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PERFORMERS(') PRESENT

Performers(') Present 2023: Flowing Resonances

Day 2 Symposium Archive

Keynote Address

Poetry in Motion?: Interrogating the Respective Merits of Flow, Stasis and Resonance as States Conducive to Artistic Research

Darla Crispin

For artistic researchers, practitioners and pedagogues, the sense of immersion and mastery implied by achieving a state of flow is highly desirable, and we rejoice at numerous examples of this in the arts. But motion, with its attendant properties of momentum and speed, can sometimes act as a counterfeit for true reflection: a relentless addiction to flow can drown out much of life and may be less progressive than it first appears. So, how do we develop the necessary discernment to distinguish between its positive and negative aspects, and why does it matter to do so? Using live and recorded audio-visual materials, this keynote address expands upon ideas of flow, stasis and resonance in relation to knowledge-generation, with a view to providing some fresh ideas about artistic research, its current state(s), possible pitfalls and continued promise.

Keynote Address: Poetry in Motion? – Interrogating the Respective Merits of Flow, Stasis and Resonance as States Conducive to Artistic Research

Darla Crispin

The concept of ‘flow’ is one that, for modern thinkers, was first popularised by Mihaly Csikszentmihalyi (1990). Widely adopted towards the millennial turn, it has been expanded upon more recently by Jeanne Nakamura and others (2010 onward). Throughout this process, flow has been presented as an almost invariable ‘good’ and, indeed, an inevitable aspect of the conveyance of knowledge. For artistic researchers, practitioners and pedagogues, the sense of immersion and mastery implied by achieving a state of flow is highly desirable, and we rejoice at numerous examples of this in the arts. But motion, with its attendant properties of momentum and speed, can sometimes act as a counterfeit for true reflection: a relentless addiction to flow can drown out much of life and may be less progressive than it first appears. Furthermore, the apparent profundity of flow-based immersion can all-too-easily be mimicked by stolid self-obsession and even, narcissism. So, how do we develop the necessary discernment to distinguish between its positive and negative aspects, and why does it matter to do so?

One way is to consider what happens when ‘the machine stops’ (E. M. Forster, 1909) and to face full-on the phenomenon of ‘stasis’, with its connotations of silencing and a sense of nothingness. The Covid 19 pandemic has given us an unprecedented opportunity to do so, and for artists amongst others, contemplating a world in which dynamic interaction is suddenly severely curtailed seems a responsible move. Although the website for this conference rightly and optimistically states that the pandemic demonstrated the resilience of humanity, and even, “…some new streams of artistic expression”, there can also be merit in ‘staying with the trouble’ for longer (Haraway 2016). It may be beneficial to bear the pain, to consider the costs in the terms that speak to us, and then to ask what we might glean from these periodic cessations the flow of existence – and how we might respond.

One strand that emerges from this kind of reflection in recovery is a return to the ‘here and now’, in which we may strive to become fully present and to act, whether through artistic, social, cultural or political means, in a state in which resonance emerges: a motion that also – and paradoxically - allows us to be still, should that be needful. The instrumental ‘gong’ that is also a focus of this conference can be imagined as just such a call for attention - like the bell that tolls or the trumpet that is sounded. But the special nature of the gong’s resonant waves and their rich spectrum of frequencies seems to require a different response from us: one that emphasises presence, reflection and contemplation, alongside our action, our moving forward, our progress.

Using live and recorded audio-visual materials, this lecture will expand upon ideas of flow, stasis and resonance in relation to knowledge-generation, with a view to providing some fresh ideas about artistic research, its current state(s), possible pitfalls and continued promise. The three-part lecture should take approximately 45 minutes as a whole, with 15 additional minutes for open discussion.

 

About Darla Crispin

Darla Crispin is a pianist, scholar, lecturer and academic leader who has worked in all these fields in a variety of countries, most notably Canada, the UK, The Netherlands, Belgium and Norway. Now pursuing her independent research projects, her most recent post, which she held until 2021, was as Vice Rector for Research & Artistic Development and Director of the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music (NMH), Oslo.

Born in British Columbia, Canada, Darla took her BMus at the University of Victoria before moving to the UK for her advanced studies. She gained a Concert Recital Diploma from the Guildhall School of Music & Drama, London and an MMus and PhD in Historical Musicology from King’s College, London. After a period working professionally with a variety of contemporary music ensembles in The Netherlands, she turned her emphasis to teaching and scholarship. She was responsible for developing postgraduate programmes at the Guildhall School and, later, at the Royal College of Music, where she established, and was the first Head of, the RCM Graduate School, being granted the title of HonRCM in 2009.

Darla’s research has focussed upon musical modernity, and especially on the music of the Second Viennese School. Her most recent work examines this repertoire through the prism of artistic research in music, a process which was reinforced through her work as a Research Fellow at the Orpheus Research Centre in Music [ORCiM] from 2008 to 2013. She is sought after for her experience in the developing field of artistic research, having published many articles and delivered numerous conference papers and international presentations. Her books include Artistic Experimentation in Music: An Anthology, edited with Bob Gilmore (Leuven University Press 2014), and The Artistic Turn: A Manifesto (Orpheus Institute 2009), a collaborative volume with Kathleen Coessens and Anne Douglas. Her most recently commissioned work was a creative presentation of artistic research work through the exposition format, in a piece entitled ‘Paths of Precarity: Reflections on Fractured Passages’ (2023) within the NMH project, ‘Performing Precarity’, led by Ellen Ugelvik and Jennifer Torrence.

Full Abstract

Plenary Presentations

Of Rivers & Gongs: A Southeast Asian Symphony Sharing Session

We invite you to join us for a unique dialogue session featuring ten key figures behind the creative and curatorial journey leading up to the premiere of the Southeast Asian Golden Age Symphony. Alongside the seven composers—Danny Imson (Philippines), Gema Swaratyagita (Indonesia), Hoang Pho (Vietnam), Lee Chie Tsang (Malaysia), Thatchatham Silsupan (Thailand), Jonathan Shin, and Syafiqah ‘Adha Sallehin (Singapore)—who crafted this work, mentor Adeline Wong, curator Topi Lehtipuu, and YST Principal Conductor Jason Lai will moderate a panel discussion about the challenges, discoveries, and rewards of collaborating on this complex multi-tiered creative endeavor.

Of Rivers & Gongs: A Southeast Asian Symphony Sharing Session

We invite you to join us for a unique dialogue session featuring ten key figures behind the creative and curatorial journey leading up to this week’s premiere of the Southeast Asian Golden Age Symphony. Alongside the seven composers—Danny Imson (Philippines), Gema Swaratyagita (Indonesia), Hoang Pho (Vietnam), Lee Chie Tsang (Malaysia), Thatchatham Silsupan (Thailand), Jonathan Shin, and Syafiqah ‘Adha Sallehin (Singapore)—who crafted this work, mentor Adeline Wong, curator Topi Lehtipuu, and YST Principal Conductor Jason Lai will moderate a panel discussion about the challenges, discoveries, and rewards of collaborating on this complex multi-tiered creative endeavor.

Much like the rich diversity ingrained in the cultural traditions of Southeast Asia, this new work embodies an amalgamation of the composers' distinct voices and compositional styles, reflecting the vibrant, flowing resonances of a region poised for even greater dynamic growth. The symphony's profound collective narrative stands as a testament to the vision and support of Ms. Phalgun Raju and Mr. Nicholas Nash, who brought this extraordinary commission to life.

Immediately following the session there will be an open rehearsal of the Southeast Asian Golden Age Symphony, marking the final preparations for the work’s premiere on Saturday, October 28.



Full Abstract

Resonance Through Time

Melvyn Tan & Churen Li 

British-Singaporean pianist Melvyn Tan was one of the seminal fortepianists for the historically-informed performance (HIP) movement of the past decades. Through numerous recordings and performances, he has left an indelible impact on this tradition of keyboard-playing. As part of Mr Tan’s comeback to Singapore in 2015, he gave a masterclass at YST, at which YST Artist Faculty and pianist Churen was a participant. Their interactions in the ensuing years led Churen to also begin her own explorations of fortepiano-playing. Join both pianists at this lecture-recital for a conversation on how their praxis on both historical and modern pianos informs each other — including a wide range of topics such as touch, performance styles, history, repertoire — and how you could also begin to explore the fortepiano yourself.

Resonance Through Time

Melvyn Tan & Churen Li 

British-Singaporean pianist Melvyn Tan was one of the seminal fortepianists for the historically-informed performance (HIP) movement of the past decades. Through numerous recordings and performances, he has left an indelible impact on this tradition of keyboard-playing. As part of Mr Tan’s comeback to Singapore in 2015, he gave a masterclass at YST, at which YST Artist Faculty and pianist Churen was a participant. Their interactions in the ensuing years led Churen to also begin her own explorations of fortepiano-playing. Join both pianists at this lecture-recital for a conversation on how their praxis on both historical and modern pianos informs each other — including a wide range of topics such as touch, performance styles, history, repertoire — and how you could also begin to explore the fortepiano yourself.

 

Repertoire

Mozart 5 Variations in G major, K.501 

Mozart Sonata in C major for 4 hands, K.521 

About the Performers

Melvyn Tan

Melvyn Tan established his international reputation with pioneering performances on fortepiano and continues to cast fresh light on music conceived for the piano’s early and modern forms. His work as recitalist, chamber musician and concerto soloist has been heard at many of the world’s leading concert halls, including Amsterdam Concertgebouw, Vienna Konzerthaus, AMUZ in Belgium, Wigmore Hall, Royal Festival Hall and the Lincoln Center, as well as festivals in Salzburg, Edinburgh, La Roque d’Anthéron, Bath’s Mozartfest, City of London festival and Hatfield House Chamber Music Festival. As a concerto soloist Tan has performed with prestigious ensembles such as the London Philharmonic Orchestra, Academy of St Martin’s in the Fields, Hong Kong Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, Stuttgart Radio Symphony Orchestra, Salzburg’s Camerata and Mozarteum Orchestras, Bruckner Orchestra Linz, Melbourne Symphony, Singapore Symphony Orchestra, London Chamber Orchestra, and Australian Chamber Orchestra. Melvyn has connected with audiences across China and South East Asia, introducing many to the fortepiano. Others have discovered his work through his large discography, complete with ground-breaking recordings of concertos by Mozart, Beethoven and Schubert’s Impromptus for EMI Classics, and releases on the Archiv, Deux-Elles, Harmonia Mundi, NMC and Virgin Classics labels. Recent appearances include performances with MDR Leipzig Radio Symphony Orchestra, Orchestra Wiener Akademie in Vienna, a Wigmore Hall recital and a BBC In Tune broadcast with Guy Johnston, Bath Philharmonia and AMUZ. His 2022/23 highlights include concerts with Cape Town Philharmonic Orchestra, Mozart’s Piano Concerto No. 21 with Deutsche Philharmonie Merck, re:SOUND Collective in Singapore and Mozart’s Piano Concerto No 17 with Filharmonie Brno and Dennis Russell Davies. With curator Paul Boucher, he continues his role in devising Music and Word at Charleston, a combination of music and readings in an East Sussex Farmhouse made famous by artists Vanessa Bell and Duncan Grant. 

Churen

Churen is one of Singapore’s most exciting and innovative musicians to appear on the classical music scene. Hailed as “the closest thing I know to be the ‘complete’ pianist” in Singapore by a leading music critic and a “well rounded, versatile performer” by another, the 27-year old composer-pianist performed more than 100 solo concerts in 2022-2023 seasons in repertoire from Chopin to Michael Jackson to George Crumb and her own compositions.

Churen opened the Singapore Symphony Orchestra’s (SSO) 2022/23 season with the Grieg Piano Concerto conducted by Han-na Chang in a performance which, for one reviewer, her “poise, expressiveness and keyboard abilities will surely earn her another concerto invitation from the SSO”. Churen has also been featured in the Singapore International Piano Festival and Singapore International Festival of Arts.

Her debut album Ephemory released in 2022 revealed a composer-pianist of contemporary and post-modern sensibilities adept in a variety of musical languages, delivering original takes on well-known classical themes as well as her own original compositions. In 2018, Churen produced and performed in a concert at Singapore’s well known Zouk nightclub, juxtaposing the Western art songs within a pop culture setting. She was among the ten pianists selected in 2018 to participate and perform in the Darmstadt International Summer Course for New Music, and in the same year, at the prestigious Roche Continents programme in Salzburg, an interdisciplinary programme of workshops and lectures in the arts and in science.

Graduating at the age of 19 with a Bachelor’s Degree from the Yong Siew Toh Conservatory of Music (National University of Singapore) as the youngest in her cohort, Churen subsequently studied with well-known pianist Peter Frankl and Hung-Kuan Chen at the Yale School of Music where she obtained a Master’s Degree.

Since her obtaining a Master of Philosophy in Music from Cambridge University with a dissertation on George Crumb, Churen continues to be active in the performance and production of new music, working in inter-disciplinary collaborations and across genres.

A prize winner at numerous international piano competitions, Churen has also been invited to perform at music festivals and recital halls all over the world, often appearing in partnership with luxury brands such as Cartier, Chanel and Richard Mille. She was also honoured in Singapore Tatler's Generation-T List in 2018. In 2015, she performed as soloist in a tour of Macau and Hong Kong with the Yong Siew Toh Conservatory of Music Orchestra, at the invitation of Singapore’s High Consulate in Hong Kong as part of Singapore’s 50th jubilee celebrations of independence. Other concerto engagements include performances with the Singapore Symphony Orchestra, Cambridge University Orchestra, Klassische Budapest Philharmonic, Metropolitan Festival Orchestra Singapore, Mikhail Jora Philharmonic of Bacau and National University of Singapore Symphony Orchestra.

She is also the recipient of prestigious grants, including the Tan Kah Kee Postgraduate Scholarship (2015), the FJ Benjamin-Singapore Symphony Orchestra Bursary (2013) and the National Arts Council Arts Scholarship (2011-15).

Churen currently teaches at the Yong Siew Toh Conservatory of Music as an Artist Fellow. Her past teachers include Albert Tiu, Bernard Lanskey, Paul Liang, Peter Frankl and Hung-Kuan Chen.

Full Abstract

Paper Presentations

1) Currents in Higher Education: Unfolding Resonances

The Resonant Mirror & the Flowing Journey: Currents & Concentricities in the Structural & Affective Organisation of Calligrammes by Francis Poulenc

Jeremy Cox 

When, in 1948, Francis Poulenc came to compose a cycle of songs based on poems selected from Calligrammes, he thought closely about the linear flow of music and the challenges of reconciling this with an art-form in which ‘everything is presented at once’. The results of his attempts manifest themselves in a variety of ways, ranging from the final overall shape of the cycle to the nature of individual songs – and even to the way in which he used one of Apollinaire’s original ‘calligrammes’, ‘Miroir’, on the front cover of the score. This presentation reflected on the motif of the mirror and that of the journey, epitomised in the final song of the cycle, ‘Voyage’, examining what they tell us respectively about the concepts of resonance and flow that have been chosen as the twin themes of this conference.

The Resonant Mirror & the Flowing Journey: Currents & Concentricities in the Structural & Affective Organisation of Calligrammes by Francis Poulenc​

Jeremy Cox

In his review of paintings displayed in the 1913 Salon d’Automne, the poet Guillaume Apollinaire pinpointed the crucial difference between the plastic and the narrative arts – specifically, literature and music. Celebrating the work of Cubist artists shown there, he suggests that they have:

‘inaugurated a new art which may well be to the old imitative painting what music is to literature, but such painting is otherwise unrelated to music, because in painting everything is presented at once. The eye can wander over the painting, can come back to a particular colour, can look first from bottom to top or do the opposite; in literature, in music, everything follows in rigid succession and one cannot come back to such-and-such a word, or sound, at random.’

Less than a year later, Apollinaire was experimenting with poetry over which the eye would be free to wander, much as when contemplating a painting. These ‘idéogrammes lyriques’ were later to be re-named ‘calligrammes’, and Apollinaire gave this overall title to his second major collection of poems, published in 1918, in which many of them feature.

When, in 1948, Francis Poulenc came to compose a cycle of songs based on poems selected from Calligrammes, he, too, thought closely about the linear flow of music and the challenges of reconciling this with an art-form in which ‘everything is presented at once’. The results of his attempts manifest themselves in a variety of ways, ranging from the final overall shape of the cycle to the nature of individual songs – and even to the way in which he used one of Apollinaire’s original ‘calligrammes’, ‘Miroir’, on the front cover of the score.

This presentation will reflect on the motif of the mirror and that of the journey, epitomised in the final song of the cycle, ‘Voyage’, examining what they tell us respectively about the concepts of resonance and flow that have been chosen as the twin themes of this conference.

Full Abstract

Wrestling with “Rep Dilemma” Resonances: The YST Orchestral Institute at Age 5

Orchestral Institute

YST’s Vice Dean of Ensembles, Brett Stemple, and frequent Orchestral Institute creative-collaborator, Professor Karst de Jong, trace the five-year history of Yong Siew Toh Conservatory’s reimagined orchestral studies program, and how the Orchestral Institute resonates (and wrestles) with the ‘Rep Dilemma’ – which proposes that the twentieth century’s intense emphasis on repertoire exerted a disproportionate influence on institutional formation and identity, perhaps more than warranted. This led to pedagogical approaches being primarily shaped by the repetition and reproduction of the canon, with any deviation from this norm restricted by a fear of compromising reputation. While the four ‘reps’ have inherent value, the critical inquiry revolves around whether they are in equilibrium with the future of music and the ever-evolving music industry.

Wrestling with “Rep Dilemma” Resonances: The YST Orchestral Institute at Age 5

Orchestral Institute

YST’s Vice Dean of Ensembles, Brett Stemple, and frequent Orchestral Institute creative-collaborator, Prof. Karst de Jong, will trace the five-year history of Yong Siew Toh Conservatory’s reimagined orchestral studies program, and how the Orchestral Institute resonates (and wrestles) with the ‘Rep Dilemma’.

First conceived in 2016 as a ConNext thesis, the 'Rep Dilemma' proposes that the twentieth century's intense emphasis on repertoire exerted a disproportionate influence on institutional formation and identity, perhaps more than warranted. This led to pedagogical approaches being primarily shaped by the repetition and reproduction of the canon, with any deviation from this norm restricted by a fear of compromising reputation. While the four 'reps' have inherent value, the critical inquiry revolves around whether they are in equilibrium with the future of music and the ever-evolving music industry.

The rep dilemma was also a driving force behind the origins of YST’s Orchestral Institute (YSTOI). First conceptualized in 2018 by then YST Dean, Prof. Bernard Lanskey, as a way of revitalizing learning and teaching systems within a large ensemble context, the YST OI in its first five years has emerged as a dynamic platform in which aspirational orchestral musicians work collaboratively alongside professionals drawn from Conservatory faculty, staff, and alumni, as well as YST partner institutions, from Southeast Asia and beyond. Pioneering interdisciplinary programming, a unique production style, collaborative-composition creation, musician health & well-being, and an open-dialogue approach to rehearsing are all hallmarks of the Orchestral Institute approach – a phil-harmonie philosophy which seeks to create a safe ‘play-space’ emphasizing creativity, mutual learning, and skills development appropriate for large ensemble music-making, with the ambition of enabling musicians to be even more open, daring, questioning, collaborative and passionate about the music they make together.

Full Abstract

2) Performances & Practices: Constructing Identities

Pravah: Melodic Resonances

Niranjan Pandian

Embark on a captivating journey as we blend conversations and music performances to unveil the artist’s life story and creative evolution. This demonstration sharing session offers a dynamic experience, fusing vibrant music with engaging dialogues. Delve into a diverse repertoire showcasing cross-genre and cultural influences alongside Niranjan Pandian’s original compositions that marked his transformative journey. Engage in thoughtful dialogues with Niranjan Pandian, a multi-award-winning composer, and an accomplished Indian bamboo flutist, unearthing the profound connection between music, identity, and the ever-flowing stream of life.

Pravah: Melodic Resonances

Niranjan Pandian

Embark on a captivating journey as we blend conversations and music performances to unveil the artist's life story and creative evolution. This demonstration sharing session offers a dynamic experience, fusing vibrant music with engaging dialogues. Delve into a diverse repertoire showcasing cross-genre and cultural influences alongside Niranjan Pandian’s original compositions that marked his transformative journey. Engage in thoughtful dialogues with Niranjan Pandian, a multi-award-winning composer, and an accomplished Indian bamboo flutist, unearthing the profound connection between music, identity, and the ever-flowing stream of life.

Acknowledgements: YST, for providing this platform, Amith Nadig and Dr Ghanavenothan for imparting their knowledge to me.

Full Abstract

Negotiating Artistic Identities as a Young Artist in a Cosmopolitan Society

Koay Loong Chuen (Jellal), Joan Tan Jing Wen

What does it mean to be an artist in an Asian society, in today’s globalised world? In a world where information is readily available on the internet, just a click away, how do we negotiate the various facets that make up our identity? Are these parts of our identity, or merely identifications? How do we negotiate and bring these various facets together in our art? This composition and live performance serve to present a possibility in how we as musicians attempt to assimilate these various influences around us alongside with our understanding of both Western and Eastern aesthetic values to form a cohesive artwork, and potentially construct a unique artistic identity.

Negotiating Artistic Identities as a Young Artist in a Cosmopolitan Society

Koay Loong Chuen (Jellal), Joan Tan Jing Wen

What does it mean to be an artist in an Asian society, in today’s globalised world? In a world where information is readily available on the internet, just a click away, how do we negotiate the various facets that make up our identity — as ethnic Chinese, yet from different countries: Singapore, Malaysia, Indonesia. As Western, classically trained musicians/composers. As Gen Zs, influenced by the prevalence of Youtube, Instagram and Tik-Tok. As students and friends studying in YST. As Humans. Are these parts of our identity, or merely identifications? How do we negotiate and bring these various facets together in our art?

This composition and live performance serve to present a possibility in how we as musicians attempt to assimilate these various influences around us alongside with our understanding of both Western and Eastern aesthetic values to form a cohesive artwork, and potentially construct a unique artistic identity.

To that end, this is a piece for Guzheng, Harp and multi-channel electronics. The piece is written by Jellal Koay and Joan Tan, and will be performed by Vanessa Jazzy on the harp and Chan Xin Tong on the guzheng.

Full Abstract

3) Performances & Practices: Strings in Resonance

Ars Combinatoria in George Rochberg’s 50 Caprice Variations for Solo Violin (1970)

Yung-Yu Lin

George Rochberg’s Caprice Variations is a dialogue in music, with different voices of humanity represented. It draws on a vast array of historical stylistic references, from the Baroque period to the modern musical era, and features quotations from specific earlier works. At the same time, this one-and-a-half-hour-long work for solo violin is based on the theme from Paganini’s Caprice Op. 1 No. 24, and presents a wide range of technical challenges for the violinist. This presentation focuses on this work for solo violin to show how Rochberg realizes Ars Combinatoria, as he termed it, which derived from Rochberg’s idea that the co-existence of polar opposites enriches music; this presentation also explores how this work exemplifies the remedy we crave today.

Ars Combinatoria in George Rochberg’s 50 Caprice Variations for Solo Violin (1970)

Yung-Yu Lin

The world we live in has been drastically changed since 2020. The pandemic caused levels of isolation that we have never before experienced. The distance between individuals increased as we went through quarantine, social distancing, mask requirements, and endless virtual meetings and gatherings. Even though the restrictions have lifted, the impact from the pandemic still lingers and causes irreversible damage to our society. People are less open to different views and opinions, the exact opposite of what we as human beings need to recover.

George Rochberg’s Caprice Variations is a dialogue in music, with different voices of humanity represented. It draws on a vast array of historical stylistic references, from the Baroque period to the modern musical era, and features quotations from specific earlier works. At the same time, this one-and-a-half-hour-long work for solo violin is based on the theme from Paganini’s Caprice Op. 1 No. 24, and presents a wide range of technical challenges for the violinist. This presentation focuses on this work for solo violin to show how Rochberg realizes Ars Combinatoria, as he termed it, which derived from Rochberg’s idea that the co-existence of polar opposites enriches music; this presentation also explores how this work exemplifies the remedy we crave today.

Full Abstract

Resonating Strings: A Presentation & Performance Featuring the Myanmar Harp & Violin

Su Zar Zar, Gabriel Lee

As Myanmar opened up to the world in 2011, there was a decline in the audiences for traditional Myanmar music, as well as the number of young people learning to play the saung (Myanmar harp), due to the rise in popularity of global music genres. In what way does the saung continue to live on in the 21st century, and what is being done to preserve saung music for it to be passed down to future generations and the rest of the world? This performance and presentation seeks to explore these ideas, and features a collaboration between Myanmar harpist Su Zar Zar and Singaporean violinist Gabriel Lee.

Resonating Strings: A Presentation & Performance Featuring the Myanmar Harp & Violin

Su Zar Zar, Gabriel Lee

As Myanmar opened up to the world in 2011, there was a decline in the audiences for traditional Myanmar music, as well as the number of young people learning to play the saung (Myanmar harp), due to the rise in popularity of global music genres. In what way does the saung continue to live on in the 21st century, and what is being done to preserve saung music for it to be passed down to future generations and the rest of the world?

This performance and presentation seeks to explore these ideas, and features a collaboration between Myanmar harpist Su Zar Zar and Singaporean violinist Gabriel Lee – who have performed and recorded music together in Myanmar, and continued to record music remotely across Myanmar and Singapore during the COVID-19 pandemic. Their performance videos have gained popularity on the internet, resonating with Myanmar people from all walks of life.

Full Abstract

4) Music & Health in the Community

Introducing YST’s Centre for Music & Health: Recent Findings & Personal Reflections

Kathleen Agres

In this presentation, Dr. Kat Agres shared about YST’s newly-launched Centre for Music and Health (CMH), including recent research projects and findings, and new initiatives to support health through music listening and participation. Dr. Agres also discussed her personal journey, and moments of resonance along her path from being a conservatory cello student to acquiring a PhD in Music Cognition, and finally, to founding the Centre for Music and Health.

Introducing YST’s Centre for Music & Health: Recent Findings & Personal Reflections

Kathleen Agres

In this presentation, Dr. Kat Agres shared about YST's newly-launched Centre for Music and Health (CMH), including recent research projects and findings, and new initiatives to support health through music listening and participation. Dr. Agres also discussed her personal journey, and moments of resonance along her path from being a conservatory cello student to acquiring a PhD in Music Cognition, and finally, to founding the Centre for Music and Health.

Full Abstract

Resonating in Society: Musical Storytelling in Community Outreach

Khoo Hui Ling, Kathleen Agres

Musical storytelling, which is the use of music to tell a person’s story or to relate to everyday life phenomena, is a popular approach that student groups use to conduct their outreach projects. This pilot study aims to explore musical storytelling as an approach in music outreach, to ascertain its effectiveness, and to evaluate the benefits that it has on YST students’ musical growth. The focus of this study is on two YST Leading and Guiding student projects that used musical storytelling to engage with children with learning disabilities, and intergenerational music-making with elderly. 

Resonating in Society: Musical Storytelling in Community Outreach

Khoo Hui Ling, Kathleen Agres

There has been an increased global emphasis on how music can positively impact mental well-being and the health of society. It is also trending in Higher Music Education Institutions (HMEI) to focus not just on teaching students to be excellent performers, but on equipping students with skills to be future-ready and contribute as musicians to society. For musicians to be such makers in society, we need to first be still in order to listen to the needs of those around us. Only then can we be a healing vessel through which music flows, like a river, to the community.

At the Yong Siew Toh Conservatory of Music (YST), these trends have led to the formation of the National University of Singapore (NUS) Centre for Music and Health (CMH), and to the Leading and Guiding class being a compulsory core course for all sophomores. The Leading and Guiding course is a year-long programme whereby students work in groups to initiate, design and realize their own music community outreach project. Musical storytelling, which is the use of music to tell a person's story or to relate to everyday life phenomena, is a popular approach that student groups use to conduct their outreach projects. This pilot study aims to explore musical storytelling as an approach in music outreach, to ascertain its effectiveness, and to evaluate the benefits that it has on YST students' musical growth. The focus of this study is on two YST Leading and Guiding student projects that used musical storytelling to engage with children with learning disabilities, and intergenerational music-making with elderly. We hope that the findings and results uncovered can help music community outreach organizers to develop useful approaches for connecting with audiences through musical storytelling, and to identify effective methods of measuring the impact of their programmes. Our shared perspectives may also help HMEIs further refine the teaching of professional development modules involving music community outreach.

Acknowledgements:

- Prof. Kat Agres, Director of CMH

- YST Leading and Guiding students: Alicia Diva Chandra, Bernice Ong, Papat Lertchanvit, Panyakorn Lertnimitphan, Edenia Maureen, Huang Yi, Hoi Khai Weing, Sho Yong Shuen, Cheryn Pandora, Natasha Lee, Lee Ann, Chang Chang-Yen

- YST Leading and Guiding mentors: Chong Wai Lun, Syafiqah Adha

Full Abstract

Pain/Relief: Linking Generative Technology with Accessibility Design

Elicia Neo

In the midst of an evolving artistic landscape, the role of the contemporary musician and artist is being rapidly redefined. Against this backdrop, Pain/Relief is a collaborative, multisensorial, and interdisciplinary art piece that seeks to answer the question, “What does pain ___ like?” Through Pain/Relief, we hope to create a transformative immersive experience that speaks to the complexity of pain and healing, and invites fellow art practitioners to engage with the possibilities of technology in creating a more inclusive and empathetic art form.

Pain/Relief: Linking Generative Technology with Accessibility Design

Elicia Neo

In the midst of an evolving artistic landscape, the role of the contemporary musician and artist is being rapidly redefined. Against this backdrop, Pain/Relief is a collaborative, multisensorial, and interdisciplinary art piece that seeks to answer the question, "What does pain ___ like?"

Through a journey that explores loss, chronic pain, disability, autonomy, and the healing qualities of the natural world, two artists employ intrinsic movement interpreted in a contemporary dance context to explore the theme of moving through pain with dance and movement-reactive audio motifs. The project blends pre-recorded visuals with generative art, employing the responsive nature of reactive technology to communicate these elements. The incorporation of such technology into the performance lends to the accessibility of the show for disabled and abled artists, as well as offer a truly cathartic experience to audiences. Through Pain/Relief, we hope to create a transformative immersive experience that speaks to the complexity of pain and healing, and invites fellow art practitioners to engage with the possibilities of technology in creating a more inclusive and empathetic art form.

Full Abstract

Performances

[Plenary Performance] Frank Havrøy & Gunnar Flagstad – Schwanengesang

Frank Havrøy and Gunnar Flagstad (Frankågunnar) will present an excerpt of Schwanengesang, by Franz Schubert. The concert is a presentation of their interpretation of the songs, and they will explain the process of how they developed and carried out the project, both artistically and within the concept of artistic research.

About Frankågunnar

About Frankågunnar

Frankågunnar is a Norwegian piano/song duo with Gunnar Flagstad (piano) and Frank Havrøy (baritone). They both work as professors at Norwegian Academy of Music in Oslo, Norway. They have both had their training as classical music performers at the same school, and has worked and performed all over the world. As a duo they are occupied with questions regarding tradition and performance practice. Since the beginning of their collaboration they have always asked questions about how the classical lieder would sound if they would open up for different approaches to musical infiltration. Through the last years they have been very occupied with the music by Franz Schubert, and the latest result is the ground-breaking recording of the song cycle “Schwanengesang”. Released in 2021, the recording received lots of attention, and three Norwegian newspapers regarded it to be among the 3 most important releases that year.

About Frankågunnar

OpusNovus – Homages

Embark on a captivating journey of musical homage at our OpusNovus concert. With “Homages” as our theme, we explore the rich tapestry of compositions that pay tribute to great artists. Experience the intricate tapestry of Joyce Koh’s “Fingerprints for ensemble,” a work that pays homage to Bartók, Dutilleux, and Messiaen, immersing you in the brilliance of these musical masters. Toshio Hosokawa’s poignant “In Memory of Isang Yun” for piano trio offers a heartfelt tribute to a revered composer, while Adeline Wong’s “Empat” for string quartet weaves a delicate and evocative homage of its own. Peter Eötvös’s “Da capo,” based on sketches of Mozart, adds a witty and humorous touch to the evening, honoring the original prankster himself. It also features guest soloist Max Riefer of University of Music Lübeck on marimba. 

About OpusNovus

About OpusNovus

OpusNovus is the contemporary music ensemble comprised of students from the Yong Siew Toh Conservatory of Music. Its programmes mix important pieces by internationally renowned composers with newer works and lesser known gems of the contemporary repertoire. 

 

Repertoire & Performers

Joyce KOH: Fingerprints

Quek Jun Hao Julien (Flute), Sho Yong Shuen (Oboe), Ma Yi-Ting (Clarinet), Ong Aun Guan (Trombone), Papat Lertchanvit (Piano), Teo Wei En Reina (Violin), Chan Shee Ann Shannon (Viola), Saran Charoennit (Cello)

Toshio HOSOKAWA: In Memory of Isang Yun

Edenia Maureen (Piano), Bakhodir Rakhimov (Violin), Guo Mingai (Cello)

Adeline WONG: Empat

Edgar Javier Lucena Rodriguez (Violin), Tan Xin Jie (Violin), Huang Yi (Viola), Sim Yein (Cello)

Peter EÖTVÖS: Da Capo

Weng Yi-Chian (Flute), Sho Yong Shuen (Oboe), Ma Yi-Ting (Clarinet), Rachel Ng Wei Ting (Bassoon), Chai Mei Qin (French Horn), Loi Chiang Kang (Trumpet), Ong Aun Guan (Trombone), Liu Jun-Jia (Tuba), Jeremy Ng Chuan Kai (Percussion), Edgar Javier Lucena Rodriguez (Violin), Tan Xin Jie (Violin), Huang Yi (Viola), Zhu Zeyu (Cello), Hibiki Otomo (Bass), Max Riefer (Marimba, Guest Soloist)

About OpusNovus

[Plenary Performance] Karst de Jong & Shugorei – Flow States

This improvisation concert is a meeting of musical cultures and genres. Karst de Jong plays for the first time in concert with Shugorei, a highly adventurous duo from Brisbane. Shugorei features a lively combination of percussion and electronics, mingling bricolage, found sounds and extended techniques with sample-mangling and exotic sound synthesis, all bound together with elemental melodic shapes and driving rhythms. Expanded with the piano and electronics of Karst de Jong, the trio explores various Flow States, blurring boundaries between electronic and acoustic sounds in spontaneous and pre-conceived improvisations, mixing diverse and contrasting musical influences.

About the Performers

About the Performers

Shugorei is a sparkling, invigorating, highly adventurous music duo featuring live percussion and electronics, with key performers Nozomi Omote and Thomas Green, often augmented by a selection of classical instruments and guests. Combining unusually diverse influence including IDM and classical music, Shugorei is uniquely, distinctly vivacious.  Vibraphone, digital samples, analogue synthesis, drums and bricolage come together in painstakingly composed and improvised instrumental works. Additionally, Shugorei has a cross-cultural aspect; Nozomi Omote explores a melding of Western musicianship with her Japanese background. Likewise, Thomas Green’s music draws on a globe-spanning array of influence.

Karst de Jong is internationally recognized in the field of classical improvisation, having transformed his artistic practice from performing classical pieces to bringing improvisation to the stage. He moves effortlessly between styles, ranging form solo-piano in classical idioms to playing free improvisations with ensembles and playing with musicians from the jazz and world music scene. For this concert he plays a grand piano while using electronics to combine the acoustic with synthesized sounds and real-time sampling techniques.

About the Performers

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