mcicm_the-same-but-differently-8.pdf
(11.44 MB, PDF)
… V 98 The Noh Walk 110 Playing by Ear 118 Butlers and Bars 130 A New Approach 148 Felix and Eliot 156 Epilogue 166 I’m sitting in 0.14. It’s the best lit and best decorated room in the whole of the Fine Arts Academy and the Conservatorium Maas- tricht combined, from what I’ve seen so far. A corner of well-filled comfy brown bookcases, a dark cane rocking chair complete with marine blue cushion and the odd here- and-there potted plant including my own contribution of some unknown genus of dried … room design. We’re discussing my output for the end of my research term with the Artful Participation project which is part of MCICM, the Maastricht Centre for the Innovation of Classical Music. Ruth Benschop is my supervisor here at Zuyd University, where 0.14 makes its home. ‘A learning model,’ she says. ‘A learning model?’ I say. ‘Yes, what do you think.’ ‘Well - you mean a model where you learn things or a model that teaches you how to learn?’ ‘Both, ideally.’ ‘Hmmm.’ I sit back and think in … participation differ- ently. In May 2019, I started observing and interviewing the members of the collective Pynarello. Pynarello is not a ‘regular’ symphonic music practice. In 2017, violinist Lonneke van Straalen founded Pynarello because she missed contact with her audience during and after concerts in her work as an orchestral musician. Van Straalen brought together a group of professional musi- cians from various backgrounds (orchestral musicians like herself, but also soloists and jazz …