Publications in OpenAlex of which a co-author is affiliated to this organization
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| Title | DOI |
|---|---|
| The Artistic Turn: A Manifesto | |
| https://doi.org/10.1080/09298215.2021.1899247 | The entanglements which make instruments musical: Rediscovering sociality |
| https://doi.org/10.1002/bmb.21345 | IUBMB/PSBMB 2019 Conference/Plenary: Mentoring in postgraduate training and the role of Organization for PhD Education in Health Sciences in European System |
| https://doi.org/10.1177/20592043251361245 | Modeling – Imaginative Descriptions of Real Things: Learning About Historical Musical Instrument-Making Practices from New Technologies |
| https://doi.org/10.21476/pp.2017.33140 | Gilbert Simondon’s ‘Transduction’ as Radical Immanence in Performance |
| https://doi.org/10.1080/14702029.2015.1041719 | Experiment! Towards an artistic epistemology |
| https://doi.org/10.47041/cbbj7040 | Networks: Introduction |
| https://doi.org/10.26530/oapen_1000228 | Powers of Divergence : An Experimental Approach to Music Performance |
| https://doi.org/10.1007/978-3-319-46282-0_11 | Decomposing a Composition: On the Multi-layered Analysis of Expressive Music Performance |
| https://doi.org/10.11116/9789461662514 | Powers of Divergence: An Experimental Approach to Music Performance |
| https://doi.org/10.1525/res.2021.2.2.168 | Improvising with Architecture |
| https://doi.org/10.1007/978-94-007-7435-3_3 | (Re-)Searching Artists in Artistic Research: Creating Fertile Ground for Experimentation at the Orpheus Institute, Ghent |
| The BRIC Model from a Japanese Perspective - Pre and Post Financial Crisis Review and Forecasts | |
| The Divergence Cyclicality | |
| https://doi.org/10.2307/j.ctt21c4sbm.20 | Improvisation as Experimentation in Everyday Life and Beyond |
| https://doi.org/10.21476/pp.2017.32175 | Gilbert Simondons ‚Transduktion‘ als radikale Immanenz der Performanz |
| Time Duration Decay In Romanian Capital Markets | |
| https://doi.org/10.4108/eai.13-7-2018.163995 | (Re-) Presenting an altered interactive system. On et ego, a piece for classical guitar, two piezoelectric microphones and electronics |
| https://doi.org/10.30628/1994-9529-2020-16.1-164-186 | GENRE OF A CONCERT-CONVERSATION IN THE HISTORY OF TELEVISION |
| https://doi.org/10.1007/s00146-020-01126-4 | Music, discourse and intuitive technology |
| https://doi.org/10.2139/ssrn.1754388 | Temporal Changes in Shiller's Exuberance Data |
| https://doi.org/10.2139/ssrn.2608336 | Stock Market Stationarity |
| https://doi.org/10.1101/2025.01.13.632542 | Misophonia Symptoms Severity is Attributed to Impaired Flexibility and Heightened Rumination |
| https://doi.org/10.5937/newso1101075s | Reinterpreting Michael Musgrave and Bernard D. Sherman's performing Brahms: Early evidence of performance style |
| https://doi.org/10.5325/gestaltreview.7.3.0261 | Jewish Roots of Gestalt Therapy |
| https://doi.org/10.1162/lmj_a_01036 | On Stockhausen’s Solo(s): Beyond Interpretation |
| (Re-)searching artists in artistic research – creating fertile ground for experimentation | |
| The Royal Brussels Hornsound. Flemish Romantic Music on period Instruments | |
| https://doi.org/10.5117/forum2020.2.009.vanm | Voor de liefhebbers van de Goldbergvariaties en andere gemoedsbewegingen... |
| https://doi.org/10.47041/jfjn5520 | On Timbre Networks |
| https://doi.org/10.2478/muso-2021-0014 | Pastiching as Artistic Research: Ifigenia / Ipermestra (Brussels, 2006)* |
| https://doi.org/10.1515/tjb-2018-43s306 | DAVETLİ KONUŞMACI ÖZETLERİ / INVITED SPEAKERS ABSTRACTS |
| https://doi.org/10.15476/elte.2022.218 | Orpheus Argonautikája. Hagyomány és újítás egy késő antik eposzban |
| https://doi.org/10.1080/09298215.2023.2254287 | The Rebel Crank : redefining street barrel organs performance practice through physical gesture transgression |
| https://doi.org/10.14361/9783839468869-030 | Reference List |
| https://doi.org/10.14361/9783839468869-toc | Contents |
| https://doi.org/10.14361/9783839468869-021 | 4.3 Reference |
| https://doi.org/10.14361/9783839468869-025 | 5.1 Bodies without Sound |
| https://doi.org/10.14361/9783839468869-014 | 3.1 Material and Modernity |
| https://doi.org/10.14361/9783839468869 | Before Sound |
| https://doi.org/10.14361/9783839468869-005 | 1.2 Aristoxenus' Elements of Music |
| https://doi.org/10.14361/9783839468869-028 | List of Works |
| https://doi.org/10.14361/9783839468869-023 | 4.5 Sonocentrism |
| https://doi.org/10.14361/9783839468869-018 | Introduction |
| https://doi.org/10.14361/9783839468869-024 | Introduction |
| https://doi.org/10.14361/9783839468869-027 | Conclusions |
| https://doi.org/10.14361/9783839468869-004 | 1.1 Elements and Matter |
| https://doi.org/10.14361/9783839468869-007 | 1.4 Elements, Letters, Notes |
| https://doi.org/10.14361/9783839468869-010 | 2.2 Sound and Composition |
| https://doi.org/10.14361/9783839468869-022 | 4.4 Agent and Reproducibility |
| https://doi.org/10.14361/9783839468869-029 | Abbreviations |
| https://doi.org/10.14361/9783839468869-016 | 3.3 Aperiodic Rhythms |
| https://doi.org/10.14361/9783839468869-009 | 2.1 Dissonant Material |
| https://doi.org/10.14361/9783839468869-020 | 4.2 Sounds without Bodies |
| https://doi.org/10.14361/9783839468869-017 | 3.4 Quasiperiodic Forms |
| https://doi.org/10.14361/9783839468869-013 | Introduction |
| https://doi.org/10.14361/9783839468869-002 | Introduction |
| https://doi.org/10.14361/9783839468869-011 | 2.3 Given or Constructed? |
| https://doi.org/10.14361/9783839468869-015 | 3.2 Taking Place |
| https://doi.org/10.14361/9783839468869-006 | 1.3 Transmission and Reception |
| https://doi.org/10.14361/9783839468869-001 | Acknowledgments |
| https://doi.org/10.14361/9783839468869-026 | 5.2 Composing a Gesture |
| https://doi.org/10.14361/9783839468869-012 | 2.4 Timbre, Noise, and Language |
| https://doi.org/10.14361/9783839468869-019 | 4.1 Pitched Bodies |
| https://doi.org/10.14361/9783839468869-fm | Frontmatter |
| https://doi.org/10.14361/9783839468869-003 | Introduction |
| https://doi.org/10.14361/9783839468869-008 | Introduction |
| https://doi.org/10.25836/rnrm.2020.14 | Grand témoignage : La recherche artistique, enjeux, pratiques et questionnements |
| https://doi.org/10.47809/mp.2023.38.01.04 | Research Academy on “Munich” Mozart Piano Sonatas – Orpheus Institute – 3-13.07.2023: Report and Questionings about the Practice of Ornamenting and Improvising on Early Keyboards as a 21st Century Pianist |
| https://doi.org/10.1201/9781003458227-2 | From the Work Concept to Hypermusic |
| https://doi.org/10.1201/9781003458227-1 | Introduction: |
| https://doi.org/10.1017/s1478570624000034 | Das Wiener Kärntnertortheater 1728–1748: Vom Städtischen Schauspielhaus zum Höfischen Opernbetrieb Andrea Sommer-Mathis and Reinhard Strohm, eds Vienna: Hollitzer, 2023 pp. xiv + 712, ISBN 978 3 990 94039 6 |
| https://doi.org/10.3917/rphi.172.0229zk | Paulo de Assis (éd.), Experimental Affinities in Music , Louvain, Leuven University Press, coll. « Orpheus Institute Series », 2016, 252 p., 45 €. |
| https://doi.org/10.3389/fauot.2026.1744438 | Defining tinnitus: a socratic and epistemological inquiry |
| https://doi.org/10.21606/eksig2011.110 | Experiential Knowledge and Improvisation: Variations on Movement, Motion, Emotion |
| https://doi.org/10.5281/zenodo.18807811 | What dialogue is made of: an artistic exploration of Ligeti's 'Dialogo' using a custom segmentation algorithm |
| https://doi.org/10.5281/zenodo.18807810 | What dialogue is made of: an artistic exploration of Ligeti's 'Dialogo' using a custom segmentation algorithm |
| Mild neurological signs in bipolar disorder | |
| https://doi.org/10.5281/zenodo.18945232 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 6: Vicente Lusitano — 38 Solo Counterpoint Examples on Mensural Music (Skills, Vol. 4) |
| https://doi.org/10.5281/zenodo.18648159 | Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overview |
| https://doi.org/10.5281/zenodo.18945233 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 6: Vicente Lusitano — 38 Solo Counterpoint Examples on Mensural Music (Skills, Vol. 4) |
| https://doi.org/10.5281/zenodo.18648158 | Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overview |
| https://doi.org/10.5281/zenodo.18945153 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 5: Vicente Lusitano — 34 Examples of Improvised Canons on Cantus Firmus (Vol. 3) |
| https://doi.org/10.5281/zenodo.18944002 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 1: Mateo de Aranda — 38 Counterpoint Examples |
| https://doi.org/10.5281/zenodo.18944767 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Solo Counterpoint Examples |
| https://doi.org/10.5281/zenodo.18944977 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 4: Vicente Lusitano — 14 Concerted Counterpoint Examples (Vol. 2) |
| https://doi.org/10.5281/zenodo.18944978 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 4: Vicente Lusitano — 14 Concerted Counterpoint Examples (Vol. 2) |
| https://doi.org/10.5281/zenodo.18944882 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 3: Vicente Lusitano — 125 Solo Counterpoint Examples (Vol. 1) |
| https://doi.org/10.5281/zenodo.18944766 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Solo Counterpoint Examples |
| https://doi.org/10.5281/zenodo.18944883 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 3: Vicente Lusitano — 125 Solo Counterpoint Examples (Vol. 1) |
| https://doi.org/10.5281/zenodo.18945152 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 5: Vicente Lusitano — 34 Examples of Improvised Canons on Cantus Firmus (Vol. 3) |
| https://doi.org/10.5281/zenodo.18944003 | Corpus of Recorded Counterpoint Examples (CRCE), vol. 1: Mateo de Aranda — 38 Counterpoint Examples |
| https://doi.org/10.5281/zenodo.19239990 | Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overview |
| https://doi.org/10.1017/s1355771825100848 | The Mind Amplifier: Software Composition in José Vicente Asuar’s COMDASUAR |