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REPaMS

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Radically Embodied Performance as Musical Structure

Radically Embodied Performance as Musical Structure (REPaMS) is an Artistic Research project that seeks to describe, analyse and explore performer's creativity in particular relation to complex and experimental guitar music and pe... ver más

28/02/2027

ORPHEUS INSTITUUT...

192K€

Presupuesto del proyecto: 192K€

Líder del proyecto

ORPHEUS INSTITUUT VZW No se ha especificado una descripción o un objeto social para esta compañía.

Fecha límite participación Sin fecha límite de participación.

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Financiación concedida El organismo HORIZON EUROPE notifico la concesión del proyecto el día 2024-03-19

HORIZON-MSCA-2023-PF-01-01: MSCA Postdoctoral Fellowships 2023 Expected Outcome:Project results are expected to contribute to the following outcomes:

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2 Participantes

ORPHEUS INSTITUUT VZW

191.76K€ | Lider

HUD

N.D. | Participante

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Duración del proyecto: 35 meses Fecha Inicio: 2024-03-19
Fecha Fin: 2027-02-28

Líder del proyecto

ORPHEUS INSTITUUT VZW No se ha especificado una descripción o un objeto social para esta compañía.

Presupuesto del proyecto 192K€

Fecha límite de participación Sin fecha límite de participación.

Descripción del proyecto Radically Embodied Performance as Musical Structure (REPaMS) is an Artistic Research project that seeks to describe, analyse and explore performer's creativity in particular relation to complex and experimental guitar music and performing practices within Western Art Music. This project is centrally advocated on recent compositional practices evidencing a performative transformation of musical material, in which sound-producing actions are immanent layers of the music – as if the composer is bypassing the performer as a person and scoring directly for her body – challenging the performer's role as a creative agent. Based on the premise that performers do not reproduce but create musical structures, REPaMS rethinks performer's creativity as the radically embodied creation of musical structures. The action is structured around three main case-studies as seen through three different epistemological/ methodological lens. By examining recent notational/performing practices as both products and processes, REPaMS pursues an artistic research methodology in which the interaction between notations, artistic practices and further non-musical elements emerging as process, satisfying standards of rigor, replicability and transmissibility, while still remaining flexible to the emerging possibilities and constraints that these notations imply. REPaMS will contribute to build analogical bridges between analytical and embodied perspectives, exerting an impact upon artistic and research practices, formats of presentation for artistic research outputs and performance pedagogy. The action will enhance the ER’s skills and future employability prospects, opening new training opportunities both as an academic and an artist-researcher, furthering his ability to plan, organise, develop his dissemination and public outreach competencies, and reinforcing his professional networks.

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