Winnie Huang is a Chinese-Australian violinist, violist, gestural performance artist and composer currently based between Belgium and Germany. An active performer of new music, Winnie is co-artistic director and violinist of Paris-based new music ensemble soundinitiative. As one of the Lucerne Contemporary Leaders, Winnie is also currently co-curating the annual Lucerne Forward Festival and violin coach at the summer Lucerne Festival Academy.
Winnie’s Sounds Unheard Studio Talk series, “The Musical-Gestural Perspective”, delves into her strong interest in the performance of musical-gestural works, as explored through her own original compositions and collaborating with other composers, developing highly gestural contemporary works. Academically, Winnie’s doctoral artistic research was on interdisciplinary musical-gestural performance and collaborative processes, and she is expanding her artistic research further in those fields.
In the second episode ‘The Musicial-Gestural Performer’, speaks about her artistic research on the musical-gestural perspective. She demonstrates various musical-gestural techniques by discussing the following compositions: ‘Inori’ by Karlheinz Stockhausen, ‘How to Make a Monster’ by Sivan Cohen Elias and ‘Tend’ by Charlie Sdraulig.
Join us next week for the second episode in Winnie’s series, ‘The Musical-Gestural Perspective’. For more information on Winnie, please visit https://www.winniehuang.net
[Thumbnail photo © Priska Ketterer]
Tags: Charlie Sdraulig Composer Composing composition Contemporary Composition Cross-Disciplinary Composition Gestural Music John Cage Karlheinz Stockhausen Musical-Gestural Musical-Gestural Perspective Sivan Cohen Elias Winnie Huang
