enuntiatio.praefatio.formulae V.

 

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PROGRAM STRUCTURE

 

The residency unfolds through three consecutive stages. Each stage has a distinct function within the overall process, moving from initial articulation and contextualization to methodological development, critical testing, public presentation, and possible publication development.

 

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Stage I. | October 2026

2 online seminars

 

The first stage establishes the artistic, methodological, and discursive foundations of the residency.

 

Individual participants and groups present their research projects, artistic portfolios, working methods, and central questions. These presentations create a shared context for understanding the range of practices, disciplines, and epistemological positions represented within the cohort.

 

Participants are invited to introduce not only what they are making, but also what the project investigates, how the inquiry emerged, and which aspects remain unresolved.

 

Depending on the project’s form and stage of development, presentations may include works, scores, recordings, performances, demonstrations, images, diagrams, technical systems, texts, documentation, contextual materials, or other relevant traces of the research process.

 

The seminars support an initial mapping of each project:

 

– Its central question or proposition

– Its artistic, intellectual, and historical context

– Its current stage of development

– Its methods, materials, and procedures

– Its relation to existing practice and research

– Its forms of documentation

– Its anticipated artistic and discursive outcomes

– Its methodological, conceptual, or practical uncertainties

 

The first stage also enables participants to encounter research cultures beyond their immediate fields. A composer may discover methodological questions through dialogue with a performer-researcher. A technologically oriented project may encounter perspectives from sound studies, critical theory, or embodied practice. A writing-based inquiry may be transformed through attention to performative, sonic, or spatial forms of articulation.

 

Stage I includes:

 

– 2 online seminars

– Presentation of participants’ research projects and artistic portfolios

– Introduction of artistic practices, methods, and research contexts

– Presentation of works, drafts, documentation, and works in progress

– Initial articulation of research questions and propositions

– Identification of relevant artistic, theoretical, and historical contexts

– Discussion of current methods and research materials

– Consideration of the relation between artistic practice and critical exposition

– Identification of unresolved conceptual, methodological, or practical questions

– Introduction to enuntiatio, praefatio, and formulae

– Peer and mentor feedback

– Q&A

 

The objective of Stage I is not to establish a final interpretation of each project. It is to make the project sufficiently legible for rigorous collective engagement.

 

By the conclusion of this stage, participants should possess a clearer account of what their inquiry addresses, how it is currently structured, and which questions should guide its subsequent development.

 

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Stage II. | December 2026

2 online seminars

 

The second stage focuses on the development, analysis, and critical examination of participants’ research projects.

 

Projects return to the group in a more advanced form. Participants present revised questions, developed artistic materials, methodological experiments, contextual research, documentation, writing, or emerging public presentation formats.

 

The seminars examine the coherence among research question, artistic practice, method, material, context, and articulation.

 

Depending on the project, discussion may address:

 

– The precision and significance of the research question

– The relation between artistic procedures and the stated inquiry

– The adequacy and limitations of the selected methods

– Historical, theoretical, social, technological, or institutional contexts

– Forms of evidence, trace, and documentation

– The position of the researcher within the process

– Collaborative authorship and attribution

– Ethical responsibilities

– The relation between tacit and explicit knowledge

– The structure of a lecture, presentation, exposition, or written contribution

– The intended audience and conditions of public encounter

– The project’s potential relevance to wider debates in contemporary music

 

Participants may test specific research procedures during the seminars. They may present contrasting iterations, compare documentation strategies, examine a score or interface, analyze a rehearsal process, share a section of writing, stage a listening exercise, or use the group as a critical audience for an emerging exposition.

 

Critical reflection is not treated as commentary added after practice. It is integrated into the development of the work.

 

Participants are encouraged to identify moments in which the research has changed direction, methods have failed, assumptions have become visible, or artistic materials have produced results not anticipated by the initial question.

 

Such moments can provide some of the most consequential research insights. The task is to articulate their significance and determine whether they require the question, method, context, or form of presentation to be revised.

 

Stage II also supports preparation for the on-site festival phase. Participants consider how to present research publicly without reducing a complex process to a chronological report or promotional description.

 

A public research presentation should enable an audience to encounter the project’s central problem, methods, materials, and insights. It may include artistic demonstration, but the demonstration should have a clear function within the exposition. It may include theoretical discussion, but conceptual language should remain accountable to the specificity of practice.

 

Stage II includes:

 

– 2 online seminars

– Presentation of developed research materials and revised project formulations

– Analysis of research questions, methods, and artistic procedures

– Critical reflection on the relation between practice and knowledge production

– Examination of historical, theoretical, disciplinary, and institutional contexts

– Discussion of documentation, evidence, trace, and research exposition

– Testing of artistic and methodological procedures

– Comparison of iterations, versions, and research situations

– Development of writing, lectures, presentations, and multimodal formats

– Consideration of audience, accessibility, and modes of public communication

– Preparation for the on-site festival phase and public presentations

– Initial consideration of contributions that may be appropriate for further publication development

– Continued engagement with enuntiatio, praefatio, and formulae

– Peer and mentor feedback

– Q&A

 

By the conclusion of Stage II, participants should possess a more precise and critically developed research proposition, a clearer understanding of the methods and contexts shaping the inquiry, and an articulated plan for public presentation at the festival.

Projects need not be regarded as conclusively finished. They should be sufficiently developed to enter a public research context in which presentation itself becomes a further stage of inquiry.

 

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Stage III. | June 2027

On-site presentations at the seventh Bled Contemporary Music Week

 

The final stage takes place at the seventh Bled Contemporary Music Week in Bled, Slovenia (EU).

 

Participants present their research through lectures and public presentations. Depending on the project and festival context, presentations may incorporate performance, sound, audiovisual materials, scores, demonstrations, installations, technological prototypes, participatory formats, or other artistic research media.

 

The festival phase is conceived not only as dissemination, but as a research situation.

 

Public presentation requires participants to reorganize their projects in relation to duration, space, audience, language, and the conditions of live encounter. Decisions concerning what to include, what to demonstrate, what to contextualize, and what to leave open may generate new insight into the structure and significance of the inquiry.

 

Participants are encouraged to treat audience questions and critical discussion not as supplementary evaluation, but as part of the research process. Public response may expose unclear assumptions, alternative interpretations, wider implications, or questions capable of guiding future development.

 

The on-site context also enables participants to encounter the work of composers, performers, conductors, artistic researchers, writers, and other practitioners participating in Bled Contemporary Music Week. The festival situates individual inquiries within a wider ecology of contemporary musical production, interpretation, experimentation, and discourse.

 

Stage III includes:

 

– On-site participation at the seventh Bled Contemporary Music Week

– Research presentations and lectures

– Public articulation of research questions, methods, contexts, and findings

– Presentation of relevant artistic works, materials, or demonstrations

– Critical discussion and audience exchange

– Interaction with an international community of artists and researchers

– Reflection on how public presentation transforms the research

– Further development of selected projects and contributions

– Opportunity for selected contributions to be considered for publication in Tempo: The Quarterly Review of New Music

 

The festival presentation constitutes a significant outcome of the residency, but not necessarily the conclusion of the research.

 

Projects may continue through further artistic development, publication, performance, exhibition, recording, technological development, institutional collaboration, or future research initiated through the residency.