Evelyn Buyken is a cellist and music researcher based in Cologne. Her practice involves baroque cello, artistic research, ensemble playing, concert dramaturgy and teaching artistic research at Higher Music Education institutions. She is a research fellow at the Academy of Sciences and the Arts in North Rhine-Westphalia (Junge Kolleg).
From 2018 to 2023 she was junior professor for artistic research and founder of the FORUM and Labor Künstlerische Forschung at the Cologne Hochschule for Music and Dance and PI of the European research project RAPP Lab (Reflection-based Artistic Professional Practice, www.rapplab.eu). Her research includes embodied knowledge practices, rehearsal research, HIPP, trans-disciplinary practices between music and dance, institutional and pedagogical knowledges of artistic research, gender theory in music and music history of the 18th and 19th century. She publishes, performs and lectures internationally.
Evelyn was trained as a baroque cellist and viola da gamba player, also in musicology, music pedagogy and literature at the Universities and Conservatories of Cologne, Rome and Trossingen. She received her PhD on Bach culture in the early Jewish salons of Berlin and was granted a scholarship from the interdisciplinary graduate school a.r.t.e.s. (University of Cologne) for this research. In 2022/23 she was funded by the Kunststiftung NRW for her research on inter-subjective performance practices in a Basso Continuo Group.
AEC Kongress in Den Haag am 9./10. November 2023
Rui Penha, Escola Superior de Música e Artes do Espectáculo
Evelyn Buyken, RAPP Lab Project
Helena Gaunt, Royal Welsh College of Music and Drama, Former chair of the AEC Strengthening Music in Society Working Group
Stefan Ostersjo, REACT Project
Stephen Broad (Moderator), Royal Conservatoire of Scotland, Chair of the AEC
European Platform for Artistic Research in Music Working Group
Vortrag mit Katrin Losleben in der Ringvorlesung "Sound in Artistic Research" an der Universität der Künste in Berlin am 22. Januar 2024
‘Becoming-with’ in the Sonic.
Music and bodies ‘become’ through the co-creational processes of sound and different human and non-human bodies within social contexts. To understand better the relation of musicians, traditionally understood as those who produce sounds, and the sounds themselves, we conducted micro-phenomenological in-depth interviews with six cellists. This novel method allowed us to zoom-in to the moment of creation of sound. Extending recent understanding of music as “ontological politics”, and drawing on Karen Barad’s accounts of intra-action, we theorize how sounds, materials and bodies ‘become-with’ each other, and iteratively co-constitute the musician-persona, the sound and the instruments.