Jan Schacher, Keynote performance-lecture: ‘Live play’ intertwines Uncertainty, Contingency, and Affect: From Performance Practice to Research Attitude
This performance and talk will explore underlying principles and phenomena that occur in music performance and are particularly important and visible in open form, exploratory work. The questioning is based on a varied practice as improvising musician, media artist, and artist-researcher. It originates from the curiosity triggered by states, movements, and encounters – unexpected ‘happy accidents’, the unwanted ‘crash landing’, and many types of serendipity when engaging in musical ‘play’.
This type of research in music, on music, through music depends on a dialogue between thinking, experiencing, sounding, listening, with open expectations. And it is situated in a zone that opens up between musicians (as), listeners, and practitioners in other disciplines dealing with aesthetic and poetic contingencies.
Contingency in live performance produces uncertainty. The risk of failure is a motor for attention: states of attention in the face of uncertainty. The heightened states of attention provide an increased perception of tension, time, and space (sonic, corporeal, imaginary), Even if these are known fundamentals for the performance of music, this is also the case in the inter-personal domain. The link between performer and listener (as co-performer) goes through affect and is contingent on engagement, as an essential element. The contract between listener and performer is dependent on the willingness to ‘pay’ attention, to engage, to be affected, in both directions. To share the uncertainty may be rewarded by what live-performance produces: a lived experience, intensified.
I am an artist-researcher, performing on stage and other environments, working with/through sound and presence. Trained as an instrumentalist, composer and digital artists, the focus of my practice has shifted from using sounds to be organised as music to seeing the body as the central site of action, perception, and culture, becoming the carrier of sounding performances. I am investigating how the musician’s body, acting as resonator for sound’s presences, establishes and grounds the intertwined relationship between inner and outer perception, between tangible musical actions and the intangible presence of sound, between the different subject’s agencies towards/with/through sound.
My artistic works are situated in such diverse contexts as media festivals, improv music gigs, intercultural projects, and sound art investigations in urban space, and aim at linking the diverging, yet complementary strands into a comprehensive/comprehensible assemblage that functions both in the artistic and scholarly domains.
In parallel to my practice as musician and artist, from 2003 onwards, I was Associate Researcher at the Institute for Computer Music and Sound Technology at the Zurich University of the Arts, where I led research projects that dealt with a.o. Musical Gesture, Immersive Media, and Surround Sound from a position of artistic as well as systematic research. I hold a doctorate from the University and Royal Conservatoire of Antwerpen in Belgium.
As of summer 2021, I am Professor of Music and Technology at the Sibelius Academy of the University of the Arts, Helsinki.
Jukkis Uotila, Keynote lecture: Jazz improvisation
Professor Jukkis Uotila will provide a brief look into the history of improvisation
in the jazz idiom. He will retrace how jazz musicians have shaped the tradition
of artistic research through the years and sheds light on the current academic
practices in the universities today. Uotila will also give insight into the
characteristic features of jazz music, the concept of groove, the systems of
tonal, modal, and chromatic harmonic thinking in jazz and how these
conventions relate to the aesthetic of melodic improvisation in the genre.
Born 1960, drummer, pianist, composer/arranger and jazz professor Jukkis
Uotila has enjoyed repect from the international jazz field since the famed
clarinetist Benny Goodman wanted to hire him in New York as a 19-yearold
young drummer. Since then Uotila has released nine CD’s under his own name,
played on over 120 recordings as a sideman and performed and/or recorded
with Randy Brecker, Toots Thielemans, Chet Baker, Joe Henderson, John
Scofield, McCoy Tyner, Dave Liebman, Joe Lovano, Jerry Bergonzi and Mike
Stern among others. After moving back to Finland, Uotila was appointed the
head of the jazz department at the Sibelius-Academy in 1986 and he became
the first professor of jazz music in Scandinavia in 1994. Uotila’s unique
pedagogic concepts are numerous and his contribution to the Finnish jazz
scene significant since most of the country’s jazz musicians already for three
generations have been under his tutelage at the Sibelius-Academy. “Guided by
his strong vision and aided by his international contacts, the man singlehandedly raised the academy into one of the best institutes of jazz education in
Europe” (Finnish Jazz, 2002). Awarding Jukkis Uotila with Finland’s prestigeous
State Music Prize in 2011, the cultural minister of Finland called him
“Internationally the most respected Finnish jazz musician ever”.
Helga Karen: “(Not Just) Leaving It To Chance” (Paper)
In my presentation, I would like to discuss the interpretation of aleatoric music and practical approaches to scores that combine written music and improvisation. How can I as a pianist and a musician practice a piece that has an exact notation yet offers the possibility of choice? What happens when a composer chooses to turn the musician into the creator, allowing them to participate in the formation of the piece? Is it possible to improvise in the moment, when the piece has been practiced for months leading to the performance? How can one convey to the audience the feeling of something new and unexpected?
The case study for my presentation will be pieces related to my own doctorate research project: Klavierstück XI by Karlheinz Stockhausen, Sonata No.3 by Pierre Boulez and Intermission 6 by Morton Feldman. All three pieces represent the brief style of fragmentalism, which became a fashionable compositional method in the 1950s. The pieces are graphically broken into fragments; however, they are traditionally notated with notes, dynamic and rhythmical indications. Each composer asks the pianist ideally to create the piece in the moment, by “accidentally” moving from one fragment of the score to another. However, in each case, achieving total spontaneity becomes somewhat impossible.
I will also discuss these composers’ attitudes towards freedom of interpretation in their other works and show how understanding a composer’s overall character and compositional technique can help musicians to approach the aleatoric pieces in their repertoire. I would also like to share how knowing and learning about these pieces and this style has helped me to deepen my abilities to understand music with open scores, text scores and structured improvisation. The interpretation of the music of more modern composers such as Julius Eastman, Pauline Oliveros and Peter Ablinger becomes much more approachable with an understanding of the history of the beginnings of incorporating improvisation aspects into a strictly notated score.
Helga Karen (1991) is a Finnish pianist specialized in performance of classical contemporary music. She has performed as a soloist and chamber music musician in various contemporary music festivals such as Lucerne Festival, SoundScape, Musica Nova, Stockhausen Courses and Concerts and International Summer Course for New Music Darmstadt. Helga has given world premiere performances of works for piano solo and chamber music, as well as played as a member various ensembles and orchestras including Ensemble Lemniscate, Basel Sinfonietta and Lucerne Festival Contemporary Orchestra. She has worked together with many composers, including Helmut Lachenmann, Rebecca Saunders, Jörg Widmann, Vinko Globokar, Peter Ablinger and Brian Ferneyhough.
Currently Helga is working on her doctoral research project, exploring the artistical and technical realization of the pianist’s many roles in contemporary music. The project consists of five doctoral concerts and a monograph. The concert series unfolds the change in the understanding of the piano, pianism and the pianist as a person and an interpreter during the past 70 years through the classics of contemporary music, including Karlheinz Stockhausen’s Klavierstücke.
The monograph will serve as an introduction to the Klavierstücke and a practical guide for a pianist, untangling the complex practice and performance issues, in order to help the pianists not only to get familiar with Stockhausen’s piano music, but also give the tools to explore the contemporary music beyond that.
Emilia Lajunen: “Kylällinen riivattuja pelimanneja -arkistotallenteet ammattimuusikon lähteenä” (Lecture Recital)
Ammattikansanmuusikko käyttää taiteellisessa työssään ja taiteellisessa tutkimuksessaan erilaisia lähteitä. Tällaisia voivat olla esimerkiksi erilaiset arkistoäänitteet, tallenteet, pelimannien soitot, tarinat ja haastattelut ja muu inspiraatiota ruokkiva sisältö. Arkistoäänitteiden ja tallenteiden kautta on myös mahdollista luoda suhde perinteeseen ja olla osa sen jatkumoa tässä päivässä.
Miten ammattikansanmuusikko käyttää arkistotallenteita taiteellisen työn ja taiteellisen tutkimuksen lähteinä? Miten tekijyys ja perinne näyttäytyvät nykykansanmuusikon taiteellisessa työskentelyssä, entä taiteellisessa tutkimuksessa? Kansanmusiikin traditionaalisessa materiaalissa ja sen käytössä nykypäivässä tekijyys on hyvin moninainen, sisältäen muusikkouden lisäksi esimerkiksi improvisaatiota, säveltämistä ja sovittamista. Esitelmä “Kylällinen riivattuja pelimanneja -arkistotallenteet ammattimuusikon lähteenä” tuo näkyviin arkistotallenteiden mahdollisia käyttötapoja, näkökulmia ja kokemuksia kahden viulupelimannin, Akseli Raatikaisen ja Pekka Kinnusen, soitteiden avulla.
Emilia Lajusen taiteellisen jatkotutkinnon otsikko Taideyliopiston Sibelius-Akatemian kansanmusiikin aineryhmässä on “Kylällinen riivattuja pelimanneja -tanssi ja teatteri musiikillisen ilmaisun laajentajina”. Lajunen tutkii ja testaa kuinka laajentaa musiikillista ilmaisua tanssin ja teatterin avulla. Tutkintoon kuuluu 4 taiteellista komponenttia (Artjamei –riitit ja liike, Mytty-iltamat, Katrillia kahdessa ajassa, Vainaan perua) ja kirjallinen osio. Musiikillisesti, viulistina, avainviulistina ja laulajana Lajunen on keskittyy jatkotutkintokonserteissa kansanmusiikin vanhemman perinteen ja pelimannimusiikin yhdistelmiin sekä niiden murrokseen.
Keskeistä taiteellisessa tutkimuksessa on silti uuden taiteen luominen tanssin avulla ja perinteen pohjalta. Kansantanssissa liike muodostaa musiikille rytmin. Tanssi on pelimannille syy soittaa, ja yhteys tanssiin vaikuttaa soittoon. On harmi, että kansantanssiin liittyy yhä mielikuvia ankeasta autenttisuudesta ja jäykistä sukupuolirooleista, ja on harmi, että nykykansanmusiikin suhde tanssiin on ohut, vaikkakin salliva. Tanssilla, liikkeellä ja näyttämöllisyydellä ilmaiseva muusikko luo perinteisen yhteyden uudeksi.
Sekä tanssin että musiikin suhteen taiteellinen tutkinto pohjautuu vahvasti perinteelle. Suomalainen nykykansanmusiikki on menettämässä identiteettiään, koska se etsii vaikutteita omasta ajastamme, ympäriltään. Vanhasta perinteestä innoittuminen synnyttää omaleimaisempaa uutta. Arkistoista innoittuminen ei ole kopiointia vaan henkilökohtaisen näkemyksen muodostamista. Arkistomateriaali elää vain soittamalla se yhteyteen nykypäivän kanssa, ja yhteyden luominen vaatii mielikuvitusta. Taiteellisessa työssä Emilia Lajunen sovittaa, säveltää ja muokkaa perinnemateriaalia, mutta aina tietoisena sen yksityiskohdista, omasta arvosta ja merkityksestä nykyajalle.
Jaska Lukkarinen: “Philly Joe’s Beat – The rhythmically communicative aspects of Philly Joe Jones’s comping” (Lecture Recital)
Throughout my professional career as a jazz drummer the musical communication between musicians has created an interesting challenge in all performance situations. In drummers’ perspective the musical communication sums up to improvisational rhythmical interplay which in jazz context has its practice originating from the phenomena in jazz tradition. In my presentation I’ll explore the interactional elements, rhythmical interplay, and comping textures of jazz drummer Philly Joe Jones. Jones was one of the founding fathers of modern jazz drumming. By far the most well known and most researched period of Jones’s career is his work with the Miles Davis Quintet between 1955 -1958. In my research I wanted to find musical reasons that made Jones, besides the driving force of Miles Davis Quintet, also as one of the most wanted sidemen and one of the most recorded drummers throughout the 1950’s hard-bop era. I’m presenting analyzes and live playing of transcription of Jones’s comping in a Wayne Shorter composition Mama G from pianist Wynton Kelly’s recording Kelly Great recorded 1959. My goal is to find how Jones, through interplay, created and
maintained musical energy by improvising rhythmical texture commonly known as comping.
Jaska Lukkarinen is an Espoo based jazz drummer known for his versatile and open minded drumming. Lukkarinen has studied in Sibelius-Academy and Manhattan School of Music with great jazz drummers and teachers such as John Riley, Adam Nussbaum and Jukkis Uotila. Lukkarinen is known for his drumming with Timo Lassy Trio, Ricky-Tick Big Band, Dalindeo, UMO and Manuel Dunkel Quartet. Since 2008 Lukkarinen has led his own Jaska Lukkarinen Trio which resent recording Origami present the trio performing music composed by Valtteri Pöyhönen. Besides his active freelance work including teaching, recording and theater Lukkarinen is a doctoral student at the University of the Arts MuTri Doctoral School. Lukkarinen also leads his own record label JASKAA, has been working at the Finnish Musicians Union and has been a board member in cultural organizations such as Finnish Jazz Federation and the foundation for music promotion, MES.
Lucy Abrams Husso: “Perspectives on Performer Agency in Electroacoustic Works for Clarinet” (Paper)
In the performance of contemporary classical music, what the clarinetist communicates to the audience is the interaction of personal musical expression and the ideas of a composer often provided through a notated score. The exertion of musical power comes through the balance of these elements, in combination with the expectations or perceived expectations of an ‘audience’. In the performance of fixed electroacoustic works, the electronic media becomes an addition elemental in the creative equation. The performer cannot affect the electronic part in any way, but has to mediate a reaction to it alongside the notated score.
For my third doctoral project, I completed a CD of works for clarinet and electronics. This was both my first solo recording project and my first concert of completely electroacoustic works. In this paper, I discuss my experience of performer agency as it relates to both the works I recorded and the act of studio recording. I argue that in this recording, because I was the artistic director as well as the performer, I had more creative agency than I would have otherwise experienced if this had been a
live-concert performance. My analysis of agency using example tracks from the recording relates to themes of shared ownership and types of notational performance practice observed through my first two concerts.
Lucy Abrams-Husso is a Chicago native based in Helsinki, Finland since 2013. She received Bachelors degrees in clarinet performance and anthropology from the University of Illinois Urbana-Champaign and Master of Music degrees from the Eastman School of Music and the Sibelius Academy of the University of the Arts Helsinki. Formerly Co-principal and e-flat clarinet of the Oulu Symphony, Lucy is an active freelance musician in southern Finland. She has appeared as soloist with the Sibelius Academy Symphony Orchestra, Mikkeli String Orchestra and Haapavesi Chamber Orchestra. Since 2016, she has been a doctoral candidate at the Sibelius Academy. Her research focuses on Finnish and American contemporary music, and has been supported by grants from the Wihuri, Aaltonen and Finnish Cultural Foundations.
Matei Gheorghiu: “Dissecting various types of discontinuity” (Lecture Recital)
The full title of my research is “discontinuity as a constructive tool in the musical discourse”. My plan is to see in which way continuity and discontinuity work within a musical work and to see where the boundaries of discontinuity tend to get from constructive to destructive. For this presentation, I am planning to show a piece called “experiment dissecting various types of discontinuity”. This work is part of my portfolio of compositions for the doctoral program, and is also part of what will eventually become my thesis. With it, I show how the 8 parameters of continuity-discontinuity (melodic, rhythmic, harmonic, tempo, temporal, timbral, dynamical and thematic) can be stretched and deconstructed to the point that they become destructive. The piece works like a theme with variations, although it isn’t intended to be such a piece, with a main theme and many “variations”, each being a small experiment concentrated on only one parameter.
Matei Gheorghiu (b. 1984). I a Romanian-Finnish composer and currently studying towards an artistic doctorate in composition at the Sibelius academy. I have been studying this degree since 2017, although at the same time I got the studying place I received a full-time teaching job at Kankaanpää musiikkiopisto. This is the first academic year where I’ve had the chance of living in Helsinki and concentrating actively on the doctoral studies. The title of my research is “continuity as a constructive tool in the musical discourse”. I have composed 6 pieces for this degree already, and I am starting my thesis this semester.
Martin Galmiche: “Music and music education as spaces” (Paper)
The aim of this theoretical paper is to highlight that through spatial thinking new insights can emerge on music, music education, and social justice in music education. The concepts of space and spatiality have been little explored in music education, while they have been extensively developed in the fields of philosophy, sociology, geography. I will mainly draw from French philosopher Henri Lefebvre. In The Production of Space (1974), Lefebvre not only investigates how space is produced by society and how society is produced by space, but also defines a trialectic involving three aspects of space : the perceived, the conceived, and the lived spaces.
In the first part of this paper, music will be seen through the lense of this perceived-conceived-lived trialectic. I will explore the perceived aspect of music (sound and its quality), its conceived aspect (what is constructed with sound), and its lived aspect (how music is embedded in our lives, and how our lives are embedded in music). By highlighting that music holds the characteristics of space as defined by Lefebvre, I will draw the ontological assumption that music can be seen as being a space. This space is both a container and a content.
In the second part, I will explore music education from the perspective of spatiality. I will argue that the production of space is an extremely powerful mechanism that can generate heterogeneity and injustice in music education, and that one efficient way of tackling such injustice is to take advantage of the production of space itself. In other words, the best that can be done to promote justice in music education is to construct spaces where the issue of democracy can be addressed.
In the third part, I will how AÏCO (Instrument Learning and Collective Invention), a programme that has been designed in the Conservatoire de Lyon (France) to improve the accessibility of instrumental tuition to children living in an underprivileged area, can be conceptualized as a space where there are possibilities for experiments and experiences about the issue of democracy in music education.
Martin Galmiche studied at CFMI in Lyon (training center for musiciens intervenants). Previously he had a scientific career as a researcher in fluid mechanics at CNRS (Centre National de la Recherche Scientifique). He completed his PhD thesis at CNRS in Toulouse in 1999 and did postdoctoral research at Cambridge University, University College London and CNRS in Grenoble. He is now a musicien intervenant and a pianist for dance courses at Lyon Conservatory. He also founded the AÏCO programme (Instrumental Learning and Collective Invention), as well as CLUSTER, a pedagogical and artistic research group at Lyon Conservatory. Since 2020, he is a doctoral candidate in the MuTri doctoral school of the Sibelius Academy, Heksinki (Finland).
Markus Virtanen: “From the Archive to the Concert Hall: On editing and performing Ann-Elise Hannikainen’s works for violin and piano” (Lecture Recital)
Nearly half of the works by the Finnish-born composer Ann-Elise Hannikainen (1946–2012) remained unperformed during her lifetime. In recent years, however, interest in Hannikainen’s music has arisen in Finland. As a result her Sextet for piano and wind quintet (1981) as well as Zafra (1986) for violin and piano have been premiered. The performing of these works has required a great deal of work on the original sources and manuscripts. This lecture-concert sheds light on the journey of Hannikainen’s violin work Duo (1984) from manuscript sources to playable sheet music edition and actual premiering of the piece. The lecture-concert consists of a lecture by Markus Virtanen, a doctoral researcher in the University of Arts, Helsinki, specializing in Hannikainen’s music, and a concert by violinist Linda Suolahti and pianist Tiina Karakorpi.
Markus Virtanen is a doctoral researcher in the University of Arts, Helsinki, and a composer and music journalist. In his doctoral project titled Säveltävänä naisena maailmassa: säveltäjä Ann-Elise Hannikainen aikakautensa peilinä, Virtanen examines the world of Finnish classical music as well as its values and ideals from the perspective of Ann-Elise Hannikainen’s career as a composer.
Uljas Pulkkis: “Audibility prediction of target instrument sound in orchestration” (Paper)
For three last years I have been developing an application, Score-Tool, for orchestration analysis. The main analysis feature in the app is determining the spectral masking pattern of the orchestration. This masking pattern is a psychoacoustic model of the perceived sound in our hearing system, indicating the excitation of auditory nerves inside the cochlea. The masking pattern, along with other psychoacoustic features, such as timbre and orchestration homogeneity, can be used to predict if a specific target instrument sound is audible or not. Combining the psychoacoustic features with my own experiences in orchestral rehearsals, I have created an algorithm that predicts the target instrument sound audibility as a percentage value. The value can be used, for example, by composers in composition stage to pre-evaluate the functionality of the orchestration.
Uljas Pulkkis (b.1975) graduated 2002 from Sibelius Academy of Music in Helsinki. He studied also mathematics and computer science at Helsinki University. Pulkkis’s prices in composition include 1st prize in Queen Elizabeth competition in Belgium, 1st prize in Unesco rostrum in France, 3rd prize in Gustav Mahler competition in Austria + many minor prizes in Finland.
Pulkkis has composed mainly orchestral music, which has been performed among others with BBC symphony, Tokyo philharmonic, Berlin radio orchestra, Finnish radio orchestra, Belgian national orchestra, Dutch radio orchestra, BBC Scottish orchestra etc.
Pulkkis has also written three operas, which has been performed at Finnish festivals. He is currently finishing his fourth opera, which is joint commission by Thornton school of music in Los Angeles and Sibelius Academy –opera schools (premiere in 2022).
Kimmo Hakola: “The idea of a symphony” (Paper)
The approach aroused by my work as a composer to the formulation of symphonism is musical coherence. (In physics, cohesion is the intermolecular attractive force acting between two adjacent portions of a substance. Two wave sources are perfectly coherent if their frequency and waveform are identical and their phase difference is constant.) I claim that a force akin to gravitation has, for the past 250 years, been burgeoning in music, and especially symphonies, creating a special cohesive energy within the genre.
Kimmo Hakola (born 27 July 1958) studied at the Sibelius Academy under Einojuhani Rautavaara and Eero Hämeenniemi. He entered the limelight at the end of the 1980s after his success at the Unesco Composers’ Rostrum. In 1987 he won the Rostrum with his String Quartet and in 1991 with his Capriole for cello and clarinet.
Hakola’s music has been performed at several major music events and festivals, and portrait concerts of his works have been held e.g. in Los Angeles (Monday Evening Concerts) and New York (Miller Theatre, Broadway). His music was also broadly presented at the Stockholm International Composer’s Festival in 2008.
Hakola’s new works are always awaited with exceptional interest. His music is known for its exciting dramaturgy and imagination since he views the world with an endlessly curious attitude. There are sudden and unexpected shifts in his musical landscape as well as occasional surprises which act as additional dimension for raising the music as an experience to a new unpredictable level. Connections to musicians whose art has deeply spoken to Hakola have resulted in several works which are examples of his communicative style. Kimmo Hakola’s works have been recorded by Ondine and Innova Records.
Libero Mureddu: “Joy Against the Machine #4: a computer-controlled algorithmic score for improvisers” (Lecture Recital)
In my research I seek to observe, analyse and visualise how embodied knowledge is used during an improvised performance. The research is carried out through performances conceived as laboratory experiments in which the improvisers are placed in different constrained performative spaces. This setting creates unconventional and unfamiliar performative situations that maximise the improviser’s reliance on embodied knowedge. The constraints are realised through algorithmic processes and visualisation components, often intertwined. Their connection is twofold: the human agency of the constraints’ programmer-designer is hidden behind a machine-made visual mask. At the same time the visualisation techniques provide a visual representation of the constraints to the performers and the audience alike, therefore assisting the understanding of how the improviser’s’ embodied knowledge is used during the performance.
In my first doctoral concert, Joy Against the Machine, premiered in February 2021, a software randomly selected, delivered and visualised textual instructions to the seven members of the Septad ensemble and to the audience. The performers were compelled to obey to the instructions, even though they could not predict when the instructions will be delivered and their content. By observing the performers’ (re)actions to this constantly changing and unpredictable environment, one could observe how they rely on their embodied knowledge.
After the doctoral concert, Joy Against the Machine has been performed two times. Each additional performance attempted to answer further research questions arised from the previous performance, exploring at the same time paths that were only previously hinted at. In particular, version #2 and #3 allowed the audience to provide their own instructions, experimented with a continuous transition between a fully free improvised form and the constrained one, and tested an alternative simpler staging. In my lecture-performance I will present version #4, where I want to give to the performers the chance to interact with the Machine, and experiment with even more fluid transitions between improvised and constrained sections. The work will be performed by a quartet formed with members of the Septad ensemble.
Libero Mureddu is an improviser, a pianist a composer based in Finland since 2003. After his composition studies at the Conservatory G. Verdi of Milan, he has earned a master’s degree in Music Technology at the Sibelius Academy, University of the Arts Helsinki. He is currently a doctoral candidate at the MuTri Doctoral School. Libero Mureddu’s doctorate is generously supported by the Kone Foundation.
During his artistic activity his musical experiences have ranged from contemporary and experimental, to jazz and popular music. He is currently leading ‘Septad’, a Helsinki-based ensemble that gather together improvisers coming from jazz and contemporary music backgrounds, and ‘Chamber Music from Mars’ in duo with cellist Aino Juutilainen. Since 2017, he regularly visits Berlin to perform within the local improvised music scene.
His current artistic practice intersects between free improvisation languages, composition, algorithms, and artificial intelligence, to create unconventional and challenging performative frameworks.
He works as a part-time teacher in Contemporary and Electroacoustic Improvisation at the Sibelius Academy. Libero Mureddu is part of the steering group of the METRIC (Modernising European Higher Music Education through Improvisation) project, a cooperative forum between several European conservatoires that focuses on curriculum development and cooperation in the field of improvisation in higher music education.