Mapping Modes of Musical Praxis through Artistic Research Results, Diffractive Methodologies, Existential Psychology, New Materialisms and Performance Philosophy. 



This project

1) begins with a curiosity for the Unknown, for a performer's mind and identity
2) and an historical music manuscript (also a musical knowledge map),

3) allowing for an exploration of the performer's intra-active ways of meaning-making through music, 

4) highlighting ways of re/turning, diffracting and challenging through terms such as authenticity, ornamentation, form-force-style-genre, pure sound, experimentation, performance-practice, methods-modes, existensive learning,

5) The project outcome:

- a review of the 'early music movement' developement through the perspective of artistic research and performative praxis

- Intra-active encounters (explorative semina/labo/rehearsals, symposia & conferences) through the re-visioned cluster framework of 17th century Accademia degl'Incogniti (Miato 1998, Calcagno 2003, Muir 2007, Belgrano 2011, 2016)

- A radical research strategy for mapping musical performance practice

Principal Investigator:

Dr. Elisabeth L. Belgrano (PhD in Performance in Theatre and Music Drama), Inter Art Center, Lund University, Sweden


Barad, K. (2014) ‘Diffracting Diffraction: Cutting Together-Apart’, Parallax, Vol. 20, No. 3, pp. 168-187


Calcagno, M. (2003) ‘Signifying Nothing: On the Aesthetics of Pure Voice in Early Venetian Opera’, The Journal of Musicology, Vol. 20. No 4, pp. 461-497


Belgrano, E. (2004/2017) ‘Eclatante Amarante. A Portait of the French Singer Anne Chabanceau de La Barre (1628-1688)‘, Research Catalogue, [accessed 26/08/2019]


Belgrano, E. (2011/2018) ‘“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.‘, Research Catalogue (2011/2018) [accessed 19/08/2019].


Belgrano, E. (2016) ‘Vocalizing Nothingness: (Re) configuring vocality inside the spacetime of Ottavia’. Journal of Interdisciplinary Voice Studies,Vol. 1 Number 2, pp. 183-195 .


Belgrano, E. (2018) ‘Ornamenting Vocality. Intra-active methodology for Vocal Meaning-Making.‘, Ruukku Studies in Artistic Research, 9 (2018) [accessed 19/08/2019],


Belgrano, E. (2019) ‘A Singing Orna/Mentor's Performance or Ir/rational Practice‘, Ruukku Studies in Artistic Research, 11 [accessed 19/08/2019],


Boer, J. (2019) ‘New Perspectives in the Historical Development of the Main Subject‘, Research Catalogue, [accessed 19/08/2019].


Haseman, B. (2006) ‘A Manifesto for Performative Research’, Media International Australia incorporating Culture and Policy, theme issue “Practice-led Research”, No, 118, pp. 98-106.


Karttunen, A. (2018) ‘The aural garden of sounding materials: performing within the materiality of Et in Arcadia ego-music performance‘, Ruukku Studies in Artistic Research, 8[accessed 19/08/2019],

Miato, M. (1998) L'Accademia degli Incogniti di Giovan Francesco Loredan, Venezia (1630-1661), Leo Olschki Editore, Firenze


Muir, E. (2007) The Culture Wars of the Late Renaissance: Skeptics, Libertines and Opera, Harvard University Press, Boston


Van der Tuin, I. (2019) ‘Deleuze and Diffraction’, in: Posthuman Ecologies: Complexity and Process after Deleuze. Braidotti, R. and Bignall, S. (Eds.) Rowman and Littlefield International, London, pp. 17-39.


Vicens, C. (2017) ’Il Cembalo del Partenope. A Renaissance harpsichord tale.’ Carpe Diem Records, CD-16312