[simulator] I.

 

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PROGRAM STRUCTURE

 

The residency unfolds through three consecutive stages. Each stage has a distinct function within an integrated process moving from contextualization to experimentation and public articulation.

 

 

Stage I. | September–October 2026

2 online seminars

 

The first stage establishes the residency’s artistic and discursive foundations. Participants introduce their practices, influences, methods, repertoire, projects, and central questions, creating a shared basis for understanding the cohort’s historical, technical, aesthetic, and methodological positions.

 

Participants present performances, recordings, scores, editions, technologies, or research processes and contextualize their instrumental lineages, orchestral experience, rehearsal practices, interpretative priorities, and approaches to collective decision-making.

 

Discussion addresses notation and material realization, technical transmission, memory, orchestral agency, and the edition’s conceptual framework. Rather than finalizing projects, the seminars identify the questions, resources, and constraints guiding subsequent development.

 

Stage I includes:

– 2 online seminars

– Presentation of artistic practices and performance methodologies

– Introduction of selected repertoire, previous work, and current projects

– Contextualization of formative histories, influences, and modes of transmission

– Collective listening, analysis, critical feedback, and Q&A

Identification of artistic, technical, historical, and conceptual questions

– Initial engagement with SOURCE, SUBSTANCE, AND STRUCTURE

 

 

Stage II. | November–December 2026

2 online seminar-laboratories

 

The second stage centers on practice-led experimentation and critical inquiry. Participants present developed materials and test propositions arising from Stage I through performance, collective listening, analytical discussion, and simulation formats that expose relations among source, substance, and structure.

 

Depending on each project, inquiry may concern phrasing, tempo, articulation, intonation, balance, instrumental technique, seating, spatial organization, conducting, rehearsal language, recording, interface design, synchronization, or the relation between historical premise and perceptible result.

 

Participants may vary an interpretation, isolate a relation, alter an acoustic or technological condition, redistribute orchestral roles, or compare multiple realizations of a passage. Simulation functions as a critical method: by reconfiguring performance conditions, it makes assumptions, dependencies, and alternatives audible. Its purpose is not scientific verification, but the deliberate production of revealing contrast.

 

Stage II includes:

– 2 online seminar-laboratories

– Presentation of developed performances, recordings, methods, and research materials

– Practice-led experimentation and comparative simulation

– Collective listening and analysis

– Critical examination of historical and methodological premises

– Feedback from participants and invited mentors

– Identification of questions requiring further development

– Preparation of performance, technical, and documentation strategies

– Continued engagement with SOURCE, SUBSTANCE, AND STRUCTURE

– Q&A

 

By the conclusion of Stage II, projects should be sufficiently articulated to enter the on-site phase while remaining open to transformation through rehearsal, performance, environment, and public exchange.

 

 

Stage III. | June 14–25, 2027

On-site residency at the seventh Bled Contemporary Music Week

 

The final stage takes place in Bled, Slovenia. Participants bring the practices and questions developed online into an environment of rehearsal, performance, simulation, discussion, and public presentation.

 

Acoustic, spatial, technical, environmental, and interpersonal conditions may require interpretative revision. Performance remains a site of inquiry in which materials are reorganized, methods tested, conventions suspended, and assumptions challenged. Rehearsal functions not merely as preparation, but as an analytical process examining relations among score, body, ensemble, and institution.

 

Participants engage through working sessions, rehearsals, simulation laboratories, symposia, and public events. The program includes performances, lecture-performances, laboratories, research presentations, talks, demonstrations, and hybrid formats. A performance may advance an argument; a simulation may test a historical or institutional proposition; a lecture may become an experiment. Each format must make musical knowledge perceptible and discussable.

 

Stage III includes:

– On-site residency in Bled, Slovenia

– Individual, sectional, and collective working sessions

– Simulation laboratories and performative testing

– Engagement with acoustic, spatial, technological, and institutional conditions

– Artistic and methodological revision

– Public performances and lecture-performances

– Research presentations, talks, and critical exchange

– Professional documentation of performances and presentations

 

The public program offers a provisional articulation rather than a claim to definitive completion, presenting artistic work together with the processes, histories, and questions through which it developed.