In his acclaimed book Out of Our Minds (2001) creativity prophet Ken Robinson describes some essential characteristics of the creative process: We begin with an initial idea of some sort ... The idea takes shape in the process of working on it – through a series of successive approximations [emphasis mine]. … Creativity is often... Continue Reading →
A communication that reflects a topological research approach Nyrnes (2006) suggests talking about art research in spatial or topological terms, where “creativity is a matter of being aware of the topoi in order to choose new paths”. Subsequently, three topoi of artistic research are presented. First, there’s the ‘own language’ topos, where the storytelling and... Continue Reading →
If the term artistic research is used “to denote that domain of research and development in which the practice of art [...] plays a constitutive role in a methodological sense” (Borgdorff 2006: 21), then writing about artistic research should create the opportunity to show how this constitutive role of artistic practice actually takes place in... Continue Reading →
„Words are important because they are not the most important“ In the debate on artistic research, the points of view on the what, why and how tend to be highly divergent. Although this divergence can be considered as a sign of the discipline’s youth as well as its methodological potential – to some it is... Continue Reading →
Towards the end of his life, around the year 427, Augustine of Hippo set out not only to catalogue all his works (in total more than five million words), but also to revise, correct, amend and even reconsider them. In addition, he described some of the circumstances in which he worked, making the Retractationes one... Continue Reading →
In plainchant – that reverend and revered godparent of the Western musical tradition – words from the Bible and other religious writings are endlessly cited and recited. Simply reading a liturgical text out loud to a large audience is a difficult task when done with due respect and without microphone. The best option is to... Continue Reading →
In the research approach to the issue of the performance of late medieval chant presented here, basically two paths have been followed. On the one hand, there was a simple desire to gain substantial theoretical and practical knowledge about the historical performance practice of plainsong, and how this practice has or has not found its... Continue Reading →
Funny, in a way, that the March 2000 concert at which the baptism of little boy Charles was recalled, also acted as a kind of baptism of the ensemble Psallentes itself. A maiden concert. What’s more – and how coincidental can you get – this happened in the Saint Bavo cathedral, which at the time... Continue Reading →
De titel, Tota pulchra es, amica mea, verwijst naar de eerste antifoon van de Eerste Vespers voor het feest van Maria Tenhemelopneming, volgens het Antiphonarium ad usum Cameracensis eccelsiae (1235-1245) van de 'bibliothèque municipale' van Cambrai. Het eerste deel van het concert evoceert dit officie, waarbij verschillende fragmenten uitgewerkt zijn tot tijdeigen organum en discant,... Continue Reading →
Psallentes Oude Muziek 