This research project will explore performative approaches that contribute to broadening and diversifying the canon of post-war Western ‘art’ music. Building on the insights of New Musicology and interdisciplinary scholarship, the project challenges the rigid divisions between post-war Western classical music and experimental traditions in jazz and African American music. Instead, it considers a more inclusive, dynamic understanding of musical canons.
Focusing on improvisation and open-form structures in large ensembles—particularly Anthony Braxton’s concept of the 'Creative Orchestra' - this research investigates alternative historical models of collective music-making. It aims to bridge the gap between composition and improvisation in orchestral settings, addressing their limited integration in classical music education. Through data collection, archival research, and interviews with musicians, the project will examine experimental large-ensemble practices that incorporate notation, improvisation, and oral transmission.
The research will be practically implemented through workshops with students from the Royal Conservatoire Antwerp and the Darmstadt Summer School for New Music, testing new pedagogical and artistic approaches to orchestral performance. Additionally, a speculative concert program will be developed, focusing on experimental repertoire such as George E. Lewis’ 'P. Multitudinis'. These efforts will serve as a stepping stone toward a larger postdoctoral research project, aiming to establish new, inclusive models for collective music-making in educational and professional contexts.
