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Papers by kristin vandenbuys

Research paper thumbnail of 75 jaar Radio

Research paper thumbnail of Paul Collaer-cyclus. Als het in Parijs regent druppelt het in Brussel

Research paper thumbnail of Paul Collaers keuze

Research paper thumbnail of Rise, climax, decline and revival modernist music Belgium

The international Perspective on a Radio Centenary, Nov 7, 2019

Research paper thumbnail of Het Orkest. Van Radio Orkest tot Brussels Philharmonic in Flagey

LannooCampus, Mar 15, 2013

Research paper thumbnail of Linking arts initiative and artistic policy: a history of institutionalisation, financing and artistic programming of the Belgian factory of sounds - the National Radio Institute and its orchestra - between 1929 and 1960

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Jun 27, 2010

Research paper thumbnail of The Brussels platform for international musical modernism and the ISCM in the interwar period

A ‘Musical League of Nations’?: Music Institutions and the Politics of Internationalism, Jun 29, 2018

In the end of 1920s and the 1930s Brussels became an important centre of international musical mo... more In the end of 1920s and the 1930s Brussels became an important centre of international musical modernism. For example, the first world performances of Strawinsky’s Psalm Symphony (1930), Prokofiev’s Le joueur (1929) and Alban Bergs Wozzeck in a French translation (1932) serve as testimonies of the city’s high status comparable to other major European centres of modernistic music. Cultural entrepreneurs like Henry Le Boeuf (director of the Concerts Populaires and the Philharmonic Society of Brussels), Paul Collaer (director of the Pro Arte concerts (1922–1934) and of the Belgian Broadcasting Institute) the Pro Arte quartet and Corneil de Thoran (director of the Royal Opera La Monnaie) created a unique platform for French, German and Russian modernism. The Pro Arte concerts series aimed to ‘offer the Belgian public an overview of the latest developments in European music’. This cultural elite was strongly connected to the ISCM from its first festival in Salzburg in 1923 where the Pro Arte Quartet was invited. Le Boeuf, Collaer, Onnou and Corneil de Thoran attended all the festivals of ISCM. The Belgian section of the ISCM was founded in July 1926 and in 1930 the 8th festival was organized in Liège. In this paper I will focus on the history of the Belgian section of the ISCM in the interwar period. However I will compare the ISCM festivals with the programmation of the Brussels concert societies in order to decribe its impact. This research on modernistic music in Brussels between 1919 and 1940, is based on a quantitative and qualitative analysis of historical data sources collected and centralized in a relational database in access.

Research paper thumbnail of The interaction between socio-political discourse and music programming in the early days of radio. Case: the Belgian National Broadcasting Institute and the Flemish Catholic Broadcasting Association (1929-1934)

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Sep 3, 2009

Research paper thumbnail of Rondetafelgesprek 'Klassieke muziek en hoger onderwijs

Statengeneraal van de Klassieke Muziek, 2006

Research paper thumbnail of Paul Collaer Oude Muziek Nieuwe Wegen

Research paper thumbnail of Wereldoorlog II: terreur en verzet

Research paper thumbnail of Paul Collaer en het vroege modernisme tot 1922

Research paper thumbnail of Brussels, crossroads of French, Germanic and Russian musical modernism in the interwar period (1919-1940)

Music, Nationalism and Transnationalism International Conference (II) - Diplomacy, Politics, Aesthetics (1918-1945), Jan 31, 2016

In the end of 1920s and the 1930s Brussels became an important centre of musical modernism. For e... more In the end of 1920s and the 1930s Brussels became an important centre of musical modernism. For example, the first performances of Strawinsky’s Psalm Symphony (1930), Prokofiev’s Le joueur (1929) and Alban Bergs Wozzeck in a French translation (1932) serve as testimonies of the city’s high status comparable to other major European centres of modernistic music. Brussels created a unique platform for French, German and Russian modernism. This research on modernistic music in Brussels between 1919 and 1940, is based on a quantitative and qualitative analysis of historical data sources collected and centralized in a relational database in access with ca. 5.000 records relating to Belgian modernism, including ca. 1000 articles of ca. 30 Belgian Journals in Arts, ca. 2000 Brussels concerts (concerts programmes of the Brussels opera, symphonic concert societies, chamber music series and ad hoc initiatives (1920-1939) and of the Radio orchestras (1931-1939)) and letters and documents of archives of composers, directors and former organizations in Brussels that promoted modernism form 1919 till 1940. Thanks to this relational database in access which represents relationships between concerts, articles, letters, composers, compositions, cultural entrepreneurs, critics etc. it is possible to gain insights in the rise and fall of modernistic music in Brussels in the interwar period (the advent (1920-1927); growth (1927-1932) with among others the Concerts Pro Arte (1922-1934) of Paul Collaer which concentrated nearly exclusively on contemporary compositions; the decline (1933-1936) and the revival (1936-1939) which occurred within the context of the Belgian public broadcasting corporation, the National Radio Broadcasting Institute (known by the Dutch acronym NIR) in which the NIR Large Symphony Orchestra (°1 February 1935, with music director Paul Collaer and principal conductor Franz André) played an important role. In this paper I will focus on Modernism in Belgium and Nationalism Following research questions will be answered. Do music critics use nationalistic rhetoric in their definition of “New or Modernistic Music”? Does this nationalistic rhetoric also occur in the programming of the concert societies (such as Concerts Pro Arte) and the NIR (attention will also be paid to the raising of national consciousness and the construction of national identity through music programming on the radio)? Did the Brussels cultural entrepreneurs and critics take over the polarisation in international musical contemporary music, divided into a German and a Latin pool? What was the relationship between international and Flemish modernism (such as E.L.T. Mesens and ‘Pure’ Music) in the concert societies and the NIR?

Research paper thumbnail of De politieke dimensie van muziek in de beginjaren van de radio. Case: het Nationaal Radio Instituut en de Katholieke Vlaamse Radio Omroep (1929-1934)

Research paper thumbnail of An examination of Philippe Hurel’s Loops II

Percussive notes. The journal of the Percussive Arts Society, May 1, 2015

Research paper thumbnail of Vlaamse avant-garde tijdens het interbellum - een doodgeboren kind?

VUBPRESS / Universiteit Gent, 2003

Research paper thumbnail of Het muziekleven in het interbellum, Brussel een bruisende stad

Research paper thumbnail of The solo percussion music of Franco Donatoni

Percussive notes. The journal of the Percussive Arts Society, Mar 1, 2014

Research paper thumbnail of Paul Collaer - Wenen 1909-1919

Research paper thumbnail of Dissonance and harmony: A study of the recognition of artistst in modernistic music in Brussels; 1919-1939

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Dec 1, 2009

for their invaluable comments and suggestions. We also appreciate the insightful feedback of the ... more for their invaluable comments and suggestions. We also appreciate the insightful feedback of the members of the Nagymaros Group.

Research paper thumbnail of 75 jaar Radio

Research paper thumbnail of Paul Collaer-cyclus. Als het in Parijs regent druppelt het in Brussel

Research paper thumbnail of Paul Collaers keuze

Research paper thumbnail of Rise, climax, decline and revival modernist music Belgium

The international Perspective on a Radio Centenary, Nov 7, 2019

Research paper thumbnail of Het Orkest. Van Radio Orkest tot Brussels Philharmonic in Flagey

LannooCampus, Mar 15, 2013

Research paper thumbnail of Linking arts initiative and artistic policy: a history of institutionalisation, financing and artistic programming of the Belgian factory of sounds - the National Radio Institute and its orchestra - between 1929 and 1960

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Jun 27, 2010

Research paper thumbnail of The Brussels platform for international musical modernism and the ISCM in the interwar period

A ‘Musical League of Nations’?: Music Institutions and the Politics of Internationalism, Jun 29, 2018

In the end of 1920s and the 1930s Brussels became an important centre of international musical mo... more In the end of 1920s and the 1930s Brussels became an important centre of international musical modernism. For example, the first world performances of Strawinsky’s Psalm Symphony (1930), Prokofiev’s Le joueur (1929) and Alban Bergs Wozzeck in a French translation (1932) serve as testimonies of the city’s high status comparable to other major European centres of modernistic music. Cultural entrepreneurs like Henry Le Boeuf (director of the Concerts Populaires and the Philharmonic Society of Brussels), Paul Collaer (director of the Pro Arte concerts (1922–1934) and of the Belgian Broadcasting Institute) the Pro Arte quartet and Corneil de Thoran (director of the Royal Opera La Monnaie) created a unique platform for French, German and Russian modernism. The Pro Arte concerts series aimed to ‘offer the Belgian public an overview of the latest developments in European music’. This cultural elite was strongly connected to the ISCM from its first festival in Salzburg in 1923 where the Pro Arte Quartet was invited. Le Boeuf, Collaer, Onnou and Corneil de Thoran attended all the festivals of ISCM. The Belgian section of the ISCM was founded in July 1926 and in 1930 the 8th festival was organized in Liège. In this paper I will focus on the history of the Belgian section of the ISCM in the interwar period. However I will compare the ISCM festivals with the programmation of the Brussels concert societies in order to decribe its impact. This research on modernistic music in Brussels between 1919 and 1940, is based on a quantitative and qualitative analysis of historical data sources collected and centralized in a relational database in access.

Research paper thumbnail of The interaction between socio-political discourse and music programming in the early days of radio. Case: the Belgian National Broadcasting Institute and the Flemish Catholic Broadcasting Association (1929-1934)

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Sep 3, 2009

Research paper thumbnail of Rondetafelgesprek 'Klassieke muziek en hoger onderwijs

Statengeneraal van de Klassieke Muziek, 2006

Research paper thumbnail of Paul Collaer Oude Muziek Nieuwe Wegen

Research paper thumbnail of Wereldoorlog II: terreur en verzet

Research paper thumbnail of Paul Collaer en het vroege modernisme tot 1922

Research paper thumbnail of Brussels, crossroads of French, Germanic and Russian musical modernism in the interwar period (1919-1940)

Music, Nationalism and Transnationalism International Conference (II) - Diplomacy, Politics, Aesthetics (1918-1945), Jan 31, 2016

In the end of 1920s and the 1930s Brussels became an important centre of musical modernism. For e... more In the end of 1920s and the 1930s Brussels became an important centre of musical modernism. For example, the first performances of Strawinsky’s Psalm Symphony (1930), Prokofiev’s Le joueur (1929) and Alban Bergs Wozzeck in a French translation (1932) serve as testimonies of the city’s high status comparable to other major European centres of modernistic music. Brussels created a unique platform for French, German and Russian modernism. This research on modernistic music in Brussels between 1919 and 1940, is based on a quantitative and qualitative analysis of historical data sources collected and centralized in a relational database in access with ca. 5.000 records relating to Belgian modernism, including ca. 1000 articles of ca. 30 Belgian Journals in Arts, ca. 2000 Brussels concerts (concerts programmes of the Brussels opera, symphonic concert societies, chamber music series and ad hoc initiatives (1920-1939) and of the Radio orchestras (1931-1939)) and letters and documents of archives of composers, directors and former organizations in Brussels that promoted modernism form 1919 till 1940. Thanks to this relational database in access which represents relationships between concerts, articles, letters, composers, compositions, cultural entrepreneurs, critics etc. it is possible to gain insights in the rise and fall of modernistic music in Brussels in the interwar period (the advent (1920-1927); growth (1927-1932) with among others the Concerts Pro Arte (1922-1934) of Paul Collaer which concentrated nearly exclusively on contemporary compositions; the decline (1933-1936) and the revival (1936-1939) which occurred within the context of the Belgian public broadcasting corporation, the National Radio Broadcasting Institute (known by the Dutch acronym NIR) in which the NIR Large Symphony Orchestra (°1 February 1935, with music director Paul Collaer and principal conductor Franz André) played an important role. In this paper I will focus on Modernism in Belgium and Nationalism Following research questions will be answered. Do music critics use nationalistic rhetoric in their definition of “New or Modernistic Music”? Does this nationalistic rhetoric also occur in the programming of the concert societies (such as Concerts Pro Arte) and the NIR (attention will also be paid to the raising of national consciousness and the construction of national identity through music programming on the radio)? Did the Brussels cultural entrepreneurs and critics take over the polarisation in international musical contemporary music, divided into a German and a Latin pool? What was the relationship between international and Flemish modernism (such as E.L.T. Mesens and ‘Pure’ Music) in the concert societies and the NIR?

Research paper thumbnail of De politieke dimensie van muziek in de beginjaren van de radio. Case: het Nationaal Radio Instituut en de Katholieke Vlaamse Radio Omroep (1929-1934)

Research paper thumbnail of An examination of Philippe Hurel’s Loops II

Percussive notes. The journal of the Percussive Arts Society, May 1, 2015

Research paper thumbnail of Vlaamse avant-garde tijdens het interbellum - een doodgeboren kind?

VUBPRESS / Universiteit Gent, 2003

Research paper thumbnail of Het muziekleven in het interbellum, Brussel een bruisende stad

Research paper thumbnail of The solo percussion music of Franco Donatoni

Percussive notes. The journal of the Percussive Arts Society, Mar 1, 2014

Research paper thumbnail of Paul Collaer - Wenen 1909-1919

Research paper thumbnail of Dissonance and harmony: A study of the recognition of artistst in modernistic music in Brussels; 1919-1939

Finds and Results from the Swedish Cyprus Expedition: A Gender Perspective at the Medelhavsmuseet, Dec 1, 2009

for their invaluable comments and suggestions. We also appreciate the insightful feedback of the ... more for their invaluable comments and suggestions. We also appreciate the insightful feedback of the members of the Nagymaros Group.