Working with Frictions
The Lectorate for Music, Education (KC) and Society and the Academy of Creative and Performing Arts at Leiden University (ACPA) invite you to a symposium & concert, which is part of the doctoral defense of KC-lecturer Heloise Amaral, in which artists and researchers from different artistic disciplines discuss ways of engaging with friction.
The symposium on the 16th of November is introduced by a performance by Ensemble neoN (NO). The symposium, consisting of a number of artistic presentations, and performance will take place from 18:00 - 21:30 in Studio 1 of Amare, including a break with drinks and the opportunity to meet each other.
This performance is part of the doctoral defense of KC-lecturer Heloisa Amaral, with the dissertation ‘Mediating from Within. Metaxical Amplification as an Alternative Sonic Environment for Classical Music Performance’. Heloisa Amaral will defend her PhD dissertation on the 17th of November at 11:15 at the Academy Building of the Leiden University in Leiden.
Both the programme on the 16th as well as the PhD defense on the 17th of November are free to attend without registration.
Contributions 16th of November
- Anke Haarmann (artist, University of Leiden/KABK)
- Daniel Leech-Wilkinson (music historian, King’s College)
- Anna Scott (performer, University of Leiden/KC)
- Jan Martin Smørdal (composer and performer, Ensemble neoN)
- Lucia D’Errico (performance, Mozarteum University)
- Gabriel Paiuk (composer, University of Leiden, KC)
- Rachel Beckles (performer, University of Leiden/Soas)
- Inge van de Ven (media and literature studies, Tilburg University),
- Kathryn Cok (KC, head of Master Research)
- Felix Schlarmann (KC)
The event will be moderated by Paul Craenen and Heloisa Amaral.
More on the dissertation 'Mediating from Within...'
Heloisa’s doctoral research examines classical music performance from a curatorial perspective, reflecting upon and challenging the traditional configuration of performance environments. Alongside a consideration for the historical origins of absorbed attention and silence as the dominant mode of performing and hearing classical music, she investigates alternatives to this mode by exploring artistic creations developed during the research.
Informed by her combined experience as a curator and performer in the contemporary music field, these artistic creations use what she calls ‘metaxical amplification’: the amplification of environmental sounds that are generally considered noise in the context of classical music performances, and that are therefore rarely considered in relation to the artistic experiences generated by these performances. Metaxical amplification proposes a reconfiguration of the performance environment and the ways in which attention unfolds within it. It also challenges traditional notions of musical interpretation within a work-centred performance culture, since the performance mode emerging from this form of amplification is not oriented towards the interpretation of musical works, but rather to the sonic exploration of musical environments through these works.
More broadly, it propels the development of a practice in which musical interpretation, improvisation, and curatorial thinking are tightly interwoven. In her research, Heloisa examines these findings in close dialogue with literature from various fields including sociology, philosophy and media theory, as well as through related examples from the fields of music, theatre, and the visual arts.
