KVNM Symposium in Artistic Research [NL/ENG]
February 11, 2023 || 13h30-17h00 || Utrechts Conservatorium (Mariaplaats) || participation is free and open to everyone
What is the state of Artistic Research in the Netherlands and Belgium in 2023? What ongoing or new collaborative projects are intertwining academic research and performance practice? What do the programs look like?
Three years ago, in November 2019, the KVNM organised a musicological expo on this topic with more than sixty engaged attendees. As interest in this topic continues to grow and new initiatives are being developed that build bridges between academic and performance activities (at bachelor, master, PhD and research level), we want to shed light on the topic again.
Five speakers associated with Dutch and Belgian institutions will present their projects during the meeting on 11 February, and we will conclude with a broad panel discussion.
>> Please register for the symposium using this form.
Throughout a long career, Jed Wentz has worked as a flutist, conductor and teacher exclusively within the discipline of Historically Informed Performance practice. The heart of his musical career lay 1986-2006, when he performed in Europe, North and South America, Australia and Asia with ensembles such as Musica Antiqua Köln and Musica ad Rhenum. With the latter he has recorded more than 30 CDs. He received a doctorate in 2010 from Leiden University for his research into 18th-century acting techniques at the Opéra in Paris, which explored how acting might have shaped musical performance. His current research revolves around the relationship between music and acting, 1680-1930, with an emphasis on declamation. He has published in Early Music, The Cambridge Opera Journal, Bach: Journal of the Riemenschneider Bach Institute, Music in Art and European Drama and Performance Studies. He is assistant professor at the Academy of Creative and Performing Arts, Leiden University and teaches at the Royal Conservatory of The Hague. He is artistic advisor to the Utrecht Early Music Festival in The Netherlands.
Dr. Rebekah Ahrendt is associate professor and coordinator of the RMA Musicology at Utrecht University, both as Director-At-Large at the International Musicological Society and Vice Chair of the COST Action CA21161 project A new ecosystem of early music studies (EarlyMuse). She graduated from the Royal Conservatory in The Hague in 2002 (viola da gamba and historical performance practice) and received her PhD from the University of California at Berkeley in 2011. Ahrendt previously worked as a postdoctoral scholar at Tufts University (2011-2013) and as an assistant professor at Yale University (2013-2017). She specializes in music of the seventeenth and eighteenth centuries and focuses her work on the importance of mobility - through migration, exchange or long-distance actors - in the formation of identity. Ahrendt's approach is fundamentally multidisciplinary, integrating perspectives from history, sociology, linguistics, anthropology and performance studies with extensive archival research. Ahrendt's research has been recognized internationally, including through Visiting Fellowships at the Max-Planck-Institut für Wissenschaftsgeschichte (2019-2020) and at St John's College, Oxford (2015). Her recent research project Signed, Sealed, and Undelivered (SSU) also received worldwide media attention. In addition to her work as a researcher, Ahrendt is also active as a performer and recording artist.
Bruno Forment is principal researcher of the "Resounding Libraries" research cluster at the Orpheus Institute. He studied composition and music theory at the Royal Conservatory of Ghent and art science at Ghent University, where he also received his doctorate. Forment was subsequently a visiting BAEF and Fulbright fellow at the University of Southern California. In Flanders, Forment continued his postdoctoral research on eighteenth-century opera and illusionist scenography with his study of the "Dubosq" collection - Europe's largest collection of historical stage sets that Forment discovered in Kortrijk, Belgium. Forment published four books and dozens of essays on opera, performance practice, scenography and theater heritage. His work has received multiple international awards and formed the basis of stage productions and policies. Since 2016, Bruno Forment has been teaching Contemporary Music Theater at the Royal Conservatory of Ghent. He is on the editorial board of Eighteenth-Century Music (Cambridge UP). In 2022, he was elected leader of 'Workgroup 4: Performances' in the the COST Action 20116 project: EarlyMuse: Towards a New Ecosystem of Early Music Studies.
Dr. Michiel Schuijer coordinates the program ‘Composition, Directing and Music Theory’ at the Conservatory of Amsterdam. He studied Music Theory at the Royal Conservatory in The Hague and Musicology at Utrecht University, where he received his doctorate cum laude in 2005. Schuijer was co-founder and first president of the Vereniging voor Muziektheorie and editor-in-chief of the Tijdschrift voor Muziektheorie. His research moves at the intersection of music theory and historical musicology. In his book Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (University of Rochester Press, 2008), Schuijer describes and explains the theorization of the music of the classical moderns (Schoenberg, Stravinsky, Debussy and others) in the United States. This book won him the Emerging Scholar Award of the American Society for Music Theory in 2010. In 2020, Schuijer received a Comenius Leadership Fellow grant for the purpose of establishing the Academy for Musicology and Musicianship Amsterdam.
Dr. Kurt Bertels is a postdoctoral researcher at LUCA School of Arts Campus Lemmens (Faculty of Arts/KU Leuven). His research focuses on nineteenth- and early twentieth-century saxophone practice. In 2020, Bertels received his doctorate in arts from the Vrije Universiteit Brussel with his dissertation on the nineteenth-century Brussels saxophone class (1867-1904). He published his monograph Een ongehoord geluid (ASP Editions, 2020) and presented his historically informed saxophone practice through two CDs: The Saxophone in 19th-Century Brussels and Works for Saxophone and Orchestra by Paul Gilson (Etcetera Records, 2020). As editor, he published Paul Gilson (1865-1942): A Brussels Composer of the World (ASP Editions, 2023). Bertels studied classical saxophone in the class of Norbert Nozy at the Royal Conservatory of Brussels. With chamber music ensembles such as the Kugoni Trio, Anemos Saxophone Quartet, Duo Eolienne, and as a soloist, he performs and collaborates on CD, radio, and television recordings at home and abroad. He regularly collaborates with contemporary (Belgian) composers and has already given more than 50 composition commissions. He received the UBC Medal in 2012 and the Fuga Trophy of the Union of Belgian Composers in 2018.