Category: Uncategorized
The Music of Bodies, the Dance of Sound
Kristiina Malm-Olesk, Music Culture of Estonian Academy of Music and Theatre
The Estonian Academy of Music and Theatre (EAMT) audio, visual, and music technology festival COMMUTE#7 will take place from May 8 to 16 and carries the subtitle “Well-being”, focusing on mental health. As part of the festival, on May 10 at 7 PM, “Superpositions of Infinite Spaces”, an audiovisual dance performance by Kenneth Flak, a graduating student of audiovisual composition at the Estonian Academy of Music and Theatre, and co-author Külli Roosna, will premiere at the EMTA Black Box. In the interview, Flak shares insights into the inspiration, creative process, and themes of the work, highlighting the interplay between movement, sound, visuals, and the infinite inner landscapes of the human experience.
What does the title “Superpositions of Infinite Spaces” mean? Does it refer to quantum physics or rather to a poetic state?
A little bit of both, but mostly it is a poetic image of the internal state of human beings and the infinite spaces within us. I’m fascinated by the idea that each person is a different infinite space, and I wonder what happens when these spaces layer upon one another. Additionally, there is sound and visuals, where each state of being represents an infinite space of its own. The concept itself is borrowed from quantum physics, but it’s more about the power and potential of the idea rather than an exact representation of quantum physics.
Where did the idea to create this piece come from? What was it inspired by?
It has mainly grown out of the work that Külli Roosna and I have been doing for several years. We start with the body, and what is possible to do with it. We use interactive sound, light and video to expand the body. This process has already lasted for 12 years, with different interpretations along the way. Each piece brings something new.
How and why did you choose this performance ensemble? Why did you decide to involve instrumental musicians?
When using interactive technology, you’re essentially composing your own soundtrack through movement. There’s an ongoing dialogue between the dance and the music. The dancer becomes a musician, the musician becomes a dancer.
The cello and piano were chosen for their sound and expressive possibilities. The cello offers a wide and fantastic range: from deep, full-body resonance to delicate, high-pitched whispers. It’s the sound itself that mattered most. There’s a lot to explore with the piano, both inside and out; it’s an incredibly rich instrument. They complement each other well as a duo.
What kind of movement will we see on stage and what kind of music will we hear?
The movement is rooted in improvisation, but there are also rhythmic and Latin-inspired elements woven into the choreography.
The soundscape blends various forms of electronic music – often algorithmically driven, using tools like SuperCollider and Reaper. Much of the music is coded, allowing for a real-time dialogue between the musicians and the performance. There’s a continuous interplay between acoustic and electroacoustic sound, creating a rich and layered texture.
The musicians work with a mix of guided improvisation and freely interpreted notation. The score is not always traditional, sometimes it’s visual or poetic, giving the performers space to explore sound intuitively while staying connected to the core structure.
What part does video play in the piece?
We are exploring ways to meaningfully integrate video into the performance. It’s easy for video to become just wallpaper – something that’s there but doesn’t add value. In this case, the video contains notational cues that the musicians can interpret and play from – but in a more poetic sense, rather than traditional notation.
How is the piece connected to the theme of the festival (mental health)?
One image that sparked the process was standing on a mountaintop, watching clouds roll in and then suddenly feeling like the world is rushing past you while you stay still. What happens when the solid ground starts to shift, and you’re thrown into the unknown? How do you stay okay when you’re losing yourself?
What kind of impact do you hope the piece will have on the audience?
The piece has the potential to create a strong kinaesthetic resonance while watching. Everyone is likely to experience it differently. For example, when I watch dance, I tend to focus on the movement. I’m not searching for a narrative, I’m following the flow of possible meaning. Some people might start looking for a storyline, but for me, the focus is on the kinaesthetic experience. It’s meditative, allowing something to come and resonate with you, without the need to label or define everything.
All Estonian public universities will celebrate Diversity Week from 5–11 May for the second year. This year’s focus is on encouraging people to notice and to act. The week will offer ideas and practical guidance on how to react as a bystander to bullying, gender-based violence, abuse and unequal treatment in the learning and working environment.
The Diversity Week will be organised by the Estonian public universities: the University of Tartu, Tallinn University of Technology, Tallinn University, the Estonian University of Life Sciences, the Estonian Academy of Music and Theatre and the Estonian Academy of Arts in collaboration with the Estonian Research Council and experts in diversity and inclusion. Students, staff and all others interested are invited to participate and contribute their ideas.
“Inclusion and appreciating diversity begin with noticing the people around you – even a small intervention can give a voice to someone currently silent. However, when bystanders just watch and do nothing, they can weaken the victim and empower the bully instead. The action does not have to be large and formal – often, simply drawing attention to the problem is enough. A bystander’s courage to act can mark the beginning of a significant change,” said Monica Klaas-Kütt, one of the coordinators of the Diversity Week, Commissioner for Equal Treatment at Tallinn University.
The week starts on Monday, 5 May, with a video address from students emphasising the importance of developing a culture of intervention and highlighting how university members can contribute to creating a safer and more caring learning and working environment.
On the same day, a new practical guide that helps understand and practise intervention behaviour will be presented. The guide, which was compiled by the universities’ equal treatment and human resources experts, aims to give clear and user-friendly guidance on how to react when you notice abuse or unequal treatment.
On Tuesday, 6 May, 11:00–12:30, there will be a Microsoft Teams webinar with a presentation by Fredrik Bondestam, Associate Professor in Sociology at Uppsala University and Director of the Swedish Secretariat for Gender Studies at the University of Gothenburg. His presentation will focus on ending gender-based violence at universities and other research institutions, discussing the role of universities and research funding organisations, and experiences from other countries. The event will be recorded and can be viewed later on the YouTube channel of the Estonian Research Council.
On Wednesday, 7 May, 10:00–12:00, a public discussion titled “Dare to act: why and how?”, focusing on the practical side of the culture of intervention, will be held at the Baltic Film, Media and Arts School of Tallinn University. Experts will explain why people often hesitate to intervene, and they will share tips on how to do it effectively and safely. The aim is to encourage the audience, and give them knowledge and specific guidance on how to respond when witnessing bullying, harassment or unfair treatment. The discussion will be moderated by Elina Kivinukk, a Psychologist and Equal Treatment Officer at the Estonian Academy of Music and Theatre. The panellists include Triin Toomesaar, a former head of SA Kiusamisvaba Kool (Bullying-Free School Foundation), Johan Pastarus, Mental Health Consultant of the Labour Inspectorate, and Helina Loor, a guest lecturer at Tallinn University and Instructional Designer for President Kaljulaid Foundation. The panel discussion will be recorded and can be watched later on the YouTube channel of the Estonian Research Council.
More information is available on the Estonian Research Council website.
Further information: Monica Klaas-Kütt, Commissioner for Equal Treatment at Tallinn University, leader of the Estonian universities’ Diversity Week, monica.klaas-kutt@tlu.ee
Giacomo Veronesi defends his doctoral thesis on 23 May at 13:00 room A-402 for the degree of Doctor of Philosophy (Dramatic Art):
“Care and Shared Agency in Actor Training: a New Transformative Departure (sets of practices)”
Supervisor: prof Luule Epner, PhD
Opponent: prof Esa Kirkkopelto (Tampere University)
The doctoral thesis is available HERE and in print in the EAMT library.
Abstract:
This dissertation proposes training strategies (sets of practices) for actors envisioned through and in discourse with a theoretical framework of post-psychophysical acting. The post-psychophysical provides alternative conceptualizations of the performer’s work that are based on socio-material relational dynamics, mechanisms, and networks that situate that activity in the overlapping contexts of living and practice (Camilleri 2020: xxi). By devising training evolving out of the post-psychophysical discourse, this artistic research aims to encourage other practitioners to step in and find their strategies to devise processes deeply connected to the instances of a post-human condition.
The methodology of this dissertation consists of practice-as-research, literature review, and autoethnography. It includes a theoretical analysis of the notion of post-psychophysicality in relation to actor training, focusing on the relevance of new materialism and posthumanism in tracing the transformative trajectory of actor training as a mixed practice of conflict and care. In exploring how to link the performative process of acting to concepts drawn from 21 st century studies, this research describes the development of four works: a theatre performance with a posthumanist dramaturgical approach; a theatre pedagogical process based on principles of both psychophysical and post-psychophysical approaches; site-specific research on socio-
material relational dynamics; and a site-specific, multidisciplinary performance based on the concept of assemblage.This research concludes by proposing a set of strategies to develop the actor’s sense of self and agency in a way that is open and attentive towards human and non-human developments and fulfils the promise of maintaining a (critical) connection with the basic notion of psychophysical training.
Consultations for applicants for doctoral studies in music and dramatic art with regard to the preparation of research projects will be held on:
16 April
14.30–16.00 A-202 at EAMT (in Estonian and English)
21 April
18.00–19.30 Zoom (in Estonian and English)
22 April
12.30-14.00 A–202 at EAMT (in Estonian and English)
We ask participants to register no later than 17:00 the day before the consultation by calling 6675 709 or by e-mail at: margit.vosa@eamt.ee
On 7 April, Professor Matthias Hermann from the Stuttgart Musikhochschule will give two special seminars on new music:
10:45–12:15 “Conducting of New Music” (A202)
14:30–16:00 “Helmut Lachenmann and Rebecca Saunders” (A202)
Conductor, music theorist and composer Matthais Hermann is a student of Helmut Lachenmann and a specialist in the music of his mentor. Hermann also has close contacts with Rebecca Saunders and other contemporary composers. He recently conducted works by Christian Mason and Lachenmann at the Elbphilharmonie in Hamburg with the Frankfurt Radio Symphony Orchestra, and in May he will perform works by Claude Vivier, Lachenmann and Saunders in Munich with the Bavarian Radio Symphony Orchestra. Hermann has also enjoyed great success conducting Lachenmann’s “Das Mädchen mit den Schwefelhölzern” (“The Girl with the Matches”) at the Deutsche Oper in Berlin and Zurich Opera.
On 2 April, Christoph Wolff, professor emeritus at Harvard University and a prominent researcher of the music of Bach and Mozart, will be in Tallinn at the invitation of the Estonian Academy of Music and Theatre (EAMT) and the Arvo Pärt Centre. At 3PM, he will give a public lecture “News about J. S. Bach’s Life and Works: Recent Advances in Bach Scholarship” in the Chamber Hall of the Estonian Academy of Music and Theatre, followed by a discussion on Bach’s performance art, led by Maksim Štšura, lecturer in Lecturer in Piano and Instrumental Chamber Music.
Christoph Wolff (b. 1940), Professor Emeritus at Harvard University, is renowned as one of the foremost scholars of Bach and Mozart. He studied musicology and church music in Berlin, Freiburg, and Erlangen, earning a performance diploma in 1963 and a doctorate in 1966 with a dissertation on Bach’s late style. Throughout his career, he has taught in Erlangen, Toronto, New York, and Princeton. In 1976, he was appointed Professor of Music at Harvard University and has also been active at the graduate faculty of the Juilliard School in New York. From 2001 to 2013, he served as president and director of the Bach Archive in Leipzig and is an honorary member of numerous academic societies and universities.
Many of Wolff’s studies have received the highest honours in the field. He is the author of one of the most acclaimed Bach monographs, Johann Sebastian Bach: The Learned Musician, which was nominated for the Pulitzer Prize and has been translated into nine languages. His latest book, Bach’s Musical Universe: The Composer and His Work (2020), further explores the composer’s legacy.
For the twelfth time, the conference of the 3rd-year doctoral students of the Estonian Academy of Music and Theatre will take place in March.
On 18 March at 11:30, doctoral students in artistic research Peeter Margus, Ekke Västrik and Valle-Rasmus Roots and doctoral student in musicology Veeda Kala will give presentations (in English) in Tower Hall D-511. The doctoral students from the Sibelius Academy (University of the Arts Helsinki) will be represented by Jenna Ristilä, Orest Smovzh and Marc Sabat, and the Jāzeps Vītols Latvian Academy of Music by Platon Buravicky. The conference will be closed by Diāna Zandberga, Vice Rector for Research and Creative Work at the same institution.
See the programme here.
The organisers of the conference are 2nd year doctoral students at EAMT.
The Estonian Academy of Music and Theatre and the Estonian Music Council jointly submitted an opinion with comments on the heritage impact assessment for the expansion of the National Opera Estonia commissioned by the Estonian Heritage Board. Unfortunately, it is no longer possible to take the comments into account, but they will be added as a separate opinion to the impact assessment.
You can view the document here.
From 3 to 5 April the Estonian Academy for Music and Theatre (EAMT) will host the international community of artistic researchers at the European Platform for Artistic Research in Music (EPARM) conference, which is expected to welcome around 200 participants. EPARM is a sub-organisation of the European Association of Conservatoires (AEC), that promotes artistic research at the higher education level.
This year’s conference focuses on new interactions between different musical fields (electronic music and early music), the ethical aspects of research, audience engagement, and more.
EAMT’s artistic researchers will present at the conference through lecturers and at a concert on 3 April at 19:00.
CoPeCo is a two-year joint master’s programme and an open platform for experimental artistic practice within a European setting. The consortium includes the Estonian Academy of Music and Theatre, the Royal College of Music in Stockholm, the Conservatoire National Supérieur Musique et Danse in Lyon, and the Hamburg University of Music and Theatre. The students will spend each of the four semesters in a different institution, moving from one to the other as a group.
CoPeCo is aimed at composers, contemporary music performers, electronic musicians, sound artists, as well as those who may not fit precisely within these categories. One of the programme’s advantages is its flexibility in adapting to each student’s specific needs and interests.
CoPeCo supports and promotes contemporary musical expression in all its aspects, including creation, production, performance, and the relationship between musicians and society. We place a strong emphasis on improvisation and music technology and provide fundamental knowledge in cultural management and music analysis. Various workshops are conducted in collaboration with professionals from theater, dance, or film. CoPeCo serves as an excellent international launch platform for young creatives.
The CoPeCo programme co-director is Taavi Kerikmäe, Senior Lecturer in Contemporary Music.
Applications for the Contemporary Performance and Composition (CoPeCo) master’s programme can be submitted via DreamApply until 31 January 2025.
Additional info: CONTEMPORARY PERFORMANCE AND COMPOSITION