18th Biennial conference on Baroque Music,

Cremona, Italy 10-15 July 2018


Title of Themed Session (12 July 9:00-10:30)

Musical Sources as Part of Performative Rituals:

Crossing borders through Explorative Strategies



Dr. Elisabeth L. Belgrano, Nordic Network for Early Opera, Copenhagen / Inter Arts Center, Malmö, Lund University



Johannes Boer

Dinko Fabris

Assi Karttunen

Joel Speerstra

Catalina Vicens



In the light of the conference main theme ’Crossing borders’ the aim of this round table / themed session is to develop an explorative discourse departing from musical sources from the period 1550-1750, as part of a performative ritual for crossing borders and strict dichotomies.  The objective is to search from new chiasmatic crossings between a musician’s gaze, musical sources from the Baroque era and musicological findings. Following the discourse of letting go of the perceived strict dichotomy between musical text and music performance (Schulze 2015:3) this session proposes a radical move towards a borderless entangled reading of musical sources based on performative methodologies. This approach may allow for new relations to develop between traditional distinctions pronounced through musicological findings and artistic performance methods; it might also allow for new forms of collaborations between musicologists and artistic researchers in music. Artistic research in music is a fast-growing explorative academic field, with a strong link to musicology. Highly significant to this new field is the desire to find creative ways of merging sensuous (or subjective) knowledge with a variety of other research methodologies. The artistic research purpose is often to follow the performing process of understanding a musical source and the active performance practice itself. The task of the artistic researcher is calling for praxical strategies such as ritual thinking, musicking through texts and theories (ex. hermeneutics, posthumanism, new materalism), reflective/diffractive methodologies, meaning-making through translation studies, essayistic writing, and speculative performance philosophy. For this session four short presentation will be performed with one common point of departure: ‘musical sources as part of performative rituals for crossing borders and strict dichotomies’. With reference to these four presentations the stage will open up for an intra-active and explorative dialogue between all participants in the session.


This session is following the same performative structure as a seminar presented in Palazzo Grimani 14 June 2017:GLORIES TO NOTHINGNESS: A MUSIC RESEARCH SEMINAR HONOURING ACCADEMIA DEGLI INCOGNITI AND CLAUDIO MONTEVERDI.The structure of the explorative discourse is a performance ritual in itself inspired by the historical encounters of Accademia degli Incogniti.





Belgrano, E. et al (exposition in progress) Translating a Musical Performance 

How to approach the score as a part of a performative ritual? Improvisational possibilities?

Music making and expression as calligraphic movements...

Creating narratives...

...through elaboration with references, personal encounters, curiosity for 'distant' techniques...


building bridges through music and meaning-making of music 


rooms made for sound

contributing with narrating of experiences

Practical strategies and theories?

How to release or dismantle the dichotomy of the musical text and music performance?

Possibilities and methods for collaborations between musicologists and artistic researchers?

Where do we place ourselves as scholars/researchers/performers?

Can music, sources, performances and dialogues act as bridges allowing 'research' to cross borders?