References

 

Assis, P. de (2018). Logic of experimentation: Reshaping music performance in and through artistic research. Leuven University Press.

 

Cook, N. (2019). Music: A very short introduction (2nd ed.). Oxford University Press.

 

D’Errico, L. (2018). Powers of Divergence: An experimental approach to music performance. Leuven University Press. 

 

Hübner, J., & Vanmaele, B. (2020). Pathways to a fertile valley: On methods and methodologies. Artistic Research. Forum, 28(2), 147-164.

 

Ladd, G. W. (1979). Artistic research tools for scientific minds. American Journal of Agricultural Economics, 61(1), 1-11.

 

Lehmann, H. T. (2006). Postdramatic Theatre. Routledge.

Lizarazu González, H. (2018). Extended performer: evolución y cambio de rol del intérprete musical: hacia una música expandida. Cuadernos de Música, Artes Visuales y Artes Escénicas 14 (1): 115-127.

 

López Cano, R. (2020). La evaluación de la investigación artística formativa. Revista Académica Estesis, (8), 28–41.

 

Saunders, R. (2019). The Unfinished: Thoughts on Music and Technology. Leonardo Music Journal, 29(2), 31-36.


Schwab, M. (Ed.). (2013). Experimental systems: future knowledge in artistic research. Leuven University Press.

 

Sloboda, B. (2016). The Future of the Concert: Experimentation and Innovation in the Digital Age. Oxford University Press.

 

Sánchez, J. A. (2017). Para una lectura posteatral de Teatro Posdramático. En Teatro posdramático (pp. 17–25). Ad Litteram.

Acknowledgments


An impossible project to carry out without this wonderful group of young people, full of enthusiasm, creativity, and talent. Many, many thanks to all of them.

Likewise, thanks to the Katarina Gurska Foundation, the CSKG, and the IKG for making projects like this possible.

*The photo on the right is the traditional gift given before the premiere, a custom in our concerts.