David Azaglo - Examining groove in African music (focusing on traditional percussion music from Ghana)

It is going to be an experiment with musicians to examine the results (in the light of African groove) produced from interpreting some African rhythms from different styles of notation. Focus will be on which notation gets close to the result produced by the African. “What grooves, and what doesn’t” will be a topic under discussion.

Abel Fazekas - a composition for the trio of Aurelie Lierman, Riccardo Margona and Abel Fazekas

In most cases the musical language is not an active component of a given composition. It’s purpose is to set constraints on sonic, thematic and pragmatic layers in order to outline a coherent system  - a language - within which the work can be revealed. It is rare to consider a harmonic language like of the western classical music, a format like the string quartet or simply an  acoustic phenomenon like the harmonic series already a composition. These are regarded the fabric of the composition instead of being the composition itself similarly to the role of a language. It does not express by itself, but allows expression. 

I am interested in constructing musical languages where the structure of the language functions as the sole means of expression inducing a situation where any kind of narrative can only happen on the structural level.

Domenic Jarlkaganova:

A presentation on aural and visual structural superimposition and dissonance: Dichotic listening and the perception of multiple structures within a single work