LEADING FROM THE HARPSICHORD: A HISTORICAL INFORMED APPROACH TO EARLY MUSIC 'CONDUCTING'
(2023)
author(s): Pablo Devigo
published in: KC Research Portal
The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument "entrusted [...] with full command" and "in the best position to assist [...] the entire ensemble in maintaining a uniform pace."
The following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.
European Female Wind Band Composers and Their Works
(2018)
author(s): Renata Silva Oliveira
published in: KC Research Portal
Name: Renata Oliveira
Main Subject: Wind Band Conducting
Research Supervisors: Anna Scott, André Granjo
Title of Research: European Female Wind Band Composers and Their Works
Research Question: Can shedding new light on women composers’ contributions to the wind band and ensemble repertoire via the creation of a catalogue, the preparation of a critical edition, and the commission of a new work, help to encourage more Portuguese women to compose for this medium?
Summary of Results:
In Portugal, as far as it is possible to assess, only two established women composers have written works for wind band or large wind ensemble: Berta Alves de Sousa, who composed Porto Heróico in 1943, and Maria de Lourdes Martins, who composed Rapsódia de Natal, Rondó and Suite de Danças Tradicionais Portuguesas in 1978. In a country with an important tradition of wind band musical practice, it seems strange that so few women composers have used this medium to convey their musical ideas. In order to put the production of female composers for this medium in perspective, I researched relevant works from as many European female composers as possible. Ultimately, the hope was to better understand their outputs for wind band, to promote their works, and to make way for a new composition for wind band from a female Portuguese composer.
This project has three main outcomes: 1) an online and physical catalogue of virtually all European female composers who have written for wind ensemble, including biographical data, a list of their works, and statistical analyses of their personal data (by age, country, type of ensemble); 2) a critical edition of Berta Alves de Sousa's Porto Heróico manuscript; and 3) my commissioned work for wind band O Soldado da Misarela by Anne Victorino d’Almeida. At the end of this project I can answer yes to the question of whether shedding new light on this field can encourage more female Portuguese composers to write for wind band.
Biography:
Renata Oliveira is a Portuguese conductor. She began her orchestra conducting studies with Jean-Marc Burfin and later with Jean-Sebastien Béreau. In conducting masterclasses Renata has worked with: Jose Pascual-Vilaplana, Kenneth Kiesler, Jean-Sebastien Béreau, Ernst Schelle, Robert Houlihan, Felix Hauswirth, Jan Cober and Douglas Bostock. She holds a Masters in Psychology and a Masters in Orchestra Conducting. She is conductor of two Portuguese wind bands, and is responsible for their associated music schools. Renata simultaneously studies Wind Band Conducting with Alex Schillings at the Royal Conservatoire of The Hague and a Masters in Music Teaching (Wind Band Conducting specialisation) at the University of Aveiro.
To beat or not to beat
(2017)
author(s): Jean-Loup Gagnon
published in: KC Research Portal
Name: Jean-Loup Gagnon
Main Subject: Harpsichord
Research Supervisors: Bert Mooiman, Peter Van Heyghen
Title of Research:
To beat or not to beat: reflections on musical leadership practices in the 18th century
Research Question: What did musical leadership mean in the 18th century?
Summary of Results:
In the last century, historically informed performance practice has gained more and more popularity within the musical scene. In fact, musicians have being increasingly interested in historical articulation, phrasing, instrumentation, ornamentation, tempi, etc. Surprisingly, historical conducting practices have not been significantly investigated and hardly ever in a practical way. It may be the reason why there is a lack of experimentation in this domain, why even Early Music ensembles are using the modern way of conducting, which is to have an interpretative conductor that stands in front of the group. Would it not also be relevant to know how composers like Mozart, Handel or Bach would have “conducted” their works? Did Mozart conduct his wind serenade “Gran partita” by making gestures like we can see in Forman's movie Amadeus? Can we learn from their practical experience? This research demystifies conducting practices in the 18th century and brings a practical to the subject.
Biography:
Currently pursuing a Master’s degree in maestro al cembalo at the Royal Conservatoire of The Hague, Jean-Loup Gagnon studies improvisation and leadership from the harpsichord with Patrick Ayrton and harpsichord performance with Fabio Bonizzoni. His researches focus on leadership practices in the 17th, 18th, and 19th centuries and on stylistic streams like the Mannheim School and the Galant Style, which constituted the musical grammar for genius composers such as Mozart.
Redefining the Conductor's Role in New Music Ensembles - Doctoral Thesis, University of Antwerp and Royal Conservatoire of Antwerp (ARIA)
(last edited: 2022)
author(s): Thomas Robert Moore
This exposition is in progress and its share status is: visible to all.
Over the last seven decades, the role of the conductor has evolved in new music ensembles that perform integrated concerts. It was problematized by John Cage; doubled (or split) by Charles Ives, Karlheinz Stockhausen, and Mark Applebaum; manipulated by Thierry De Mey, Simon Steen-Andersen, and Stefan Prins; instrumentalized by Alexander Schubert, Alexander Khubeev, Michael Maierhof, and Pieter Matthynssens; and deployed tactically by Serge Verstockt, Jessie Marino, and Carl Rosman. For these composers and artistic directors and others in their genre, the presence of the conductor is no secondary phenomenon of the music, by an affirmative and active choice to deploy one to meet specific artistic and/or socioeconomic needs. The systematic study of this relatively new and developing situation allowed me to find tools and methods for forming the required piece-specific performance practices with the aim of better functioning as a tactical and curated conductor.
The harpsichord enjoyed a preponderant role at the end of the 17th century, not only on its own but, in the words of C. P. E. Bach, as an instrument "entrusted [...] with full command" and "in the best position to assist [...] the entire ensemble in maintaining a uniform pace." The following is a study of the aspects related to ensemble leadership as exerted by the harpsichordist. For this, this research draws conclusions from historical sources in regards to the influence of the basso continuo realization in the ensemble, and other non-verbal communication devices (such as gestures) in order to reveal a global picture of this kind of leadership that was particularly prevalent at the time.open exposition comments (2)