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Stella Louise Göke studied classical singing in the Netherlands and graduated with a Bachelor of Music in 2014. Since graduating, she has lived in her adopted city of Cologne and works as a freelance singer and actress in a wide range of projects across Europe. She has been studying music education in the Master of Arts programme at the University of Music and Dance in Cologne since 2019. Artistic research allows the young soprano to combine two passions of her artistic work: performing on stage as a singer, experiencing music, and scientifically penetrating these processes and discovering new, previously unimagined things. 

The week in Oslo was so special for me because although everything went on Zoom (what can be very exhausting) we had a lot of time. There was space to breath, to let impressions sink and to give room to own thoughts. There were lectures from people and very interesting projects to talk about. But there were also experiments with funny things to do. Although I was in my room I started to sing and to explore my instrument in different ways. How do you reflect? Of course you can think about stuff but what else can you do? What material can you use? How can you tell somebody that you reflect without using your voice? And especially for me as a singer it was very interesting to start reflecting without my voice. Because I am used to use my voice all the time. They talked about and taught me to be open to use different materials. So I started to use a tomato. I reflected on the fact when I walk around I sometimes do not feel secure and I feel vulnerable. Especially on stage. And so I choose a tomato: It seems to be very strong, but it is soft and when you smash it, it exploses in every direction. And I kind of reflected on my thoughts of precarity by smashing tomatoes.

Jaak Sikk(PhD) is a researcher, improviser and a pianist. He teaches contemporary improvisation at the Estonian Academy of Music and Theater and music College of Tartu named after Heino Eller. His doctoral thesis (PhD obtained in 2020) “The Influence of Stimulus Induced Imagery on the Quality of Improvising Freely” researched the possibilities of using imagery in the process of improvising. The research on the topic continues in the field of 'using imagery in group improvisation and interaction' in collaboration with Allan Vurma (PhD) and Marju Raju (PhD). In his teaching methodology, performances and research Jaak combines philosophical concepts, neuroscience and human psychology with practical actions and artistic experimentation aiming to create a context-sensitive transdisciplinary relation involving 'self” and the surrounding environments. Jaak is an active performer in Estonia and abroad as an improviser. From December 2021 on Jaak is a member of Estonian Youth Academy of Sciences. He is the manager of the collaboration project “MuseIA” between Estonian Academy of Music and Theater and Tallinn University of Technology which goal is to create an improvising AI. He has tought master classes in improvisation in the UK.

Caeso: composer, guitarist, computer musician, sound-multimedia-and-etc-artist, has a diverse creative output, exploring mediums such as acousmatic, live electronics, free improvisation and also traditional written composition, besides building sound sculptures, visual and multimedia artworks, and other gadgets. Apart from researching and teaching, he collaborates with several other artists, composing, producing and developing technical projects for soundtracks, soundscapes and interactive installations for theater, short movies and exhibitions. His current research interests are creative uses of DIY technology and the poetics of negativity.

Composer, bass player, improviser and teacher.

The attitude towards experimentation and artistic research, lead him to probe different unconventional music, since the early years.

Free improvisation, interplay, electronic/acoustic blends, polyrhythmic explorations, cross-disciplinary relationships between music, nature and mathematics are common features of his music (both in personal projects and as a session man).

Born in Alessandria (Italy) the 16th of August 1992 and raised in family of musicians, Leonardo approaches violin as child, and bass guitar later. During his academic formation, he has chance to study with great Italian artists, like Riccardo Fioravanti, Enrico Fazio, Paolino Dalla Porta, Umberto Petrin, Achille Succi, Roberto Cecchetto, Luigi Martinale, Giovanni Ceccarelli, Massimo Morganti, Pino Russo; he also attends masterclasses held by Linda Oh, Ben Wendel, Dominique Di Piazza, Fabian Almazan e Julien Debois. Leonardo gains his bachelor degree in 2016, presenting his thesis Kaleidophone e Thesaurus: la presenza di Schillinger e Slonimsky nella musica Jazz. Driven by a strong curiosity about natural world, he graduated in Biology in 2018 and, finally in 2020 he gets the Master Degree as well with his work Cross-Rhythms: elementi ritmici ciclici nel jazz contemporaneo. All these researches form the basis on which his

artistic exploration sprouts, leading to join, in 2022, the Master Program AreMus in Conservatory Santa Cecilia (Rome).

Sandeep Bhagwati is a multiple award-winning composer, theatre director and media artist [Studies: Musikhochschule Salzburg & Munich, IRCAM Paris]. His compositions and comprovisations (including 6 operas/music theatre works) are performed worldwide. He has curated several festivals and long-term inter-traditional projects with Asian musicians. A Canada Research Chair for Inter-X Art at Concordia University since 2006, he directs matralab, a research/creation node for live arts. Since 2013, he is artistic director of the trans-traditional ensembles Extrakte Berlin and Sangeet Prayog Pune, leads TENOR, an international network for notation technologies and is co-editor of TURBA - Journal for Global Practices in Live Curation. More

A rich learning experience to further develop and apply valuable critical thinking skills, counterpoint knowledge and programming to artistic research! The BootCamp was a short but intense experience on the most innovative methodologies and ideas on artistic research. I have been immersed in high level, vigorous training on critical thinking, counterpoint and programming. Professors that tought the courses are notable artists and professors at Institution of higher education. At the end of the BootCamp I feel I have learned new tools and technique to be utilized in my research practice. I have also reinforced my knowledge on the application of critically thinking to my research and the artistic reality around me.

Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France.

He uses sound as a basic material in sound pieces, videos, actions and installations. His work is focused on listening, it invites us to a different perception of our surroundings. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words.

His sound pieces have been broadcasted in radios from all over the world. He has been awarded with the “soundscape” prize for his video-piece Curupira, creature of the wood and the “Pierre Schaeffer” prize for his work Los Gritos de México at the Phonurgia Nova Awards

Jan Burkhardt loves to shine a light on the continuous interconnectedness of body, space and time, and uses the body’s sensations as one of the fundaments for creative processes in general, and more specifically in the context of contemporary dance, often interwoven with interdisciplinary features. At HfMT, he teaches contemporary dance practice in diverse somatic and artistic settings, while he continues to be involved in artistic productions in the free scene throughout Europe.

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Evelyn Buyken is a research associate at the Institute for Historical Musicology at the HfMT Cologne and is also the content director and initiator of the inter-university Forum for Artistic Research. The musicologist conducts research at the interfaces between musicology and musical practice. One focus of her research is the musical culture of the 18th and 19th centuries. Her dissertation on the early reception of Bach in the Jewish salons of Berlin appeared in the "Beiheften zum Archiv für Musikwissenschaft" published by Franz Steiner-Verlag (July 2018) and was evaluated by an interdisciplinary team of reviewers in 2016. She is currently researching the body as a repository of musical knowledge. In doing so, she deals with historical material as well as empirical investigations that are oriented towards practice-based research methods from the field of artistic research. As a qualified cellist, she has specialised in the field of historically informed performance practice. She conducts the Cologne Baroque Orchestra, which she founded, and performs on national and international stages. CD recordings and radio recordings document her artistic work. 

Together with her team she designs Lab 3 in Cologne.

Carla Conti, professor in the Master in “Didactic of Music and Instruments” at the Conservatory of Music, 'Santa Cecilia' in Rome, since 1999, teachs Choir conducting and Choral Repertoire, with more teaching experiences at: Naples SOB University; RomaTre University. She is the ideator and coordinator of the post degree Master AReMus - Artistic Research in Music - and the project manager of the strategic partnership project: NEWS in MAP New Employability Within Self-ledership in Music Academic Programs. She has been a member at the Academic Council of the “Santa Cecilia” for two mandates, and since 2017 is the international relations coordinator.

She is the member of the directive board of RAMI (Italian Artistic Research in Music) and of the Sybelius Society Italia. She collaborates with Roberto Giuliani in book, CD and DVD presentations, Alziamo il volume at the conservatory 'Santa Cecilia'.

She got the following academic qualifications: University degree in Musicology gained at the University of Bologna -DAMS (Drama, Art & Music Studies); Conservatory degrees: Piano; Choral Music and Choir Conducting; Music Education.

Among her publications: Nobilissime allieve – della musica a Napoli tra Sette e Ottocento - Guida Ed., Napoli 2003; Lo Stabat Mater di Clotilde Capece Minutolo della Sonora dei principi di Canosa in «Archives for women’s history», vol II, - D’Auria, Napoli 2005; Amphion Tebas, Cantus Neapolim in «Studi sulla canzone classica napoletana» - LIM 2008; -Ai lumi dei suoni sacri in «Napoli città cantante» - Mondadori Electa 2009; Per devozione e per diletto – Le donne e la musica a Napoli nel decennio francese in «Stato e Chiesa nel Mezzogiorno napoleonico» - Giannini Napoli, 2011; Fenesta tricolore- Noi cantavamo I Passatempi Musicali di Guillame Cottrau - Guida Napoli 2013; Schedare per credere-Analisi dei repertori della canzone napoletana per la configurazione di una scheda condivisa,CNR, Issm 2013; Canzone appassiunata, 90 anni tra identità e significati, CNR, Issm 2013; Purzì scontraffatta. Le forme della canzone napoletana nella prima metà dell’Ottocento, LIM 2014; De l’ hortus clausus à la chambre de musique: l’enseignement de la musique à Naples dans la première moitié du xixe siècle in «Pratiques musicales féminines», Symétrie Lyon 2016; “A noi ce piace de magnà e beve”. Professioni e repertori musicali nei ristoranti romani, in «Comunicazionepuntodoc n19, Il ristorante italiano. Memoria, cultura, identità, esperienze» Università La Sapienza, Roma 2018. Tutt'attuorno canta. Ammore! Ammore! Ammore! Sibelius a la canzone napoletana, in «Sibelius e l'Italia», Accademia Nazionale di Santa Cecilia, 2019. Zeneide Lebzeltern. Musica e diplomzia al femminile nella Napoli dell'Ottocento, in «Musiciste e compositrici. Storia e storie», SEdM, 2021.

Among her participations in international congress/conferences:

2010 Napoli (SIS Italian Women Historians Society V Congress); 2012 Helsinki (Voices, Spaces, Senses, Kaija Saariaho 60th anniversary); 2015 Roma, (MusicaImmagine/Accademia Nazionale Santa Cecilia/Institutum Romanum Finlandiae); 2017 Berna University; 2017 Vienna, IKM / MDW; from 2017 to 2021 Roma, RomaTre University/Palladium Theatre Conferences; 2019 Cultural Forum, Saint Petersburg. She wrote a novel Non ti sfiora neppure - 2012.

Together with Michealangelo Galeati and their team she creates Lab 6 in Rome.

Darla Crispin is a pianist, scholar, lecturer and academic leader who has worked in all these fields in a variety of countries including Canada, the UK, The Netherlands, Belgium and Norway. She is currently Director of the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music (NMH), Oslo. Born in British Columbia, Canada, Darla took her BMus at the University of Victoria before moving to the UK for her advanced studies. She gained a Concert Recital Diploma from the Guildhall School of Music & Drama, London and an MMus and PhD in Historical Musicology from King’s College, London. After a period working professionally with a variety of contemporary music ensembles in The Netherlands, she turned her emphasis to teaching and scholarship. She was responsible for developing postgraduate programmes at the Guildhall School and, later, at the Royal College of Music, where she established, and was the first Head of, the RCM Graduate School, being granted the title of HonRCM in 2009.

Together with her team she designed the Lab 1 in Oslo.

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Horacio Curti studied the shakuhachi in Japan where he got his shakuhachi shihan, master’s degree. He later completed a PhD thesis with the title ‘Aesthetics of sound in Japanese hōgaku. Ethnomusicology and Artistic Research in dialogue.' He works on artistic research with a focus on the transdisciplinary and the audio-visual as a tool to create and communicate knowledge. He has performed and taught in North and South America, Europe and Japan and currently is associate professor at Catalonia College of Music (Escola Superior de Música de Catalunya) in Barcelona. His activities had included performing as soloist with the Spanish National Orchestra, the edition of the book “Eolssigu”, the publication of two solo albums, the curation of the yearlong exhibition on South Korean musical practices and the production (with Ariadna Pujol) of over a dozen audio-visual pieces including ‘Eolssigu’ which got best short film prize at Kathmandu 8th International Folk Music Festival. 


Summary reel of his artistic projects:

Peter Dejans is the founding director of the Orpheus Institute (1996), a centre for advanced studies and research in music based in Ghent, Belgium. He received his music training at the Brussels Royal Conservatoire and the Lemmens Institute, Leuven (graduating in choir conducting) and graduated from the Universities of Leuven and Tübingen (Law studies and Postgraduate Studies in Business Economics). Through his leadership of the Orpheus Institute, and high-level involvement in many international networks, he has become a prominent voice for the newly emergent field of artistic research in music. His work remains grounded in the experience of music making. Peter has a wide concert experience with his chamber choir Musa Horti (with several recordings of contemporary choir music), and is often invited as guest conductor by other ensembles, including the Flemish Radio Choir. Peter has a strong commitment in many international committees and working groups. He has been the chair of two AEC Polifonia Working Groups focusing on Artistic Research in Higher Music Education in Europe. From 2004 till 2007 Peter chaired the Polifonia Third Cycle Working Group, and from 2011 till 2014 he chaired the Working Group “Artistic Research in Higher Music Education”. He has been the co-founder of EPARM (European Platform Artistic Research in Music), which he has been chairing for 9 years (2011-2019). He also has been member of the ELIA Artistic Research Working Group (European League of Institutes of the Arts).

María do Mar Castro Varela is Professor of General Education and Social Work at the Alice Salomon University of Applied Sciences Berlin. She holds a degree in psychology, a degree in education, and a doctorate in political science. Among other positions, she was a Senior Fellow at the Institute for the Science of Man (IWM) in 2015/16 and held the Sir Peter Ustinov Visiting Professorship at the Institute of Contemporary History at the University of Vienna in winter 2021/22.

Her research interests include queer studies, postcolonial theory, critical migration and education studies, trauma, and conspiracy narratives. María do Mar is also a member of the research group "Radiating Globality" led by Gayatri C. Spivak, founder and member of bildungsLab* (, Chair of the Berlin Institute for Counterpoint Social Analysis (BIKA) and Principal Investigator of the research project DigitalerHass (IFAF).

Vittoria Ecclesia is a clarinettist and PhD student at the Estonian Academy of Music and Theater. The main focus of her work are the affordances of period and modern clarinets. She is also interested in the meta aspect of artistic research and the constructions of methodologies. Vittoria presented her work in various international conferences and is an active orchestra and chamber music player.

Katalin Erdődi is a curator, dramaturg and researcher based in Vienna and Budapest, who works across disciplines, in the fields of contemporary art and performance. Interested in socially engaged art, experimental performative practices and interventions in public space, she realizes projects in different formats, ranging from performance through exhibition-making to more site-specific and collaborative approaches that explore the possibilities of art as social practice and as a tool for knowledge production. Her most recent work explores processes of rural change and post-socialist transformation in Central and Eastern Europe, through collaborative artistic and curatorial practice, with a particular focus on Hungary. In 2020 she received the Igor Zabel Award Grant for her locally embedded and inclusive curatorial practice. 

Erdődi has worked as a curator for art institutions and festivals, such as steirischer herbst (Graz), Impulse Theater Festival (Düsseldorf/Köln/Mülheim), brut/imagetanz festival (Vienna), GfZK - Museum of Contemporary Art (Leipzig) and Trafó House of Contemporary Arts (Budapest). She is the co-founder of PLACCC Festival (Budapest), an international festival for site-specific performance and art in public space that she co-curated from 2008 to 2011. As a dramaturg Erdődi collaborates with various artists, including Philipp Gehmacher, Sonja Jokiniemi, Igor and Ivan Buharov, Gin Müller, Amanda Piña, Oleg Soulimenko, Sööt/Zeyringer and Doris Uhlich. 

Recent curatorial projects include Watermelon Republic, a collaborative 'village play' co-created with artist Antje Schiffers/Myvillages, actress Orsolya Török-Illyés, documentary filmmaker Máté Kőrösi and local inhabitants of a watermelon producing region in Southern Hungary (Thealter Festival Szeged, 2021), which forms part of a larger international cooperation Rural Productive Forces, co-conceived by Erdődi and Schiffers; News Medley, in collaboration with artist Alicja Rogalska, folk singer Réka Annus and the Women’s Choir of Kartal, presented in the form of an exhibition and a performance in urban public space (OFF Biennale Budapest, 2020-2021); I like being a farmer and I would like to stay one with artist Antje Schiffers and three farmers from Hungary (Ludwig Museum Budapest, 2017-2018). This research forms part of her PhD-in-practice in Curating at the Zurich University of the Arts (ZHdK) and the University of Reading (2016-on-going), dissertation title: Working Towards a Rural Agonistics - Curating Critical Rural Art Practices as Counterpublics.

Fernanda Ermelindo studies in the MA Dance Studies at the University for Music and Dance Cologne. Previously she studied dance at the Faculdade Angel Vianna in Rio de Janeiro. After her BA she continued her studies in New York City. As a contemporary dancer she has worked for the companies CMDC, Cyclo XXI Ballet Contemporâneo and Urbanus Triple Dance. She also was a member of the dance company De Funes Dance. As an assistant, Fernanda worked with the artist Anabella Lenzu and as a research assistant with the musicologist Marcia Taborda. She has teaching experience in ballet, contemporary dance and improvisation. Fernanda is also a certified English/Portuguese translator. 

Sybille Fraquelli is an art historian. After studying at the universities of Bonn and Leicester (England), she worked as an editor at an international non-fiction publishing house. In 2006, she completed her doctorate at the Rheinische Friedrich-Wilhelms-Universität with a thesis on neo-Gothic architecture in Cologne, for which she received the Paul Clemen Scholarship in 2006. From 2008 to 2010, as a scholarship holder of the Fritz Thyssen Foundation, she researched the building history and furnishing measures of the 19th century in the Romanesque churches in Cologne.  Since 2010, she has been working at the Cologne University of Music and Dance for the university cooperation "Kolleg der Künste" - a unique association of all art and music colleges in North Rhine-Westphalia for interdisciplinary project work in Montepulciano. Since January 2021, she has been supervising the implementation of the RAPP Lab as a research assistant.

Lars Frers is currently employed at the University of South-Eastern Norway, where he is the head of the university’s PhD program in culture studies (currently on a research leave). In his research, Lars is collaborating with people coming from many different disciplinary backgrounds, focusing on the multisensory, the peripheral, and grey zones. He teaches theory of science and research ethics and multimodal qualitative methods. His current projects explore failure in professional practice and ethics in using video based research methods.

Cellist and conductor, Michelangelo Galeati graduated at the Conservatorio "Rossini" in Pesaro, at the Accademia Nazionale di Santa Cecilia in Rome, graduated at the DAMS at the University of Bologna, graduated in conducting at the Conservatorio di Santa Cecilia Rome with Dario Lucantoni, and obtained a Master's degree on the languages of the 20th century at the University of Tor Vergata Rome. His activity, as soloist, conductor and member of the chamber group Polimnia Ensemble, has taken him to the major Italian and international halls. Since 2007 he regularly conducts the Berliner Syphonikern orchestra in Berlin, including a long tour in China as conductor alongside Lior Shambadal and regularly followed with annual tours. He has recorded for Fonit-Cetra and Musikstrasse, also recording world premieres of composers such as Clementi, Colasanti, Bussotti and Pennisi. He has taken part in numerous television and radio programmes on the main networks such as RAI1, RAI2, RAI3, Radio Vaticana and Telemontecarlo, where his compositions have also been broadcast. Michelangelo Galeati has long been dedicated to the discovery, revision and dissemination of the lesser-known repertoire of the Italian 19th century. He has recorded three monographs on the chamber music of Rossini, Donizetti and Mercadante. In 2017, in cooperation with Ufficio Scolastico della Campania, he conducted Boheme in concert form in Sala Scarlatti with the Orchestra of San Pietro a Majella. In the same year, he was artistic director of the project "Il canto in lingua tedesca" funded by SIAE in cooperation with Paulina Abber and Lior Shabadal. He was recently invited to Russia to conduct L. V. Beethoven's Choral Fantasy op.80 with the Penza Philharmonic Orchestra. He teaches at the Santa Cecilia Conservatory in Rome.

Together with Carla Conti and their team he prepares Lab 6 in Rome.

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Observations: Organization of modern artistic thought – Sound Object Concerning: Listening process, Acousmatic Music, Sound Perceptions, Interior Architecture, Design, the way music is listened nowadays. Why write experimental electronic music via new audio devices? Contemplations: The way music is listend nowadays. Design, Listening process, Acousmatic music. Interrogations: How the way we listend to music today cna influence the thought behind new compositions? Can we reformulate a musical thought which starts from an acousmatic practice that involves solid-based sound objects? How can we integrate new environments and sound diffusion methods?

Laurenz Gemmer’s artistic focus lies on piano improvisation, in which he has cultivated a unique, intuitive style of playing that is characterized by a crossing of stylistic borders while constantly striving for authentic musical quality. His studies with Paulo Álvares, Florian Weber and Hubert Nuß at the music colleges in Cologne and Osnabrück provided a thorough musical foundation in the areas of New Music, Jazz and “classical music”, thereby creating tensions among which Gemmer’s particular artistic expression evolves. He performs in and works for various band formations, dance and theatre productions, all of which are striving for unique musical expression through innovative sound timbres, custom-made compositions and improvisational spaces on the cross roads between musical genres. In a second musical identity, Gemmer is working on the fusion with a prepared semi-acoustic vintage grand piano (CP70) and software.
Gemmer teaches at the music colleges in Freiburg and Cologne.

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Stefan Gies has been the Chief Executive of the AEC since September 2015. His work focuses on networking with other organisations active in the fields of music, art and higher education at European and international level, as well as on lobbying the institutions of the European Commission and the European Parliament. The key topics he is currently working on include: campaigning for the recognition of the specific features of artistic education; ensuring the long-term preservation of adequate framework conditions to maintain a musical life and cultural offers; promotion of musical education at all levels and according to diverse needs; establishing artistic research and facilitating cross-border mobility. Stefan studied viola, composition, musicology and music education at the Musikhochschule Freiburg, but also performed in the fields of rock and jazz music. He worked as a classroom and instrumental teacher and got his doctorate degree in music pedagogy. Stefan does research and publishes on theories of musical education and the history and constitution of the institutions.

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Grydeland plays the electric and the acoustic guitar, banjo, pedal steel guitar, and various electronics. He is chiefly operating in the realm of contemporary improvised music. Grydeland’s main groups are Huntsville (Hubro and Rune Grammofon) and Dans les arbres (ECM, Hubro, SOFA)–nominee for Nordic Council Music Prize 2015. His longtime collaborators are Christian Wallumrød, Xavier Charles, Ingar Zach, and Tonny Kluften. He has also performed and/or recorded with artists like Hanne Hukkelberg, Nils Petter Molvær, David Sylvian, Henry Kaiser, Tony Buck, Tony Oxley, Paul Lovens, Thomas Lehn, Axel Dörner, Andrea Neumann, Rhodri Davies, Mazen Kerbaj, Christel Alsos, Randi Tytingvåg, Morten Qvenild/Frode Grytten. Guesting musicians with the groups Huntsville and Dans les arbres, both in concert and in the studio have been Nels Cline, Glenn Kotche, Thurston Moore, Yuka Honda, Darin Gray, Otomo Yoshihide, Jim O’Rourke, Yumiko Tanka, among others. He has toured and performed with his main groups and other groups at festivals in Europe, Asia, Australia, North- and South America over the last 20 years. Concerts and album releases have been broadcasted in BBC, Radio France, Deutsche Rundfunk, ABC Radio Australia, Swedish Radio, Norwegian Broadcasting and more. Grydeland has released and contributed to over 40 albums with his main groups, short term ensembles, solo and with various artists. Several of the albums are recorded, edited and produced by Grydeland. His solo debut Bathymetric Modes (Hubro) was released in 2012 and his second solo Stop, Freeze Wait, Eat (Hubro) was released in 2015. Grydeland also composes music for theatre and dance. His latest work was for The Norwegian National Company of Dance – Carte Blanche premiered at Bergen International Festival in 2015 and toured in Norway. He has composed music for several pieces performed at Dansens hus–National House for Dance in Oslo and National Theatre in Oslo. In 2015 Grydeland finished his artistic research fellowship project at The Norwegian Academy of Music in Oslo, where he currently works as Associate Professor in the field of musical improvisation.

Together with Darla Crispin and their team he designed Lab 1 in Oslo.

Studies of cultural and social anthropology at the University of Vienna with a focus on migration, religious studies, Jewish studies and Islamic studies. Graduation in 2012.

From 2015-2018 coordinator of the lecture series Transculturality_mdw at the Department of Folk Music Research and Ethnomusicology.

Since 2018 administrative assistant at the artistic research project Creative (Mis)Understandings: Methodologies of Inspiration at mdw.

Since 2021 administrative assistant at the RAPP Lab Vienna.

Jonathan Impett is Director of Research at the Orpheus Institute and Associate Professor at Middlesex University (London, UK). Jonathan’s professional and research activities cover many aspects of contemporary musical practice, as trumpet player, composer and theorist. He also leads the research cluster “Music, Thought and Technology” at the Orpheus Institute. His research is concerned with the discourses and practices of contemporary musical creativity, particularly the nature of the contemporary technologically-situated musical artefact. In the field of historical performance, he is a long-standing member of both The Orchestra of the Eighteenth Century and The Amsterdam Baroque Orchestra. He is also a member of the experimental chamber ensemble Apartment House. As a soloist he has given premieres of works by composers including Scelsi, Berio, Harvey and Finnissy. He directed the live electronic chamber ensemble Metanoia, and was awarded a Prix Ars Electronica for his development of the metatrupet. His compositions have been broadcast throughout Europe. As an improviser he has played with musicians as divers as Paul Dunmall and Amit Chaudhuri. Work in the space between composition and improvisation has led to continuous research in the areas of interactive systems and interfaces. The current ‘active sound space’ project uses ALife populations of wave models to create interactive works combining aspects of composition and sound art. A monograph on the music of Luigi Nono has recently been published by Routledge, and Jonathan is currently working on a project considering the nature of the contemporary musical object, ‘The work without content’.

Together with his team he designed Lab 2 in Oslo.

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