You will be automatically redirected. Is nothing happening? To our new website.
At the Academy of Creative and Performing Arts there are three doctoral trajectories. The docARTES programme was designed for practice-based research in the musical arts, performed by musician-researchers (performers, composers, etc.). The PhDArts programme is the trajectory for artist-researchers in visual arts and design. The academy also hosts external PhD’s. Below are completed research projects.
Inês de Avena Braga - Dolce Napoli: approaches for performance - Recorders for the Neapolitan Baroque repertoire, 1695-1759 (2015)
A study bringing together two previously neglected topics, Baroque Italian recorders and the Neapolitan Baroque repertoire for the recorder.
Anna Scott - Romanticizing Brahms: Early Recordings and the Reconstruction of Brahmsian Identity (2014)
Despite most pianists' claims of historical deference and creative agency, their performances of Brahms's piano works are nothing like the early-recorded performances of the composer and his students: gaps that are mediated by understandings of Brahms's Classical canonic identity, the performance norms that protect that identity, and those norms' underlying aesthetic ideology of control.
Bárbara Varassi Pega - Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann (2014)
This dissertation digs into the constituent elements of River Plate tango in order to decode how specific musical materials were organized and combined by four outstanding musicians: Osvaldo Pugliese, Horacio Salgán, Astor Piazzolla and Gustavo Beytelmann.
Hendrik Vanden Abeele - What late medieval chant manuscripts do to a present-day performer of plainchant (2014)
This book is witness to Hendrik Vanden Abeele’s research into the development, construction and creation of a present-day performance practice of late medieval plainchant, based partly on his work with the Belgian chant group Psallentes.
This dissertation explores various perspectives on the term immersion, and its relation with, and transformation through, a composer’s practice.
This research project proposes multiple paths towards the development of a performance practice in computer music. It starts with the author’s transition from traditional instrumentalist to electronic musician, assessing the roles of composer, performer and instrument builder as integrated in computer music practice.
The use of the electronic medium to compose music entails a variety of cognitive idiosyncrasies which are experienced by both the artist and the audience.
Claire Genewein - Vokales Instrumentalspiel in der zweiten Hälfte des 18. Jahrhunderts. Die Aufführungspraxis italienischer Instrumentalmusik in der Auseinandersetzung mit Vokalmusik und Text: Quellen und moderne Umsetzung (2014)
In my work I have shown that in the second half of the 18th century in Italy, one prepared instrumental music for performance with the help of texts. Central to this work is a treatise by Benvenuto Robbio Conte di San Raffaele stemming from the circle around Giuseppe Tartini which demonstrates the various steps of learning instrumental music through text underlay.
The artistic PhD research "Shifting Identities" investigates the musicians' professional identity and how this identity might shift when musicians start acting as theatrical performers.
The subject of the research is ‘difference and repetition,’ an area which bears a direct relationship to Wjm Kok’s practice, in which the production of work always emerges and passes through series.
Cathy van Eck - Between air and electricity : microphones and loudspeakers as musical instruments (2013)
My research takes the artistic use of the devices that bring sound waves into electricity and back as its central focus point; they are commonly called microphones and loudspeakers. These devices have become essential for many forms of music making.
Although the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. This study aims to establish and develop guidelines for effective use of the classical guitar’s scoring potential and to use the findings of the research to compose a set of new guitar etudes.
Krien Clevis - Locvs : herinnering en vergankelijkheid in de verbeelding van plaats: van Italische domus naar artistiek environment (2013)
As an artist I am fascinated by the phenomenon of place in relation to beginnings and final destinations. This study links up the concept of place with memory, with the idea of transience and the transition from life to death.
The subject of this thesis is Alverata, a twenty-first-century typeface whose design was inspired by the shapes of Romanesque capitals such as those found in inscriptions of the eleventh and twelfth centuries.
Janneke Wesseling - De volmaakte beschouwer: de ervaring van het kunstwerk en de actualiteit van de receptie-esthetica (2013)
The key questions posed in this dissertation are centred on the interaction between spectator and artwork. What happens between a spectator and an artwork? How do we experience ‘meaning’ in an artwork? How may the process of interpretation be understood and articulated?
In our culture, vocal harmonics fuction as independent musical elements since only a few decades. Thresholds of the audible explores the changing relationship between singers, listeners and harmonics.
Juan Sebastián Lach Lau - Harmonic duality : from interval ratios and pitch distance to spectra and sensory dissonance (2012)
Dissonance curves are the starting point for an investigation into a psychoacoustically informed harmony. Its main hypothesis is that harmony consists of two independent but intertwined aspects operating simultaneously, namely proportionality and linear pitch distance.
Annemarie Dragosits - Giovanni Girolamo Kapsperger (ca. 1581 – 1651): Betrachtungen zu seinem Leben und Umfeld, seiner Vokalmusik und seinem praktischen Material zum Basso continuo-Spiel (2012)
The thesis presents a new perspective on Giovanni Girolamo Kapsperger (ca.1580-1651), who is nowadays only famous for his works for theorbo and lute, his remarkable output of vocal music of all genres being still mostly neglected from musicologists and performers.