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DTSTART;VALUE=DATE:20250610
DTEND;VALUE=DATE:20250616
DTSTAMP:20261025T235950
CREATED:20261014T191616Z
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UID:4033-1749513600-1750031999@studionewmusic.ru
SUMMARY:PSYCHOGEOGRAPHY: A STUDY OF MOVEMENT
DESCRIPTION:5th All-Russian Seminars of New Music\nPSYCHOGEOGRAPHY: A STUDY OF MOVEMENT\n10–15 June\nMoscow Conservatory \n\nThe Studio for New Music ensemble and the Centre for Contemporary Music of the Moscow\nConservatory are holding the All-Russian Seminars of New Music for the fifth time. Over\nthe life of the project\, more than 100 young composers\, performers and conductors from different regions of Russia have taken part\,\nincluding Moscow\, Yekaterinburg\, Yelets\, Kazan\, Krasnodar\, Magnitogorsk\, Nizhny\nNovgorod\, Rostov-on-Don\, Saratov\, Ufa and others.\nThe 5th Seminars are held under the general theme “Psychogeography: A Study of\nMovement” and are organised as a laboratory for creating and realising musical\nperformances in collaboration with a group of directors and actors — graduates of\nMIR-7. \nYoung composers and performers under the age of 35 are invited to take part. The curator of the seminars will be the composer and Associate Professor of the Moscow\nConservatory Olga Bochikhina. \nApplications are accepted until 20 May. \nRegistration for composers\nRegistration for performers\nRegistration for performance artists \n\nAbout the theme of the seminars\nThe creative research and practices planned for the seminars go back\nto ideas voiced in the mid-20th century by French philosophers and sociologists\, the\nSituationists. Thanks to them a new field — psychogeography — emerged\,\nwithin which the interaction of people\, space and architecture was studied.\nThe Situationists believed that the urban environment consists of changeable atmospheres flowing\ninto one another. “Drifting” along spontaneous routes\, they explored these\natmospheres and tried to understand how different geographical environments affect\npeople’s emotions and behaviour.\nPsychogeography makes it possible to see familiar places from another side. At the Seminars\ncomposers and performers will be invited to look differently at ready-made \narchitectural forms and to think of them in terms of sound and performative\npractices.\nWorking on projects together with the group of directors and actors\, participants will turn\nto two elements of contemporary urban space. The first is\nthe elemental force of movement that fills the Big City. Movement is an integral\ncomponent of our existence in space. It is linked with life\nenergy — it is what keeps the blood flowing. It is also linked with musical\nenergy — for sound always exists in motion.\nThe second element is the crossroads\, a place of meeting that brings different movements into collision\,\nstops them\, receives them\, mixes them and\ntransforms them. Olga Bochikhina: “This is a story about the connection between the banks of a river and its\nflow\, which never ceases its movement. This is a story about\nlabyrinths\, corridors\, bridges\, circles of various literary texts that can\nunexpectedly come to life in unexpected architectural settings.\nFor example\, under the vaults of the second-floor promenade of the Small Hall of the Conservatory.\nThe form of circular movement and Dante’s circles and spheres: where and how can they\nmeet? This is a game of movement and of the crossroads\, where\nparallel universes coexist — this is the Game Universe.” \n\nPublic programme\nTuesday\, 10 June\nRoom 106\nof the Moscow Conservatory \n14:00\nDaria Lutsenko\nThe Art of Musical Performance: Body and Sound \nThe performing art of the 21st century includes many different practices in which the musician “steps out” beyond the text of the work and its reproduction.\nThe conceptual nature of contemporary scores demands multitasking\, in particular because of the synthesis of different genres and art forms. Performance involves\nmany parameters directly reflecting the conceptual component. Instrumental theatre\, improvisation and performance are already\nfamiliar practices of our time. What is the unifying factor behind these phenomena in music? We will consider how various\nconcepts of musical performance can be realised\, using examples of works for the theatre\, chamber performances and electronic live sets.\nRegistration \n16:00\nOlga Bochikhina\nThe Sonic Turn and Contemporary Sound Practices\nWhat does it mean to develop a sonic situation\, to explore a sonic theme\, to create a sound script? How can one bind together auditory experience\, action\, composition\, channels of perception\,\nimage and story? What does it mean to create and model a sounding and acting environment — self-generating and self-developing\, with its own internal sonic laws and\ngame strategies? How can one open up the world of sound? I will share my reflections\, inspired by the latest artistic projects I have taken part in: “Kafka in Athens”\, “Sophia’s Sounding House” and my own course “The Experience of Sound” for actors\, run as a joint programme of GITIS and the Stanislavsky Electrotheatre.\nRegistration \n\nWednesday\, 11 June\nConference Hall of the Moscow Conservatory \n11:00\nDmitry Mazurov\nCreative Work at the Intersection of Academic and Popular Music\nHow can one combine distant forms of music and live in a creative double world? This is\na question not only of style but often of mutually exclusive audiences. By remaining\nauthentic to one culture\, an author unwittingly becomes “vulgar” in another. Is it\npossible to combine them in a situation where it could not have been otherwise? The composer Dmitry Mazurov will talk about his creative path\nand method of work.\nRegistration \n13:00\nFyodor Sofronov\nThe History of Musical Performance\nFrom the practices of the Futurists and Dadaists to the American experiments of the 1960s — these are the boundaries within which we can speak of the emergence of musical\nperformance. The aim of the lecture given by Fyodor Sofronov is to talk about this history and about how performance has changed in historical\nperspective.\nRegistration \n\nThursday\, 12 June\nConference Hall of the Moscow Conservatory \n13:00\nEvgenia Izotova\nNew Music in Search of a New Notation\nMusical notation has always developed in response to the demands of compositional practice\,\nadapting to new styles and techniques. The 20th century\, with its radical experiments\,\nrequired a significant expansion and renewal of musical writing. And\, to our\nsurprise\, many “new” symbols\, terms and phenomena turn out to be echoes of the\npast. In the lecture we will see how composers of different eras arrived at similar\nsolutions\, what parallel exists between the graphic music of Earle Brown and the scores of\nthe Late Middle Ages\, and what the notation of new playing techniques\nfor wind instruments has in common with old lute tablature.\nRegistration \n\nFriday\, 13 June\nConference Hall of the Moscow Conservatory \n11:00\nIgnat Krasikov\nNot by Notes Alone: Performance\nPerformance offers a rethinking of the traditional view of academic\nmusic as the static text of a score. Performing is a complex and multifaceted\nprocess in which music becomes an event shaped by the performer’s physicality\,\nspatial and communicative dynamics\, and the context of\nperception. We will consider the key concepts of performance in academic music\,\nanalyse the influence of interpretation and non-verbal elements on the meaning of\na work\, and trace how innovative practices of the 20th and 21st centuries transform\nattitudes to the boundaries between composer\, performer and listener.\nRegistration \n13:00\nTatiana Yakovleva\nMulti-\, Inter- and Transmediality in Music\nMusic increasingly includes as media not only sounds but also gestures\, video\, light and\na wide variety of devices — specially created objects and musical instruments.\nComposers develop different ways of connecting them\, uniting\nthe technological and the acoustic\, the human and the machine. In the lecture we will examine their\nmain properties\, using examples of multimedia\, intermedia and transmedia\nworks by composers of the late 20th and early 21st centuries.\nRegistration \nDiscussion “Recomposing the Real” \n
URL:https://studionewmusic.ru/en/event/psychogeography-a-study-of-movement/
LOCATION:Moscow Conservatory\, 13/6 Bolshaya Nikitskaya St.\, Moscow\, Russia
CATEGORIES:Seminars
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