[IDEA] I.

 

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ARTISTIC PREMISE

 

The residency proceeds from the proposition that Renaissance and Baroque performance constitutes musical knowledge, rather than remaining secondary to it, and that interpretation begins neither after a work’s formation nor outside its ongoing realization.

 

Technique, reading, listening, memory, discussion, experimentation, rehearsal, interpretation, documentation, and performance are treated as interdependent dimensions of practice. Each produces specific forms of knowledge and can thereby transform a work’s meaning, organization, transmission, and realization in performance.

 

For performers, the residency provides a context in which repertoires, materials, structures, concepts, and interpretative strategies can be examined through sustained practice. Questions of articulation, duration, tuning, temperament, ornamentation, technique, timbre, coordination, formal coherence, historical mediation, and perceptual organization can be addressed while performances and methodologies remain open to development.

 

For performers and ensembles, the residency creates conditions for knowledge embedded in performance to become explicit, communicable, and examinable. Their understanding of instruments, voices, bodies, gestures, ensemble relations, rehearsal processes, and performance histories becomes integral to the inquiry. Interpretation is understood not as the reproduction of fixed instructions, but as situated judgment, embodied analysis, distributed authorship, and musical thought in action.

 

The residency neither reduces historical performance to technical problem-solving nor treats rehearsal as the efficient preparation of a concert performance. It establishes a discursive and practical environment in which participants can articulate methodologies, examine presuppositions, negotiate decisions, test propositions, and reflect upon the historical, ethical, aesthetic, epistemic, and institutional conditions of performing together.