Research Catalogue

It is a foundational human trait to long for miracles. We yearn for the unexpected, something new to transcend our everyday life. As anyone who has planted a seed might know, the world is already brimming with wonders. Why, then, is this not enough? Why does it sometimes feel like we have lost the connection to something larger than ourselves, something supernatural or more-than-human? In this text I am exploring the human need for miracles through a queer lens. Through my live performance “The Weeping Madonna” (2025) I am investigating alchemy as a method to acquire knowledge about the world, and whether it is possible to use our imagination as a starting point for collective rituals in order to call forth a new reality; a futurity.

The PD Arts + Creative Symposium takes place at LocHal in Tilburg (NL) on 20 June 2025.

Initiated in 2020, Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?

Name: Francesca Campo Main Subject: Master Classic Harp Name of Research Supervisor: Andrew Wright Title of Research: L'eco dal popolo: Exploring 19th-Century Southern Italian Musical Tradition Research Question: How can music and musical tradition in Sicily be used nowadays to present the identity of the Sicilian people through a harp concert? Summary of the Results of the Research: Sicily, a land shaped by diverse influences due to its geographical position, has a rich but often overlooked musical tradition. This research explores the role of the harp in narrating the cultural and musical identity of Southern Italy in the 19th century. Through historical analysis and experimental methods, I have revived forgotten harp works and transcribed compositions originally written for other instruments or orchestras, giving a voice to composers who expressed the emotions and struggles of their time. Structured as a journey with defined stages, the research begins with an exploration of the historical context and the "Hymn of Sicily," which lays the foundation for understanding the island's musical heritage. The route then leads to the evocative "Sicilian Vespers," highlighting the region’s strong sense of identity. The journey continues in Naples, the historical capital, where urban musical dynamics come to the forefront. In Palermo, the intricate interplay between the musical traditions of Naples and Sicily is explored, revealing the cross-cultural influences that shaped the region. Finally, Sikelia concludes the journey by showing how something new can be created from past inspirations, demonstrating how music helps express the cultural richness of this land. The results highlight how music—particularly through the harp—serves as a powerful means of preserving heritage and defining cultural identity. The research not only revives the voices of the past but also demonstrates the ongoing relevance of tradition in contemporary music, culminating in a unique composition born from the research's development and collaboration with the Composition Department of Palermo. Biography: Francesca Campo is a harpist and music researcher who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Born to Castelvetranese parents and raised in Verona, she has always navigated between Northern and Southern identities, developing a deep connection with Sicilian culture. After earning her Bachelor's degree in Harp in Italy, she continued her studies at the Royal Conservatory of The Hague. She is a harpist who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Her research focuses on 19th-century Southern Italian folk music, rediscovering forgotten composers and highlighting music as a powerful expression of identity and culture.

Musical performance is not only an aesthetic endeavour, but also a captivating social environment. Hence, this research utilizes principles from social communication theory, mainly through Communicating (Berko et al., 2016), to explore new ways of highlighting and enhancing connections with and among music audiences. A starting point for this study is that most concerts nowadays are built in a similar style to public speaking but use some anachronistic views and inefficient communication methods, thus missing opportunities to convey a message more directly and achieve greater impact. Through literature study and practical experimentation, I will review and test the influence of different factors from interpersonal-communication style – elements that have not been documented and researched enough in this context. These include, among others, performer-audience eye contact, synchronized activity (based on entitativity studies), and vulnerability and openness. The experimental process will be limited to my own artistic practice as a classically trained pianist and free-improviser, and this focus is present in the gathered literature as well. As a qualitative study, the data analyzed is assembled from observations, feedback, and reflection. Results demonstrate how different social and communicational tools create varying levels of engagement, and how challenging the normative role of the listeners can create a more demanding experience yet with more fulfilling outcomes. A performance that really involves the audience enriches everyone, and I hope this paper can inspire new ideas for musicians and artists of any kind to explore this topic further, and to communicate better with the human environment around them.

This work explores the balance between tradition and innovation in classical music performance, focusing on Franz Liszt's interpretation of Beethoven's music and the concept of Geist (spirit). It traces Liszt's evolution from his early studies with Carl Czerny, a direct pupil of Beethoven, through his virtuosic performance years, to his later focus on preserving Beethoven's legacy as a teacher. Drawing on sources from musicians and scholars, the study examines the philosophical and practical challenges of authenticity, highlighting the tension between historical accuracy and artistic expression. It argues that authenticity should not rigidly reproduce the past but should capture the spirit of the music in a way that resonates with contemporary audiences. Ultimately, the study advocates for a balanced approach, honoring historical sources while allowing for personal creative interpretation. By examining Liszt's legacy, this work aims to inform and inspire my own performance practices, blending historical performance studies with personal expression.