Campus 2027: New Voices

Diana Soh develops a body of work that explores the relationships between sound, gesture, space, body, and perception. Her practice is characterized by a particular attention to the interactivity of performance and to how close collaboration with performers can become a driving force for creation.

Her catalogue covers a wide range of ensembles, from solo and chamber music to orchestral works, as well as projects combining music, theatre, dance, film and visual arts. She also develops works conceived for specific venues and performance situations.

His work demonstrates a desire to “compose against habit”: to shift the conventional uses of instruments, to question listening behaviors and to create situations where the gesture of the performer and the perception of the public become an integral part of the work.

Mark Andre is a French composer whose music pays particular attention to threshold phenomena: between sound and noise, appearance and disappearance, presence and silence, perception and listening.

Trained notably by Claude Ballif and Gérard Grisey at the Paris Conservatory, and later influenced by his work with Helmut Lachenmann in Stuttgart, he has been developing since the 1990s a body of work deeply centered on sonic material, micro-events, resonance phenomena, and the transformations of listening. His career also includes musicological research, particularly on the Ars subtilior.

In his works, sound is considered less as a stable material than as a fragile phenomenon, in permanent transformation, whose appearance, propagation, disappearance and traces become elements of the composition.

https://www.wisemusicclassical.com/composer/5626/Mark-Andre/
https://soundcloud.com/mark-andre

Lucile Dollat ​​is a French organist and improviser. After studying at the Saint-Maur-des-Fossés Conservatory with Éric Lebrun and Pierre Pincemaille, she entered the Paris Conservatory (Conservatoire national supérieur de musique et de danse de Paris), where she trained with Olivier Latry, Michel Bouvard, Thierry Escaich, László Fassang, Fabien Waksman, and Jean-Baptiste Courtois. She earned a Master’s degree in organ performance in 2020, followed in 2021 by a Bachelor’s degree in organ improvisation and a Master’s degree in composition, both graduating with highest honors.

Winner of several international competitions, including the Grand Prize and the Audience Prize at the André-Marchal – Gaston-Litaize Competition in 2017, Lucile Dollat ​​enjoys a concert career in France and abroad. She performs both as a soloist and with major ensembles, notably the Ensemble Intercontemporain and the Radio France orchestras. An artist-in-residence at Radio France and the Royaumont Foundation, she champions a repertoire ranging from early music to contemporary works. She is also a professor of keyboard harmony at the Paris Conservatory (CNSMD) and co-titular organist of the Cavaillé-Coll organ at Saint-Maurice de Bécon.

https://www.luciledollat.fr/

Florentin Ginot is a double bassist, soloist, and member of the Ensemble Musikfabrik since 2015. His work is particularly marked by contemporary creation and in-depth collaboration with composers, which has led him to contribute to the development of a new repertoire for the double bass. He collaborates notably with Georges Aperghis, György Kurtág, Rebecca Saunders, and Helmut Lachenmann.

He also dedicates himself to the solo repertoire and the invention of new stage forms. Curious about the intersections between disciplines, he founded the HowNow company in 2017, where he serves as artistic director. HowNow develops stage performances combining original music, dance, theatre, and contemporary circus. This approach extends his interest in the relationship between the body, the instrument, space, and the stage.

His work as a soloist thus demonstrates a desire to open up the boundaries of the double bass, both through the exploration of its repertoire and sonic possibilities and through dialogue with other artistic disciplines.

https://florentinginot.com/

Ninon Hannecart-Ségal is a pianist and harpsichordist. Classical revelation of the Adami in 2021 and artist in residence at the Royaumont Foundation, she develops a keyboard practice particularly open to repertoires, instruments and concert formats.

His work combines early music, contemporary creation, improvisation and chamber music. His interest in the modern harpsichord, particularly the Sidey harpsichord from Royaumont, leads him to question the possibilities of this instrument beyond the historical repertoire and to explore its timbral and expressive resources in contemporary contexts.

She regularly collaborates with ensembles and artists of different generations and also develops concert formats that involve several instruments and different ways of listening to and perceiving the keyboard.

https://ninonhannecartsegal.fr/

Marcus Weiss is one of the leading figures in contemporary saxophone music. For several decades, he has actively contributed to making the saxophone an instrument of creation and research, developing a vast repertoire of solo pieces and chamber music.

Many major composers have written for him, including Georges Aperghis, John Cage, Helmut Lachenmann, Rebecca Saunders, Salvatore Sciarrino, Toshio Hosokawa, and Karlheinz Stockhausen. His work as a soloist, chamber musician, and teacher is closely linked to this relationship with composers and the creation of new works.

His work is distinguished by a thorough exploration of the technical, acoustic, and expressive possibilities of the saxophone and by a constant commitment to the transmission and expansion of its repertoire. He is notably a professor at the Basel Academy of Music and co-author of *The Techniques of Saxophone Playing* , a seminal work on contemporary techniques for the instrument.

https://marcusweiss.net/

Yi-Ping Yang is a percussionist, timpanist and creative artist. Trained at the conservatories of Boulogne-Billancourt and Lyon, Geneva and Munich, she has pursued a career since 2000 between orchestra, creation and teaching.

A member of the Percussions de Strasbourg and a collaborator with GRAME, she participates in numerous contemporary creations with the Ensemble Orchestral Contemporain. Her artistic approach uses percussion as a meeting point between musical composition, performing arts, and cultures. She explores the possibilities of gesture, timbre, and space, and develops projects at the intersection of music and theater, as a composer, musician, and actress.

Winner of several international competitions, notably in Luxembourg, Lyon, and Eindhoven, she performs in France and abroad. Artistic director of the International Timpani Festival (RIT-Infinity) and co-artistic director of Eklekto Geneva Percussion Center, she is dedicated to promoting percussion. An associate professor at the Lyon Regional Conservatory (CRR) since 2012, she also teaches at the Lyon National Conservatory of Music and Dance (CNSMD) and the Shanghai Conservatory. In 2024, she received the “Fabulous Signature” award from the Signature Foundation.

Michel Duchesneau is a musicologist and full professor at the Faculty of Music of the University of Montreal, where he has taught since 2002. Holder of the University of Montreal Chair in Musicology, he has directed the Interdisciplinary Observatory for Creation and Research in Music (OICRM) since 2004. His research focuses on French music of the first half of the 20th century, the sociology of music audiences, contemporary musical creation and its dissemination mechanisms, as well as the mediation and management of musical institutions. He is the author of *L’Avant-garde musicale en France et ses sociétés de 1871 à 1939* and the co-editor of several works devoted to musical modernity and the composer Charles Koechlin. He also edited the journal *Circuit, musiques contemporaines* and served as executive director of the Société de musique contemporaine du Québec. In 2012, he received the Royal Musical Association’s Dent Medal for his outstanding contribution to musicology.

Denis Laborde is an anthropologist and musician. After studying at the Paris Conservatory, he taught at conservatories and worked at Radio France, where he notably conducted the world premiere of Alvin Curran’s Crystal Psalms . He then turned to anthropology and in 1993 defended his doctoral thesis at the EHESS (School for Advanced Studies in the Social Sciences) on the poetic and musical improvisations of bertsulari, the Basque improvisers. Joining the CNRS (French National Centre for Scientific Research) in 1997, he became a research director and developed an original approach to music as a tool for analyzing human societies. His research focuses on improvisation, contemporary musical creation, world music, festivals, and musical practices in the context of migration. As a director of studies at the EHESS, he founded the ARI-CNRS Institute in Bayonne, dedicated to the anthropology of music. In 2020, he received the CNRS Silver Medal for his body of work.

Caroline Traube is an interdisciplinary researcher who has been working on human and musical migration for over twelve years. Her research interests include the career paths and professionalization challenges faced by immigrant musicians, the role of music in the migration experience, and the work of performing arts presenters (festivals and venues) in multicultural contexts. She directs the collaborative action-research project Musique Immigration ( musique-immigration.ca ) and is co-editor of the forthcoming collective work , Participation culturelle, arts et immigration (Cultural Participation, Arts and Immigration ), published in the “Monde culturel” series by Presses de l’Université Laval. She also produces the podcast Le monde dans mes oreilles (The World in My Ears) , which explores the stories of immigrants through the lens of the music that has shaped their journeys. The second season of this podcast is entirely co-developed and co-presented with the Rencontres internationales du documentaire (International Documentary Film Festival).

Alongside her research, Caroline has worked in the music industry as coordinator of the Constantinople ensemble and in charge of outreach at the Centre des musiciens du monde in Montreal (2017-2020). She also served on the Board of Directors of the Conseil des arts de Montréal as Chair of the Music Sector (2022-2025).

Jérémie Szpirglas, after a career spanning science, music, and ocean sailing, now devotes himself to writing. Author of fiction ( Pater Dolorosa , Le Passeur Éditeur, 2019; Anthropocène , Publie.net, 2022), and former cultural journalist (Le Monde de la Musique, Mouvement, editor-in-chief of Musique(s) magazine), he also lends his writing talents to various figures in the artistic and political spheres. He writes numerous reference texts for major French cultural institutions (Philharmonie de Paris, Ircam, Festival d’Automne, Ensemble intercontemporain, Théâtre des Bouffes du Nord, Opéra de Paris, Opéra-Comique, etc.). He is also the author of several books on the work of Serge Gainsbourg, notably co-authoring the definitive work: Le Gainsbook , Seghers, 2019.

Version #1 of 12/08/2026

Validity period of version no. 1: 1 year, renewable

Course description/content of the training

This schedule can be adapted according to educational and artistic needs.

Number of traines minimum / maximum

Minimum number of artists: 10
Maximum number of artists: 10

Educational objectives

Knowledge

• Identify the technical, sonic and expressive possibilities of the proposed solo instruments.
• Understanding the relationships between sound, instrumental gesture, body, space, silence and listening in the composition process.
• Understanding the influence of the acoustic characteristics of a place on the projection, resonance and perception of sound.
• Identify the sonic and expressive resources of solo instruments and the possibilities offered by their different modes of playing.

Expertise

• To experiment with the sonic, technical and gestural possibilities of a solo instrument and integrate them into a personal compositional approach.
• To design and develop a work for solo instrument taking into account the specificities of the instrument, the possibilities of the performer and the characteristics of the venue.
• To test one’s compositional choices through contact with sound and interpretation, and to develop one’s score based on the experience of repetition.
• To integrate, where relevant, the bodily, gestural and scenic dimensions of instrumental playing into the musical project.
• Consider listening conditions, resonance, silence and space in the design and creation of the work.
• Organize your composition work and respect the deadlines set for the different stages of creating the work.
• Ensure the quality of the delivered score: format, legibility, clarity of the instructions, language used, adherence to the required information.
• To present orally one’s artistic identity, approach and the intentions behind one’s composition project.
• To finalize a work for solo instrument and present it in a public and recorded performance.
• To leverage exchanges and shared experiences with other artists to enrich one’s thinking and creative process.
• Develop the ability to situate one’s artistic practice within one’s professional and societal environment.

soft skills

• Develop an attitude of listening, observation and questioning in one’s creative process.
• Listening to the performer and establishing a constructive dialogue around the possibilities of the instrument and the realization of the work.
• Being able to adapt one’s writing choices based on exchanges with interpreters and supervisors.
• To actively participate in a collective research process, while respecting the uniqueness of each individual’s artistic approach.
• To exchange ideas with artists with different practices, backgrounds and aesthetics, in an approach of listening and openness.
• To take part in a collective reflection on the place of the artist in society and on the challenges of professional artistic practice.

Skills targeted

At the end of the training the beneficiary will be able to :

• identify and exploit the sound and technical resources of a solo instrument;
• experiment and select different playing modes based on a compositional intention;
• to integrate gestural, bodily and spatial dimensions into musical writing when relevant;
• to take into account the acoustic characteristics of a place in the design and creation of a work;
• to collaborate with a performer by formulating one’s artistic intentions, taking into account their feedback and adapting one’s writing;
• to confront one’s score with the experience of sound and interpretation and to evolve it accordingly;
• organize your composition work and respect the deadlines set for the different stages of completion;
• finalize a score that is readable and usable by the performer;
• to present orally their artistic approach and compositional choices;
• designing the conditions for presenting a work in a collective musical journey;
• finalize and present a work for solo instrument of approximately 10 minutes as part of a public and recorded performance;
• enrich one’s artistic approach through exchange with artists with different practices, backgrounds and aesthetics;
• to situate one’s practice as a composer within one’s professional, artistic and societal environment.

Methods used

Teaching aids :

The Campus is based on a pedagogy founded on experimentation, individualized and collective support, dialogue between composition and interpretation, and testing works in professional conditions.

• Remote group preparatory sessions, including lectures, presentations and discussions about composition for solo instrument, the instruments offered, acoustics, and listening.
• Individualized and collective artistic guidance by the supervising composers, allowing the project to be developed, the writing choices to be questioned and the score to evolve.
• Individual time for composition and research, accompanied by a progressive submission of work and feedback on the different stages of writing.
• Meetings and workshops with the performers, dedicated to discovering the instruments, the technical possibilities and the playing methods, then to testing the works.
• Rehearsals in the form of workshops, allowing the score to be compared with sound and interpretation and to evolve from experience.
• Individual presentations, peer exchanges and collective reflection time, focusing on artistic approaches, the act of composing and the challenges of contemporary creation.
• Shared time with the Transcultural Music Campus, including physical practice, professional workshops, debates on the place of the artist in society, visit to the monument and the music library and time for exchange.
• Professional situation and public presentation, with collective design of the route through the Abbey and presentation of the finalized works in the context of a recorded presentation.

Educational and artistic exchanges are conducted in French or English, depending on the level of understanding of the participants.

Technical means:

• Workrooms equipped with tables, desks and chairs.
• Individual rooms, equipped with a table, allowing composers to work.
• Documentation and work resources accessible via a private Google Drive.
• Access to a photocopier and binding machine, and provision of the necessary materials for printing sheet music, including paper, binding materials, and covers. The binding machine can bind A3 sheet music in landscape orientation only.

Monitoring and evaluation methods

The evaluation is based on the practical work carried out throughout the training, the exchanges with the supervisors and interpreters, as well as on the final work presented at the end of the Campus.

The evaluation takes into account:
• the progress of the beneficiary;
• its ability to mobilize the contributions of the training;
• his ability to develop his project based on feedback from supervisors and interpreters;
• the quality of the work done;
• his involvement in the different stages of individual and collective work;
• its ability to meet the defined deadlines.

An individual interview with the educational manager allows for a review of the progress made, the skills acquired during the training and, when relevant, for discussion of the beneficiary’s career prospects and orientation.
An assessment grid of acquired skills, completed by the supervisors and accompanied by their comments, is given to the beneficiary at the end of the training.

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

A certificate of completion stating the objectives, nature and duration of the training and the results of the skills assessment is given to the beneficiary as well as the certificate where applicable.

Qualitative assessment methods

On the last day of the training, the beneficiary completes a qualitative evaluation form relating to their training experience and allowing for the evaluation of its artistic, pedagogical, human and material dimensions.

During the course, face-to-face

• Evaluation through practical work of the beneficiary, of their responsiveness and their ability to quickly integrate the proposals made by the speakers; as well as their capacity to integrate into the group.

The beneficiaries sign a sign-in sheet for each half-day.

Accessibility and consideration of disability situations

The Foundation’s training courses are open to people with disabilities. Adaptations to the training and participation conditions can be considered depending on the needs and specificities of each situation and each course.
In order to discuss specific needs and anticipate any necessary adjustments, those concerned are invited to contact the Foundation when applying.

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