Perspectives on time in the music by
Stockhausen
PERSPECTIVES ON TIME IN THE MUSIC BY STOCKHAUSEN: THE EXPERIENCE OF A PERFORMER
PhD project
Promotors: Kathleen Coessens (RCA) & Steven Malliet (UA)
Timelessness and temporality are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .”
Specialized in the repertoire of Karlheinz Stockhausen, de Fleyt wants to investigate the role of temporality in music from the perspective of a performer. She will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute, bass clarinet and trumpet, Xi (1986) for flute solo and STOP (1969) for ensemble.
(photo: Notes for the London Version are handwritten on this published score page for the Paris Version, detail © Universal Edition)
Karin de Fleyt
researcher
Karin de Fleyt is flautist. She obtained her master’s degree in 1995 at the school of Arts, Royal Conservatoire in Gent, followed by a teacher’s degree (1997) and postgraduate at the Orpheus institute (2001).
Karin de Fleyt is an international renowned soloist in the classical contemporary music scene and collaborates with many well-known composers, always looking for new experiments. She is flautist at Hermes Ensemble and co-founder of duo NewFLow together with London based flautist Carla Rees. She was principal lecturer flute and chamber music at Leeds Conservatoire (2013-2021) and is lecturer for the Education Master at KASK/Conservatorium in Gent since 2009.
Karin de Fleyt is appointed as coordinator for the research group CORPoREAL at the Royal Conservatoire Antwerp since February 2020 and section chair for the woodwinds since 2021. She previously finished two research projects: ‘Sonore Continuum - een blik op intermediaal instrumentaaltheater bij Lucien Goethals’ (2018 - 2019) and ‘from Zero to Void: Creative encounters between Mary Bauermeister and Karlheinz Stockhausen’ (2015 - 2016). She will start her doctorate studies in September 2022 in Antwerp on the topic ‘Perspectives on time in the music by Stockhausen: the experience of a performer’.
Image © Paul Cliff