Narcotic Traveller Sergej Tchirkov, accordion
Iannis Xenakis: Evryali (1973) for solo piano, Ermis Theodorakis, piano
In March 2023 the Sounding Philosophy project participants investigated how intuition exists in time and space, presenting an intercontinental concert via the Internet with musicians in Norway, Canada and Germany. This concert is a cooperation between the Grieg Academy in Bergen, Norway the Festival Montréal Nouvelles Musiques in Montréal, Canada, the Quasar Saxophone Quartet and the SWR Experimentalstudio in Freiburg, Germany.
March 4, 2023 19:30 Studio A, Grieg Academy Festival Montréal Nouvelles Musiques, Agora Hydro-Québec de l’UQAM, Montréal, Canada and at the SWR Experimentalstudio, Freiburg, Germany
Part I: Intuition
Karin Haußmann, an der Stimme erkannt Ensemble Mixtura: Margit Kern, accordion Katharina Bäuml, shawm
Dániel Péter Biró, De Natura et Origine Kai Wessel, countertenor Ensemble Mixtura: Katharina Bäuml, shawm Margit Kern, accordion Dániel Péter Biró, Thomas Hummel, SWR Experimentalstudio, Arthur Pierre Antoine Hureau-Parreira, live electronics
Intermission
Part II: Intercontinental Dialogues
Hongshuo Fan Conversations in the Cloud (world premiere of duo version) for baritone saxophone, bass clarinet, AI, and video Andrea Nagy, clarinet Jean-Marc Bouchard, baritone saxophone Hongshuo Fan, Michael Acker, Joachim Haas, SWR Experimentalstudio, Guillaume Barrette, live-electronics
Michel Gonnville Abel: l’a-mort for spatialized recorder and saxophone quartet Jostein Gundersen, recorder Quasar Saxophone Quartet Arthur Pierre Antoine Hureau-Parreira, Guillaume Barrette, electronics
Juan Vassallo, I am Not a Loop (world premiere) for recorder, harpsichord, synthesizer saxophone quartet and live electronics Jostein Gundersen, recorder Hans Knut Sveen, harpsichord Quasar Saxophone Quartet Juan Vassallo, Arthur Pierre Antoine Hureau-Parreira, Guillaume Barrette, live electronics
Örjan Sandred Engrammes for saxophone quartet and live electronics Quasar Saxophone Quartet Örjan Sandred, live electronics Commissionned by Quasar with the financial support of the Quasar Creative Fund
Dániel Péter Biró, Migdalim Bavel (Towers of Babel) for countertenor, shawm, accordions, saxophone quartet and live electronics Kai Wessel, Countertenor Ensemble Mixtura: Katharina Bäuml, shawm Margit Kern, accordion Sergej Tchirkov, accordion Quasar Saxophone Quartet Dániel Péter Biró, Arthur Pierre Antoine Hureau-Parreira, Guillaume Barrette, live electronics Quasar Saxophone Quartet Marie-Chantal Leclair, soprano saxophone Mathieu Leclair, alto saxophone André Leroux, tenor saxophone Jean-Marc Bouchard, baritone saxophone
Conference:
March 6, 2023 14:00 – 16:30 Grieg Academy, Vaktmesterbolig:
Intuition and Intellect within Intercontinental Musical Creation and Performance
This conference investigated questions of intuition and intellect (spirit) in the composition and performance of music spatialized in an intercontinental context. Questions of the realms of consciousness and agency, human and artificial intelligence, as well as how historical musical material functions in new electroacoustic contexts were discussed, involving participants in Germany, Canada and Norway.
With Katharina Bäuml, Dániel Péter Biró, Jean-Marc Bouchard, Hongshou Fan, Simon Gilbertson, Jostein Gundersen, Joachim Haas, Margit Kern, Marie-Chantal Leclair, Einar Røttingen, Grit Schwarzkopf, Sergej Tchirkov, Juan Vassallo.
Morten Feldman developed a very personal and intuitive approach to creating large-scale compositional forms. The music provides a kind of memory exercise for the listener, whereby the very act of perception can be investigated. Following the conference, a conference followed at the Grieg Academy on Monday, January 16, 2023. In this conference, the music of Morten Feldman was first introduced, followed by an open panel-discussion about Triadic Memories. A main topic was how intuition plays a role in the creation and reception of this work, in the music of Feldman as well as in music in general. The discussion was Dániel Péter Biró, Professor for Composition and leader of the Artistic Research Project Sounding Philosophy and involved Einar Røttingen, philosopher Maria Mjaaland Sele, pianist and scholar Annabel Balean Guaita, faculty and students at the Grieg Academy and members of NyMusikk Bergen.
Concert: Morten Feldman Triadic Memories. (1981) Sunday, January 15, 2023 19:30 University Aula Concert done in collaboration with NyMusikk Bergen
Conference: Intuition (Part I): With Einar Røttingen, Maria Mjaaland Sele, Annabel Balean Guaita, Dániel Péter Biró as well as faculty and students at the Grieg Academy and members of NyMusikk Bergen.
Monday, January 16, 2023 13:00 – 15:00 Prøvesalen Grieg Academy Lars Hilles gate 3, 5015 Bergen University of Bergen
With the focus on relationships between music creation, music performance and music technology, the Intellect of Sound Symposium, seeks to investigate the intersection between traditional forms of music creation and performance with those assisted by music technology.
Alongside the international speakers, group composition workshops with composition students from the Grieg Academy will be a main part the Symposium. All events are free and open to the public.
In this context, two special concerts will occur at 8 PM on June 24 and June 25 at the Grieg Academy, featuring some of the most prominent groups for contemporary music and music technology in the world including the Neue Vocalsolisten and Experimentalstudio.
Many of the invited composers have integrated traditional forms of music production into a technology-based compositional framework: Marta Gentillucci has looked into applying computational analysis methods of the voice within an extended technological framework. Samir Odeh–Tamimi integrates elements of Palestinian ritual singing with electronic processes into his works while Örjan Sandred has explored relationships between musicians’ body movements caught on video, composition and Artificial Intelligence.
These composers, along with Dániel Péter Biró, principle investigator of the Sounding Philosophy project of the Norwegian Artistic Research Program, will work together with composition students from the Grieg Academy, the members of the Neue Vocalsolisten, Ingela Øien from the BIT20 Ensemble, percussionists Jonny Axelsson, Craig Farr and Trond Dale, choreographer Hagit Yakira, PhD fellows in Artistic Research Sergej Tchirkov and Tijs Ham as well as the SWR Experimentalstudio. The symposium presents concerts, colloquia, interviews, lectures and workshops to students as well as to the larger public.
Program
Monday, September 11, 2023 Gunnar Sævigs Sal, Griegakademiet Sounding Philosophy Intuition - Part 3
Concert:
Thursday, June 23, 2022 10:00: Gunnar Sævigs sal: Open Rehearsal with Hagit Yakira (UiS), Dániel Péter Biró (UiB), the Neue Vocalsolisten and the Experimentalstudio with Hagit Yakira and Dancers in Stavanger and Neue Vocalsolisten and Experimentalstudio in Bergen (trans-city collaboration via the internet)
11:30 Coffee Break
12:00: Room 206: Presentation 1: Trond Lossius As place flows through me
12:30: Room 206: Maria Rusinovskaya around which dissonant satellites cluster
13:00: Lunch
14:00: Room 206: Composition Course with Samir Odeh Tamimi and Dániel Péter Biró
14:00: Vaktmesterbolig: Composition Course with Marta Gentilucci
17:00: Dinner
19:00: Open Rehearsal: Marta Gentilucci’s As Far as the Eye Can See with Marta Gentilucci, Craig Farr and the SWR Experimentalstudio
20:00: Studio A: Evening concert:
The Intellect of Sound Symposium continues with a concert of contemporary music for instruments and live electronics including compositions by Marta Gentilucci, Örjan Sandred, Tijs Ham, Ljubov Katerli, Thomas Kessler and Carlos Perales. Sergej Tchirkov (accordion), Craig Farr (percussion), Jonny Axelsson (percussion) and Tijs Ham (electronics) with the Experimentalstudio, Lukas Nowok, sound direction.
Örjan Sandred Mimétisme for percussion, video and live electronics
Carlos Perales Il Sogno dell’Angelo for accordion and live-electronics
Intermission
Marta Gentilucci As far as the Eye Can See for percussion and live-electronics
Ljubov Katerli Mirror for accordion and live-electronics
Tijs Ham _Physeter (In Pursuit of the Mirage) _audio-visual performance with live-electronics
Thomas Kessler Accordion Control for accordion and live-electronics
Tim Abramczik, Lukas Nowok, sound direction, Sergej Tchirkov, accordion, Craig Farr, percussion, Jonny Axelsson, percussion, Tijs Ham, Ljubov Katerli, live-electronics
Friday, June 24, 2022:
9:30: Room 206: Maria Mjaaland Sele A Philosophical Dialogue About Music
10:00: Prøvesalen: Workshop: Juan Vassalo with Guillermo Anzorena
11:30: Coffee Break
12:00: Prøvesalen: Workshop: Alexander Fiske Fosse with Neue Vocalsoliste
13:00: Lunch
14:00: Room 206: Presentation 3: Samir Odeh Tamimi: Das eigene und das Fremde und doch ist alles fremd (The Familiar and the Strange and in Actuality Everything is Strange)
14:30: Room 206: Presentation 4: Dániel Péter Biró: Parametrical Translation and Transformation in Asher Hotesti Etkhem (Who Brought You Out of Land)
15:00: Room 206: Presentation 5: Juan Vassallo Versificator: Simbolic Music Resynthesis via Stochastic Methods and AI
15:30: Room 206: Coffee Break
16:00: Gunnar Savigs sal: Open Rehearsal with Samir Odeh Tamimi: Jarich
17:00: Dinner
20:00: Studio A: Concert 1:
Örjan Sandred Mimétisme for percussion, video and live electronics Marta Gentilucci As far as the Eye Can See for percussion and live-electronics Carlos Perales Il Sogno dell’Angelo for accordion and live-electronics (World Premiere) Ljubov Katerli Mirror for accordion and live-electronics Tijs Ham Physeter (In Pursuit of the Mirage) audio-visual performance with live-electronics Thomas Kessler Accordion Control for accordion and live-electronics
Sergej Tchirkov, accordion Craig Farr, percussion Jonny Axelsson, percussion Tijs Ham, Ljubov Katerli, live-electronics SWR Experimentalstudio, live-electronics, Tim Abramczik, Lukas Nowok, Detlef Heusinger, sound direction
Saturday, June 25, 2022:
10;00: Room 206: Presentation 7: Marta Gentilucci Vocal Vibrato and Poetic Text
11:00: Room 206: Coffee Break
11:30: Room 206: Presentation 9: Örjan Sandred: Music - Beyond Sound
12:00: Room 206: Presentation 8: Sergej Tchirkov: (Un)-fixed gesture: On the gestural aspect of an instrumental performance with fixed media
12:30: Room 206: Presentation 2: Tijs Ham: The Mirage
13:00: Lunch
14:00: Vaktmesterbolig: Composition Course with Detlef Heusinger
14:00: Room 206: Composition Course with Örjan Sandred
18:00: Dinner
19:30: Gunnar Sævigs sal: Pre-Concert Round Table Discussion
20:00: Concert in Gunnar Sævigs sal:
Program: Detlef Heusinger: Verblendung for bass-flute, accordion and live-electronics Marta Gentilucci: Auf die Lider for soprano, percussion and live-electronics Samir Odeh Tamimi: Jarich for three voices and electronics Samir Odeh Tamimi: VROS for three voices and electronics Dániel Péter Biró: Asher Hotseti Etkhem for five voices and electronics
Trond Dale, Percussion Ingela Øien, flute Sergej Tchirkov, Accordion Neue Vocalsolisten Dániel Péter Biró, SWR Experimentalstudio, live- electronics, Tim Abramczik, Lukas Nowok, Detlef Heusinger, sound direction
The aims of the The Intellect of Sound Symposium for Electronic Music are threefold:
(i) to foster artistic research-based higher music performance education
ii) to enhance students’ abilities to learn and perform a diverse selection of contemporary music with technology from around the world through new works created by students as well as by world-renowned composers and (ii) to enhance participants’ abilities to learn about contemporary music through performance with world-class guest ensembles and experts in music technology
(iii) to present the results of the collaboration to the community via concerts, seminars, involving community members in an open exchange of ideas about composition and reflection, the place and meaning of new music in an age of globalized aesthetic and technological innovation.
The Intellect of Sound Symposium, part of the artistic research project Sounding Philosophy, was also supported by the Faculty of Fine Art, Music and Design, University of Bergen, the Norwegian Artistic Research Program, the Canada Council for the Arts and the Centre for Excellence in Music Performance Education.
The conference takes place in Gunnar Sævigs Sal at the Grieg Academy and combines a series of presentation sessions, as well as several selected concerts, both at The Grieg Academy and Johanneskirken (scroll down). Both the conference and the concerts are free to attend.
The conference is centered around the theme of “Dimensions”. Presenters will look at dimensional concepts, thinking and working methods in artistic, philosophical and scientific disciplines. Questions about the nature of cognition, the borders of consciousness and artistic agency will certainly come to the forefront during this first seminar, which will combine artistic results, conference presentations and round-table discussions.
23 February, 2022: 18:00 - 22:00
Opening of Symposium: Studio A, Grieg Acadmey, University of Bergen Örjan Sandred: Sonic Trails Electroacoustic Installation (Norwegian Premiere)
24 February, 2022: 10:30 – 17:30
SESSION 1: Composition with AI (10:30-11:00)
Moderator: Dániel Péter Biró, Grieg Academy, UiB
10:30: Prof. Örjan Sandred, Desautels Faculty of Music, University of Manitoba. “Controlling Musical Behavior Using Constraint Solvers”
11:00: Juan Vassallo, PhD Candidate, Grieg Academy, University of Bergen
“Versificator: A Co-Creative Algorithmic Agency for Contemporary Music”
Coffee break (11:30-11:45)
SESSION 2: “Compositional Ontology and Sonic Awareness” (11:45-12:45)
Moderator: Prof. Örjan Sandred, Desautels Faculty of Music, University of Manitoba
11:45: Tijs Ham, PhD Candidate, Grieg Academy, University of Bergen “Vivid Forgetfulness”
12:15 Sergej Tchirkov, PhD Candidate, Grieg Academy, University of Bergen “The Listening Hand: from Sound to Klang”
Lunch 12:45 to 13:45
SESSION 3: Art and the Expanded Consciousness (13:45-16:45)
Moderator: Juan Vassallo, PhD Candidate, Grieg Academy, UiB
13:45: Assoc. Prof. Simon Gilbertson, Grieg Academy, UiB “Severe Traumatic Social Brain Injury and Music Therapy”
14:15: Round Table Discussion with Asoc. Prof. Simon Gilbertson, Grieg Academy, UiB and Prof. Karsten Specht, Professor, Deputy Dean Department of Biological and Medical Psychology Faculty of Psychology, UiB
14:45: Workshop with Klangforum Heidelberg workshopping compositions by Julia Constance Wiger-Nordås, Erik Håkon Halvorsen and Juan Vassallo
Coffee break (16:45-17:00)
17:00: Concert: EDGELANDS
Prof. Trond Lossius, The Norwegian Film School, The Grieg Academy Edgelands (Studio A) Moderator, Tijs Ham, PhD Candidate, Grieg Academy, UiB
18:00: Dinner
19:00 Concert at Gunnar Sævogs Sal (GSS): Sergej Tchirkov, Accordion, Works by Sofia Gubaidulina, Francisco Corthey, Tijs Ham and Pierluigi Billone with readings by Renee Gladman
PROGRAM 25 February 10:00 – 17:30
SESSION 4: Spinoza’s Intuition (10:00-12:30)
Moderator: Asoc. Prof. Simon Gilbertson, Grieg Academy, UiB
10:00: Prof. Alexander van der Haven, Department of Archaeology, History, Cultural Studies and Religion, UiB “The 1702 arrest of the Danish religious visionary Oliger Paulli in the context of his politico-religious milieu of Socinians and Spinozists in Amsterdam.”
10:30: Prof. Dániel Péter Biró, Grieg Academy, University of Bergen “Immigration and Return in the Ethica Composition Cycle after Baruch Spinoza”
11:00: Prof. Gunnar Hindrichs, Philosophisches Seminar, University of Basel “Spinoza Between Philosophical Therapy and Construction”
11:30: Round Table discussion: “Spinoza and the Dimensions of Thought”
Discussion with Prof. Dániel Péter Biró, Grieg Academy, UiB, Prof. Alexander van der Haven, Department of Archaeology, History, Cultural Studies and Religion, UiB, Prof. Gunnar Hindrichs, Philosophisches Seminar, University of Basel, Asoc. Prof. Vibeke Andrea Tellmann, Department of Philosophy, Dr. Grit Schwarzkopf, University of Heidelberg
Lunch: 12:00
Afternoon Session: Room 206, Grieg Academy (from 13:00 to 17:30)
13:00: «Dimensions of Sound Art» Round Table discussion with Prof. Trond Lossius, The Norwegian Film School, The Grieg Academy and Prof. Örjan Sandred, University of Manitoba Moderator: Karen Werner, PhD Candidate, Department of Art, UiB
Coffee break (13:45-14:00)
SESSION 5: On Musical Movement and Artistic Secrets (14:00-17:30)
Moderator: Sergej Tchirkov, PhD Candidate, Grieg Academy, UiB
14:00: Maria Mjaaland Sele, PhD, University of Southhampton “Music; a Moving Concept”
14:30: Discussion: “Hanslick and Musical Autonomy.” Round table with Prof. Gunnar Hindrichs, Philosophisches Seminar, University of Basel, Maria Mjaaland Sele, PhD, University of Southhampton, Prof. Dániel Péter Biró, Grieg Academy, UiB, Prof. Arnulf Mattes, Grieg Academy, UiB.
15:00: Assoc. Prof. Marianthi Papalexandri-Alexandri, Cornell University, Department of Music and Prof. Sophia Efstathiou, Senior Researcher, Department of Philosophy and Religious Studies, Norwegian University of Science and Technology. “Sounding Secrets” (Via Zoom).
15:30: Conference wrap up
15:45: Snacks and conctails
17:30 Dinner
19:00 Concert : Johanneskirke
Dániel Péter Biró:
Ethica, composition cycle based on texts by Baruch Spinoza
Schola Heidelberg and Ensemble Aisthesis
Walter Nußbaum, Conductor
The conference Sounding Philosophy was held at the Grieg Academy – Department of Music, University of Bergen from 1-2 November 2019.
Concerts and performances, in coordination with the conference, occured on Nov. 6 and Nov. 9, 2019 at Atelier of Kjell Pahr-Iversen, Stavanger and at the Peer Gynt-salen, Grieghallen, Bergen.
A meeting at the Swiss Philosophical Society in September 2018 dealt specifically with these questions from philosophical, scientific and musical perspectives. The current project expands on this research, seeking to investigate how creative, metaphysical and scientific studies of emergence can serve to inform a more holistic understanding of emergence as a complex, multivalent phenomenon. In this project musical creation will be informed by the fields of philosophy and science and vice–versa, thereby allowing project participants to reflect on their own creative, scholarly and scientific processes. The study of musical, philosophical and scientific texts and concepts will serve to guide the interdisciplinary research investigations. Such an international research forum will provide a unique research focus, simultaneously providing students at the Grieg Academy with an expanded educational experience.
A conference with a series of concerts and performances occurred in November 2019 at the Grieg Academy – Department for Music, at the Grieghallen and at the Norwegian Youth Chamber Music Festival in Stavanger.
This conference and concerts built on research into music, philosophy and science seeking to investigate how concepts of mind and consciousness can interact among various disciplines. A secondary theme of this project was how processes of migration played a role in the philosophy of Baruch Spinoza (1632-1677) and also in contemporary artistic, philosophical and scientific ventures.
International lecturers included Grit Schwarzkopf, University of Heidelberg, Gunnar Hindrichs, Professor for Philosophy, University of Basel and Elhanan Yakira, Professor for Philosophy, Hebrew University of Jerusalem. Vibeke Andrea Tellmann, Associate Professor for Philosophy, Christopher Senf, PhD candidate, Department of Philosophy, Arnulf Mattes, Associate Professor, Grieg Academy – Department of Music, Leader of Centre for Grieg Research, Craig Wells, PhD candidate, Grieg Academy – Department of Music and myself, Dániel Péter Biró, Associate Professor, Grieg Academy – Department of Music took part in the conference from the University of Bergen. Audience members came from various departments across the university and beyond and provided for a very lively discussion.
During the conference at the Grieg Academy, University of Bergen, Dr. Grit Schwarzkopf from the University of Heidelberg presented a lecture on the relationships between concepts of spirit (geist), telos and new research into quantum mechanics and emergence theory. Prof. Gunnar Hindrichs from the University of Basel discussed the question of intelligence in the theories of Eduard Hanslick and their relationship to contemporary art theories. Elhanan Yakira from the Department of Philosophy, Hebrew University of Jerusalem gave a lecture on Spinoza, connecting the biographical aspects of Spinoza in relation to migration with his philosophical thought. Arnulf Mattes, Associate Professor at the Grieg Academy – Department of Music, Leader of Centre for Grieg Research, gave a talk on relationships between music and psychology in the works of Arnold Schoenberg and theories of physicist and philosopher Ernst Mach. Finally, I gave a talk on my composition cycle Ethica, looking at how migration played a role in the theological and musical culture of the Jewish Portuguese synagogue of Amsterdam, how such processes continued among other immigrant communities in the 20th century and how my research of music and migration, combined with philosophical and scientific enquiries, informed the creation of my composition based on writings by Spinoza, which I initiated as a Guggenheim fellow.
Following the conference, two performances took place. On Nov. 6, 2019 a performance of the work Ethica, done in conjunction with renowned Norwegian Painter Kjell Pahr-Iversen and choreographer Hagit Yakira, Associate Professor University of Stavanger occurred at the atelier of Kjell Pahr-Iversen. The music was performed by the Neue Vocalsolisten from Stuttgart Germany, one of the premiere vocal ensembles of our time, along with Laurens Weinhold, Luke Hsu, Xiaoti Guo, Rainer Crosett, Clara Lindenbaum, students from the Norwegian Youth Chamber Music Festival. After the performance, Elhanan Yakira from the Department of Philosophy, Hebrew University of Jerusalem gave a lecture on Spinoza, discussing how migration played a role in the Jewish community of Amsterdam and how such migration influenced the text used for the composition Ethica.
On November 9, 2019 a second performance of Ethica with the Neue Vocalsolisten and the Bit20 Ensemble took place at the Grieghallen in Bergen. This performance, also with pre-concert talk and works by students of composition from the Grieg Academy, allowed audiences in Bergen to contemplate relationships between migration, philosophy and science via musical performance.
Conference Events
November 1, 2019 , Grieg Academy, Prøvesalen, Lars Hilles gate 3
Christopher Senf, Department of Philosophy, University of Bergen, Session Moderator
15:00 Prof. Elhanan Yakira, Hebrew University Jerusalem: “Spinoza’s Ontology of the Intellect”
16:00 Prof. Dániel Péter Biró, Grieg Academy: “Parametric Composition in the Ethica Composition Cycle.”
17:00 Coffee Break
17:30 Dr. Grit Schwarzkopf, University of Heidelberg, “Was ist Teleologie?”
November 2 Grieg Academy, Gunnar Sævigs Sal, Lars Hilles gate 3
Dániel Péter Biró, Grieg Academy, Session Moderator
10:00 Prof. Gunnar Hindrichs: On Hanslick’s proposition: “Composition is spiritual work on spiritually capable material.”
11:00 Coffee Break
11:30 Prof. Arnulf Mattes, Grieg Academy: “Intoxicating Oscillations: Ernst Mach and Arnold Schoenberg”
Concerts and Performances
November 6, 2019
Norwegian Youth Chamber Music Festival
Atelier of Kjell Pahr-Iversen, Stavanger
Ethica, after Baruch Spinoza Composition by Dániel Péter Biró, Professor for Composition, Grieg Academy, University of Bergen
Choreography by Hagit Yakira, Associate Professor for Dance, University of Stavanger
Paintings of Kjell Pahr-Iversen, Stavanger
Introductory lecture by Elhanan Yakira, Hebrew University, Jerusalem
November 9, 2019 15.30
Peer Gynt-salen, Grieghallen
Dániel Péter Biró: Ethica after Baruch Spinoza (2017-2020)
Works by Grieg Academy composition students Gunhild Seim, Lisa Braathen, Anders Hannevold and Bendik Savstad, involved in the Sounding Philosophy Worksop and other works by Knut Vaage.
BIT20 Ensemble
Dániel Péter Biró, Trond Madsen, conductors
Literature List
Abbaye Saint-Pierre de Solesmes. La Notation Musicale des Chants Liturgiques Latins, Présentée par les Moines de Solesmes. Solesmes: Abbaye Saint-Pierre de Solesmes, 1991.
Adorno, Theodor W. Ästhetische Theorie [Gesammelte Schriften, Bd. 7]. Frankfurt am Main: Suhrkamp, 1970.
Adorno, Theodor W. Aesthetic Theory, trans. by Christian Lenhardt. London: Routledge and Kegan Paul, 1984.
Assmann, Aleida and Jan, “Schrift, Tradition und Kultur.” In: Zwischen Festag und Alltag, Zehn Beiträge zum Thema 'Mündlichkeit und Schriftlichkeit. Tübingen: Gunter Narr Verlag, 1988. 25-50.
Avenary, Hanoch, The Ashkenazi Tradition of Biblical Chant Between 1500 and 1900. Jerusalem: The World Congress on Jewish Music, 1978.
Biró, Dániel Péter. Reading the Song: On the Development of Musical Syntax, Notation and Compositional Autonomy: A Comparative Study of Hungarian Siratók, Hebrew Bible Cantillation and Ninth Century Plainchant from St. Gallen. Ph.D. diss. Princeton University, 2004.
Biró, Dániel Péter. “Composing Mishpatim – Laws: A Response to Ben’s Mishna Music as a Music.” In: Perspectives of New Music 44/1-2. (Summer 2005/Winter 2006): 232-265.
Biró, Dániel Péter. “Crowns.” In: Kunstmusik (2007): 2-8.
Biró, Dániel Péter. “Remembering and Forgetting Lizkor VeLiskoach for String Quartet after Schubert.” In: Circuit: Musiques Contemporaines 18 (2008): 39-60.
Biró, Dániel Péter, Peter van Kranenburg, Peter, Steven Ness, George Tzanetakis. “A Computational Investigation of Melodic Contour Stability in Jewish Torah Trope Performance Traditions. Oral Session 2: Non-Western Music.” In: Proceedings of the 12th International Society for Music Information Retrieval Conference, October 24-28, 2011, ed. by Anssi Klapuri and Colby Leider. Miami, Florida: ISMIR, 2011.163-168.
Biró, Dániel Péter. "Reading the Song and Remembering the Word: Musical Material and ‘Historicized Composition’ in Ko Amar (Thus Said)." In: Musical Material Today, ed.by Claus-Steffen Mahnkopf. Hofheim: Wolke Verlag, 2012. 21-38.
Biró, Dániel Péter and Peter Van Kranenburg. “A Computational
Re–Examination Of Bela Bartok’s Transcription Methods as Exemplified by
his Sirato Transcriptions of 1937/1938 and their Relevance for
Contemporary Methods of Computational Transcription of Qur’an
Recitation.” In: Proceedings of the Fourth International Workshop on
Folk Music Analysis (FMA2014), ed. by A. Holzapfel. Istanbul: Bogazaci
University, 2014. 70-77.
Biró, Dániel Péter. “Existenz und Ablenkung.” In: Musik und Aesthetik
Heft 73 (2015): 95-99.
Biró, Dániel Péter. “Bartók’s Quartets, Ethnomusicology, and the
Anxiety of Influence.” In: The String Quartets of Béla Bartók:
Tradition and Legacy, ed. by Harald Krebs and Dániel Péter Biró.
Oxford: Oxford University Press, 2015. 261-284.
Biró, Dániel Péter and Kai Polzhofer. Perspectives for Contemporary Music in the 21st Century. Hofheim: Wolke Verlag, 2016.
Biró, Dániel Péter. “Ehiye asher Eyihe: the Future of Historicized,
Nonrepresentational New Music.” In: Perspectives for Contemporary
Music in the 21st Century, ed. by Dániel Péter Biró and Kai
Polzhofer. Hofheim: Wolke Verlag, 2016. 189-214.
Biró, Dániel Péter. “Emanations: Reflections of a Composer.” In:
Schönheit (Konzepte 2), Gunnar Hindrichs, ed. Frankfurt am Main:
Klostermann, 2016. 39-62.
Biró, Dániel Péter, “Über das Unterrichten der Komposition,” in Musik und Ästhetik, Heft 84, Oktober 2017, 21. Jahrgang, 81-83.
Biró, Dániel Péter, Jonathan Goldman, Detlef Heusinger and Constanze Stratz. Live-Electronics in the SWR Experimentalstudio. Hofheim: Wolke Verlag, 2018.
Biró, Dániel Péter, “Composing Gvul,” in Narratives of Memory, Migration, and Xenophobia in the European Union and Canada. Victoria: University of Victoria Publications, 2019. 70-74.\
Biró, Dániel Péter and Schallié, Charlotte, “Studies in Contrast: Notes from the Field” in Narratives of Memory, Migration, and Xenophobia in the European Union and Canada. Victoria: University of Victoria Publications, 2019. 107-116.
Biró, Dániel Péter, *Mishpatim (Laws).Composition cycle. Noa Frenkel, Ermis Theodorakis, Ensemble Surplus. Experimentalstudio. Munich: Neos 11919–20, October 2019.
Biró, Dániel Péter, “On Learning and Teaching Composition” in Vortex Music Journal, Periódico Eletrônico |Universidade Estadual do Paraná, Escola de Música e Belas Artes do Paraná | BrasilISSN 2317–9937, v. 8, n. 1, 2020
Bruneau, Monik and Villeneuve, André, eds. Traiter de recherche création en art: entre la quête d’un territoire et la singularité des parcours, Montréal: PUQ, 2007.
Chion, Michel and Guy Reibel. Les Musiques Electroacoustiques, Aix-en- Provence: INA-GRM/Edisud, 1976.
Chowning, John. “The Synthesis of Complex Audio Spectra by Means of Frequency Modulation.” In: Journal of the Audio Engineering Society 21 (1973): 526-534; reprint in Computer Music Journal 1/2 (1977): 46-54.
De, Shounak, Tejinder P. Singh, and Abhinav Varma. “Quantum Gravity as an Emergent Phenomenon.” In: International Journal of Modern Physics D. 2019. 1944003.
Fugate, Courtney D. The Teleology of Reason: A Study of the Structure of Kant’s Critical Philosophy. Vol. 178. Berlin: De Gruyter, 2014.
Gilbertson, Simon. “Forms of Vitality: Exploring Dynamic Experience in Psychology, the Arts, Psychotherapy, and Development.” In: Nordisk tidsskrift for musikkterapi 20. (2011): 263-264.
Gladman, Renee. The Revickians. Saint Louis [MO]. Dorothy, A Publishing Project*.* Small Press Distribution, 2011.
Gladman, Renee. Prose Architectures. Seattle: Wawe Books. 2017.
Goldman, Jonathan, Nattiez Jean-Jacques. Nicolas, François, eds. La pensée de Pierre Boulez à travers ses écrits. Sampzon (France): Delatour. 2010.
Goldman, Jonathan. The Musical Language of Pierre Boulez. Cambridge: Cambridge University Press, 2011.
Goldman, Jonathan, ed. La création musicale au Québec. Montréal: Presses de l’Université de Montréal. 2014.
Goldman, Jonathan.Texts and beyond. The Process of Music Composition from the 19th to the 20th centuries. [Edizioni. coll. Ad Parnassum] Bologna: UT Orpheus, 2016.
Goldman, Jonathan and Jonathan Dunsby, eds. The Dawn of Musical Semiology. Rochester: University of Rochester Press, 2017.
Goldman, Jonathan, Jonathan Dunsby, and Arnold Whittall. Pierre Boulez, Music Lessons: The Collège de France Lectures. London: Faber, 2018.
Helfgott, Harald. “On Maximal Parsings of Strings” (with M. Cohn). In:
Proceedings DCC '1997: Data Compression Conference, IEEE: Los
Alamitos, CA, 1997, 291-299*.*
Hindrichs, Gunnar. “Substanz und Materie. Zu Ernst Blochs
materialistischer Spinoza-Deutung.” In: Studia Spinozana 10 (1994):
155-172.
Hindrichs, Gunnar. Das Absolute und das Subjekt. Untersuchungen zum Verhältnis von Metaphysik und Nachmetaphysik. Frankfurt/M.: Klostermann, 2011.
Hindrichs, Gunnar. “Glückseligkeit nach Spinoza.” In: Glück, ed. by Dieter Thomä et al. Stuttgart: Metzler Verlag, 2011. 154-157.
Hindrichs, Gunnar. Die Autonomie des Klangs. Eine Philosophie der Musik. Berlin: Suhrkamp, 2014.
*Hindrichs, Gunnar. “*Towards a General Theory of Musical Works and Musical Listening.” In: Virtual Works – Actual Things. Essays in Musical Ontology, ed. by Paolo de Assis [Orpheus Series in Music] Leuven: Leuven University Press, 2018. 65-88.
*Hindrichs, Gunnar. “*Momentformen neuer Musik.” In: Formbildung und Formbegriff. Das Formdenken der Moderne, ed. by Markus Klammer u.a. Paderborn: Wilhelm Fink, 2019. 349-356.
*Hindrichs, Gunnar. “*Musikalischer Aktivismus und Engagement.” In: Musik & Ästhetik 23/92, (2019): 26-42.
Jansen, Berit, Kranenburg Peter, Volk, A. “A Comparison of Symbolic Similarity Measures for Finding Occurences of Melodic Segments.” In: ISMIR. Malaga, 2015.
Jeffery, Peter. Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant. Chicago: University of Chicago Press, 1992.
Karsdorp, F.B., van Kranenburg, P. and Manjavacas E. “Learning Similarity Metrics for Melody Retrieval.” Proceedings of the 20th International Society for Music Information Retrieval Conference. 2019. 478-485.
Kasen, Daniel, Brian Metzger, Jennifer Barnes, Eliot Quataert and Enrico Ramirez-Ruiz. “Origin of the heavy elements in binary neutron-star mergers from a gravitational-wave event.” In: Nature 551/7678 (2017): 80-84.
Laughlin, Robert B. A Different Universe: Reinventing Physics from the Bottom Down. New York: Basic Books, 2005.
Laughlin, Robert B. “Physics, Emergence, and the Connectome.” In: Neuron 83.6 (2014): 1253-255.
Lequan, Mai. “Métaphysique Et Biologie. Kant Et La Constitution Du Concept D’organisme (Metaphysik Und Biologie. Kant Und Die Konstruktion Des Organismusbegriffes).” In: Kant - Studien; Philosophische Zeitschrift 102.4 (2011): 495-98.
Lieber, David L. et al. eds. Etz Hayim, Torah and Commentary. New York: Jewish Publication Society, 1999.
Loose, Donald. The Sublime and Its Teleology: Kant, German Idealism, Phenomenology. Vol. 4. [Critical Studies in German Idealism] Leiden: Brill, 2011.
Maessen, Geert and van Kranenburg P. “A Non-Melodic Characteristic to Compare the Music of Medieval Chant Traditions.” In Holzapfel, Andre Pikrakis, Aggelos (editors). Proceedings of the 8th International Workshop on Folk Music Analysis (FMA 2018). Aristotle University of Thessaloniki. 2018. 78-79.
Mahnkopf, Claus-Steffen, Frank Cox, and Wolfram Schurig, eds. Electronics in New Music, Hofheim: Wolke Verlag, 2006.
Mattes, Arnulf Christian. “Arnold Schönberg’s Death dance of the principles and the transformation of colors in his atonal music.” In: Studia Musicologica Norvegica 36 (2010): 122-132.
Mattes, Arnulf Christian. “Radiant Moments of Remembrance: on Sound Sheets in Schoenberg’s Late Chamber Works.” In: Twentieth-Century Music 6 (2011): 43-62.
Mattes, Arnulf Christian. “‘No agitation - knowledge!’ The Aesthetics of Espressivo in the ‘Performance Theories’ of Arnold Schoenberg and Rudolf Kolisch.” In: Swedish Journal for Music Research 95 (2013): 109-120.
Melamed, Yitzhak. The Metaphysics of Substance and the Metaphysics of Thought in Spinoza. Dissertation. Yale University. 2005.
Melamed, Yitzhak, ed. Spinoza’s Ethics: A Critical Guide. Cambridge: Cambridge University Press, 2017.
Melamed, Yitzhak. “Spinoza’s Metaphysics of Thought: Parallelisms and
the Multifaceted Structure of Ideas.” In: Philosophy and
Phenomenological Research 86/3 (2013): 636-683.
Melamed, Yitzhak. “Teleology in Jewish Philosophy: Early Talmudists till
Spinoza.” In: Teleology: A History, ed. by Jeffrey McDonough. New
York, NY: USA. 2019.
Nattiez, Jean Jacques. Toward a Semiology of Music, transl. by Carolyn Abbate. Princeton: Princeton University Press, 1990.
Nadler, Steven. “Baruch Spinoza’s Ethica.” In: Topoi 34/2 (2015): 549-52.
Nelson, Kristina. The Art of Reciting the Qur’an. Austin: University of Texas Press, 1985.
Næss, Arne. “Environmental Ethics and Spinoza’s Ethics: Comments on Genevieve Lloyd’s Article.” In: The Reception and Influence of Spinoza’s Philosophy 22 (2001): 344-54.
Paddison. Max. Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music. London: Kahn & Averill, 1996.
Park, Tae Hong. Towards Automatic Musical Instrument Timbre
Recognition. PhD Dissertation. Princeton University 2004.
Park, Tae Hong, J. Biguenet, Z. Li., C. Richardson, T. Scharr. “Feature
Modulation Synthesis (FMS).” In: Proceedings of the 2007 ICMC.
Copenhagen, 2007.
Park, Tae Hong, J. Biguenet and Z. Li. “Not Just More FMS: Taking It To The Next Level.” In: Proceedings of the International Computer Music Conf. (ICMC). Belfast, 2008.
Park, Tae Hong and Z. Li. “Not Just Prettier: FMS Marches On.” In: Proceedings of the 2009 International Computer Music Conference (ICMC). Montreal, 2009.
Ramirez-Ruiz E. and Al MacFadyen. “The hydrodynamics of gamma-ray burst remnants.” In: Astrophysical Journal. 716 (2010): 1028-1039.
Ramirez-Ruiz E., M. Trenti, M. MacLeod, L.F. Roberts, W.H. Lee and M.I. Saladino-Rosas. “Compact stellar binary assembly in the first nuclear star clusters and r-process synthesis in the early universe.” In: Astrophysical Journal Letters (2015).
Rigato, Joana. “Looking for Emergence in Physics.” In: Phenomenology and Mind 12 (2017): 174-183.
Roads, Curtis. *The Computer Music Tutorial. *Cambridge: MIT Press, 1996.
Rossi, Francesca. “Collective decision making: a great opportunity for constraint reasoning.” In: Constraints 19/2 (2014): 186-194.
Sandred, Örjan. “Constraint-Solving Systems in Music Creation.” in
Handbook of Artificial Intelligence for Music, Springer, Switzerland,
2020.
Sandred, Örjan. Sonic Trails. AMCD01, 2020.
Sandred, Örjan. “PWMC, a constraint solving system for generating music scores.” in Computer Music Journal 34:2, 8-24.
Schäfer, Peter. Der verborgene und offenbare Gott: Hauptthemen der frühen jüdischen Mystik. Tübingen: J.C.B. Mohr, 1991.
Scholem, Gershom. Jewish Gnosticism, Merkabah Mysticism, and Talmudic Tradition. New York: Jewish Theological Seminary of America, 1960.
Schubiger, Anselm P. Sängerschule St. Gallens vom achten bis zwölften Jahrhundert. Ein Beitrag zur Gesanggeschichte des Mittelalters**.** Einsiedeln, New-York, 1858.
Schwarzkopf, Grit. “Vom Schönen über den Organismus zum Geist.” In: Konzepte. Hefte für Philosophie 2 (2016): 83-107.
Schwarzkopf, Grit and H. Monyer. “Das kantische Raummodell in der Neurobiologie.” Kant-Studien 108/2 (2017): 247-269.
Spruit, Leen, Totaro, Pina and Spinoza, Benedictus De. The Vatican Manuscript of Spinoza’s Ethica. [Brill’s Studies in Intellectual History, v. 11] Leiden: Brill. 2011*.*
Steinberg, Justin. “Imitation, Representation, and Humanity in Spinoza’s Ethics.” In: Journal of the History of Philosophy 51/3 (2013): 383-407.
Thompson, Emily. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge: MIT Press, 2002.
Van Kranenburg, Peter, D.P. Biró, S.R. Ness and G. Tzanetakis. “A Computational Investigation of Melodic Contour Stability in Jewish Torah Trope Performance Traditions.” In: Proceedings of the 12th International Society for Music Information Retrieval Conference. Miami: University of Miami, 2011. 163-168.
Van Kranenburg, Peter, D.P. Biró, S.R. Ness, A. Volk and Tzanetakis G. “Stability and Variation in Cadence Formulas in Oral and Semi-Oral Chant Traditions – a Computational Approach.” In: Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. Thessaloniki: Aristotle University, 2012. 98-105.
Van Kranenburg, Peter, Volk, Anja and Wiering, Frans. “A Comparision between Global and Local Features for Computational Classification of Folk Song.” Melodies Journal of New Music Research 42/1 (2013): 1-18.
van Kranenburg, Peter. “Rule Mining for Local Boundary Detection in Melodies.” Proceedings of the 21th International Society for Music Information Retrieval Conference. 2020, 271-278.
Yerushalmi, Yosef Hayim. Zakhor, Jewish History and Jewish Memory. Seattle: University of Washington Press, 1982.
Zimmermann, Heidi. Tora und Shira: Untersuchungen zur Musikauffassung des rabbinischen Judentums. Bern: Peter Lang, 2000.