SOUNDS. LIKE 90 PROBLEMS.

My improvisation-based practice derives from analytical dance studies like Laban Methodology, Bartenieff Fundamentals and Body Mind Centering. These branches of modern and contemporary dance focus on how the body relates to its environment and the reliability of our psycho-sensorial apparatus. My research in P.A.R.T.S. elaborated on such psycho- or neurosomatic practices focusing on the auditory system and its relation with equilibrium (thus movement).

Experimental Practice
Performing an internal connectivity should not mean a closure of expressivity, a problematic aesthetic result of expressive bodies connecting to their somatic landscape. It came to my attention that the most instantaneous relation between the body and its environment is rooted in-transit activities: a performative continuous reactivation of the relation between performer and context.The performer is always already in relation, therefor I am looking to redefine improvisation by a notion of (explicit) continuous composition. The research exists out of creating frames and tasks to assist in making explicit the interpretation of these in- and external relations.

The explicitness (or ‘consciousness’) of the physical states are themselves the statement or the content of the performance. The performer of this choreographic practice is alerted and aware of the cognitive psychological and emotional embeddedness of the soma. In this neuro-somatic or psycho-somatic ‘style’, the work is not in ‘finding’ new material, but in writing the fluctuating awareness of one’s performance and thereby making his or her relation to the environment tangible.
Practicing experiments
This time-coded experiment unfolds in alternating 10 min. performance and 5 min. writing per test-case. Each test-case is a music-composition, in total there are 90 compositions to be experimented in about 20 studio-sessions. These Western compositions are chronologically structured: 15 classical -, 15 Romantic -, 15 Late-Romantic compositions, 30 compositions from the 20th Century, 15 electro-acoustic compositions.

The twofold task for movement and writing, questions the distance between the two media and wonders where to situate the dance avoiding hierarchical relations. The tasks are:
1) Make an instant choreography "getting as close as possible to the music.”
2) Make an automatic, continuous writing answering the question "how have you experienced getting close as possible to the music?”

During this first part of this research the questions I address in the automatic writing evolved. I can make following statements in chronological order about how I questioned my experience in the practice:
1.a The spatial experience and the in-between relation experienced.
How do the media relate to each other without crystalizing hierarchy or losing integrity.
1.b. The sensorial experience of this electrifying environment made explicit by projecting architectural memories and emotional situations.
2.a. The experience of more concrete movement tasks, stemming from a study of the inner-and middle ear.
2.b. The experience of the performative potential of the environment.

A selection of the transscript made during the first 46 experiments can be found under the section Sound. Like 90 Problems.text and dance lecture, Sound. Like 90 Problems.

90 compositions for movement research
Classical Compositions
1) Johann Stamitz (1717-1757) - Symphonia in D Major, Melodia Germanice, 1750-1754.
2) Domenico Scarlatti (1685-1757) - Salve Regina in A. Minor, 1757.
3) Francois-Joseph Gossec (1734-1829) - Introduzione, Requiem Aeternam, Te de cet hymnes, Exuadi orationem meam, from Grande Messe des Morts, 1760.
4) Christoph Willibald Gluck (1714-1787) - Dance of the Blessed Spirits, from Orfeo ed Euridice, 1762.
5) Antonio Salieri (1750-1825) - Piano Concerto in C. Major, 1773.
6) Johann Michael Haydn (1737-1806) - Horn Concerto in D Major, MH 134, P. 134,1775.
7) Luigi Boccherini (1743-1805) - Musica notturna delle strade di Madrid, C Major, Op. 30, No. 6, ca. 1780.
8) Johann Christian Bach (1735-1782) - Symphony in D-Major, Op. 18, No. 4, 1782.
9) Joseph Martin Kraus (1756-1792) - Olympie Overture, VB 29 (undated).
10) Wolfgang Amadeus Mozart (1756-1791) - Piano Concerto No. 24 in C. Minor, K. 491, 1786.
11) Dmitry Bortniansky (1751-1825) - Concerto-Symphony for Piano, Harp, Two Violins, Viola da gamba, Cello and Bassoon in B flat Major, 1790.
12) Franz Joseph Haydn (1732-1809 Symphony no. 104 in D „London” (Adagio-Allegro), 1795.
13) Luigi Cherubini (1760-1842) - Finale, from Médée, 1797.
14) Muzio Clementi (1752-1832) - Gradus ad Parnassum (5-6: Pieces in B flat Major; 7-8: Pieces in D Major), Op. 44, 1817-1819-1826.
15) Franz Schubert (1797-1828) - Sonata in A Minor, Op. 42, D. 845, 1824.

Romantic Compositions
16) Johann Nepomuk Hummel (1778-1837) - 1st mov., Allegro e risoluto assai, from Piano Quintet in E flat, Op. 87, 1802.
17) Gioacchino Rossini (1792-1868) - Overture, from The Barber of Seville, 1816.
18) Niccolo Paganini (1782-1840) - No. 7-9, from 24 Caprices for Solo Violin (Flute), Op. 1, 1802-1817.
19) Carl Maria von Weber (1786-1826) - Konzertstück in F minor, Op. 79, 1821.
20) Ludwig van Beethoven (1770-1827) - Maestoso - Allegro con brio ed appassionato, from Piano Sonata no. 32 in C minor, Op. 111, 1821-1822.
21) Felix Mendelssohn (1809-1847) - Overture in E major, from A Midsummer Night’s Dream, Op. 21, 1826.
22) Franz Schubert (1797-1828) - Adagio, from String Quintet in C mayor, Op. 163, D. 956, 1828.
23) Hector Berlioz (1803-1869) - 4th and 5th Movement, from Symphonie Fantastique, Op. 14, 1830.
24) Johann Strauss I (1804-1849) - Tivoli-Rutsch Walzer, Op. 39, 1830.
25) Robert Schumann (1810-1856) - Mov. 1-10, from Carnaval, Op. 9, 1834.
26) Frédéric Chopin (1810-1849) - Nocturne, No. 2 in F sharp minor, Op. 48, 1841.
27) Giuseppe Verdi (1813-1901) - Hebrew Slaves Chorus, from Nabucco, 1841.
28) Franz Liszt (1811-1886) - Après une Lecture du Dante: Fantasia quasi Sonata, 1849.
29) Jacques Offenbach (1819-1880) - Overture, from Orphie aux enfer, 1858.
30) Camille Saint-Saëns (1835-1921) - Introduction and Rondo Capriccioso, Op. 28, 1863.

Late Romantic Compositions
31) Edvard Grieg (1843-1907) - Im Herbst, Op. 11, 1865.
32) Georges Bizet (1838-1875) - Suite no. 1, from Carmen, 1875.
33) Richard Wagner (1813-1883) - Act 2 (prt.1), Götterdämmerung, from Der Ring des Nibelungen, WWV 86, 1876.
34) Johannes Brahms (1833-1897) - Symphony no. 1, Op. 68, 1876.
35) Antonin Dvorak (1841-1904) - I. Stabat Mater dolorosa, Andante con moto, from Stabat Mater, Op. 58 (orig. Op. 28), 1877.
36) Anton Bruckner (1824-1896) - Mov. 1, Allegro moderato, from Symphony no. 7, 1881-1883.
37) Nikolai Rimsky-Korsakov (1844-1908), Mov. 2, from Scheherazade, Op. 35, 1888.
38) Richard Strauss (1864-1949) - Don Juan, Op. 20, 1888.
39) Pyotr Llyich Tchaikovsky (1840-1893) - Danses caractéristiques, from The Nutcracker Suite, Op. 71a, 1892.
40) Giacomo Puccini 1858-1924) - Love duet, Act I, from Tosca, 1900.
41) Franz Lehar (1870-1948) - Vilja Song, Act. 2, from Die Lustige Witwe, 1905.
42) Alexander Scriabin (1872-1915) - Sonata no. 5, Op. 53, 1907.
43) Sergei Rachmaninov (1873-1943) - Mov. 3, Finale, Piano Concerto no. 3, Op. 30, 1909.
44) Gustav Mahler (1860-1911) - Finale, from Symphony no. 8 in E flat major, 1910.
45) Jean Sibelius (1865-1957) - Overture and Act I, from The Tempest, Op. 109, 1925-1926.

20th Century Composition
46) Claude Debussy (1862-1918) - L’enfant Prodigue, 1884.
47) Jean Sibelius (1865-1957) - Violin Concerto in D Minor, Op. 47, 3rd movt.,1904.
48) Maurice Ravel (1875 - 1937) - Gaspard de la Nuit, 1908.
49) Gustav Mahler (1860-1911) - Symphony No. 8, 1910.
50) Igor Stravinksy (1882-1971) - Finale, from Firebird, 1910.
51) Charles Ives (1874-1954) - Piano Sonata no. 2 from „Concord, Mass., 1840-1860”, 1915.
52) Alban Berg (1885-1935) - Wozzeck Act. 3 sc. 2-3, 1917.
53) Anton Webern (1883-1945) - Passacaglia, Op. 1, 1918.
54) Sergei Prokofiev (1891-1953) - Suite, from The Love for Three Oranges Op. 33, 1921.
55) Arthur Honegger (1892-1955) - Pacific 231, 1923.
56) Arnold Schoenberg (1874-1951) - Variations for Orchestra Op. 31, 1928.
57) Edgar Varèse (1883-1965) - Ionisation, 1929-1931.
58) George Gershwin (1898-1937) - Suite, from Porgy and Bess, 1935.
59) Bela Bartok (1881-1945) - Music for Strings, Percussion and Celesta III, sz. 106, BB 114, 1936.
60) Benjamin Britten (1913-1976) - Variations on a Theme of Frank Bridge, prt. 1-7, Op. 10, 1937.
61) Michael Tippett (1905-1998) - Four Spirituals („Steal away”, „Nobody knows the trouble I see, Lord”, „O, by and by”, Deep river”), from A Child of Our Time, 1939-1941.
62) Paul Hindemith (1895-1963) - Symphonic Metamorphosis of Themes by Carl Maria von Weber, 1st and 2nd mov., 1943.
63) Aaron Copland (1900-1990) - Appalachian Spring, 1944.
64) Richard Strauss (1864-1949) - Metamorphosen, 1945.
65) John Cage (1912-1992) - Sonatas and Interludes (for prepared piano, no. 1, 2, 3, 5, 1946-1948.
66) Leonard Bernstein (1918-1990) - Symphony no. 2, The Age of Anxiety, prt. 1, 1948-1949.
67) Pierre Boulez - Polyphonie X, 1951.
68) Iannis Xenakis (1922-2001) - Metastaseis, 1953-54.
69) Witold Lutoslawski (1913-1994) - Five Songs, 1956-1957.
70) Oliver Messiaen (1908-1992) - Catalogue d’Oiseaux II (in 7 books), for piano, 1956-1958.
71) Kryszlof Penderecki (1933) - Fluorescences, 1961.
72) Georgy Ligeti (1923-2006) - Clocks and Clouds, 1972.
73) Dmitri Shostakovich (1906-1975) - I Elegy: Adagio - attaca, from String Quartet no. 15 in E-flat minor, Op. 144, 1974.
74 Alfred Schnittke (1934-1998) - Rondo, from Concerto Grosso I, 1977.
75) Philip Glass (1937) - Act 1, Prelude, from Akhenaten, 1983.

Avant-Garde & Electroacoustic Compositions
76) Luigi Russolo(1885-1947) - Music for 16 Futurist Noise Intoners, ca. 1916.
77) Pierre Schaeffer (1910-1995) & Pierre Henry - Orphie 53, 1953.
78) Iannis Xenakis (1922-2001) - Metastasis, 1953-1954.
79) Toru Takemitsu (1930-1996) - Static Relief, 1956.
80) Luciano Berio (1925-2003) - Perspectives, 1957.
81) Edgar Varèse (1883-1965) - Poème Electronic, 1957-1958.
82) Delia Derbyshire (1937-2001) & Barry Bermange (1933) - Falling, 1964.
83) Bernard Parmegiani (1927-2013) - De Natura Sonorum, 1975.
84) Pierre Boulez (1925) - Répons, 1980-84.
85) Tristan Murail (1947) - Désintégrations, 1982-1983.
86) Karlheinz Stockhausen (1928-2007) - Luzifers Abschied, from Licht, 1983.
87) Luigi Nono (1924-1990) - Prometheus Suite, from Promoteo, 1984.
88) Thierry Lancino (1954) - Profondeurs de Champ, 1983-1984.
89) Grischa Lichtenberger (1983) - Treibgut Ununbium, 2009.
90) Sasu Ripatti (Vladislav Delay) (1976) - Part one, from Recovery IDea, 2012.