Bio : Nederlands - English
[... a text by Stefan Van Eycken. See by the way : Electric Ballroom, 4.6.2002] supplement (Étinfoil tiaras) [2001] for piano with e-bows etc. [can be performed with henri storck’s silent movie ‘trains de plaisir’ (1930)] james tenney once remarked on how, even though a piano sound does not have a steady-stage, we are virtually unaware of this acoustic reality when we listen to most piano music: “most music for the piano is written as though the tone did not fade away immediately, or is composed in such a way as to disguise this fact as much as possible” morton feldman also wrote about this: “what we hear is the attack and not the sound ... decay, however, this departing landscape, this expresses where the sound exists in our hearing leaving us rather than coming toward us”... focus on the decay of each sound, make its attack sourceless supplement: sourceless attacks, but a landscape refusing to depart enter live-electronics: a disinterest in cosmetic electronics (‘live instrumental sound with an electronic halo’), in karaoke electronics (‘play along with the accompaniment’) and in digestive electronics (‘live instrumental sound as input for...’) so what’s left? maybe, electronics that are fundamentally implicated in the production of sound, and therefore predicated on a highly intimate rapport between the performer and the constellation of technologies he/she is confronted with an awareness of what the body does and feels “movement precedes sound” the ancient japanese notion of ‘play’ (asobi) as purposeful action “hearing the sound you’re making as if it comes from far away... not ‘you’, not ‘your hand’, but ‘your hand moving’” (yuji takahashi) and wasn’t there a film in all of this? well, yes, if you like... everything comes with a supplement
Stefan Van Eycken (1975) studied musicology at the K.U.Leuven and attended summer courses in English literature at the University of Edinburgh and composition in Avignong (with Marco Stroppa). In 1997, he moved back to Edinburgh to undertake a PhD on the work of Brian Ferneyhough at the Faculty of Music. He also taught analysis and aesthetics of contemporary music there. In October 2000, he moved to Tokyo on a one-year Japan Foundation Fellowship, affiliated to the Kunitachi College of Music, to work on a book dealing with the music of the most prominent Japanese contemporary composers. He continues to reside in Tokyo, where he also has close working relationships with exponents of the improvised music and traditional music (gagaku a.o.) scene, but also spends time in Belgium, where he holds a Fellowship (the first in its sort) with the Ictus ensemble. Stefan Van Eycken (1975) studeerde musicologie aan de K.U.Leuven en volgde zomercursussen in Engelse literatuur aan de universiteit van Edinburgh en compositie in Avignon (met Marco Stroppa). In 1997 trok hij terug naar Edinburgh om aan de muziek faculteit een doctoraat over het werk van Brian Ferneyhough te ondernemen. Hij doceerde daar ook analyse en esthetiek van hedendaagse muziek. In oktober 2000 verhuisde hij naar Tokyo met een Japan Foundation Fellowship voor een jaar, om verbonden aan het Kunitachi College of Music te werken aan een boek over de muziek van de meest prominente Japanese hedendaagse componisten. Hij woont en werk nog steeds in Tokyo, waar hij tevens nauw samenwerkt met exponenten van de geimproviseerde en traditionele muziek (gagaku e.a.) muziek, maar brengt ook tijd door in België, waar hij een Fellowship (het eerste in zijn soort) heeft met het Ictus ensemble.
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