This artistic research is an exploration of space as a composition parameter. It aims to facilitate the integration of space into the process of musical composition, and to contribute to the emergence of innovative scenic devices.
The composition of a choral work will allow us to explore options for setting the choir, the instrumentalists, the conductor, and the public to motion. We will establish a typology of scenic devices aimed at composers. We will suggest a suitable vocabulary (inspired by theatre, circus, dance) to describe these devices. The development of specific gestures allowing the conductor to communicate on the spatial parameter, and the establishment of graphic conventions for noting down movements onto the score will complete this aspect of the research.
The methodology will include creation (compositions), information gathering (interviews), and collective experimentation (laboratories and workshops conducted at the Conservatoire). Composition students will be invited to compose short pieces after the workshops.
We seek to redefine the listening conditions, to question the modes of scenic representation, and to promote the emergence of new, more immersive, possibly participatory, hybrid forms, by assigning a fluid role to the public.The elaboration of works composed specifically for given places and acoustics can enhance remarkable sites. Music, nature and heritage will come together in a particularly meaningful way in the wake of this artistic research. The final results of the research will be communicated during a conference-concert. Later on, short compositions will be finalized and performed, taking these findings into account.

Judith Adler de Oliveira is a french-portuguese composer, musicologist and librettist. She is a Global Connections Artist for Opera for Peace.
After completing an MA in History of Art and Musicology, and an MA in Compared Literatures at the Université Libre de Bruxelles (ULB), she pursued musical studies, obtaining a MA in Composition and a qualification as Educator at the Conservatoire Royal de Liège.
Her research combines music and language with a particular focus on voice. It deals more specifically with the music and poetry produced by communities that have endured war and exile. Her recent compositions feature a rewriting of the Armenian and Georgian musical legacies, and elements of throat singing, in an attempt to associate composition & ethnomusicology.
She delves into manuscripts in search of texts on various subjects ranging from the sacred to sorcery. In the Confluence project she contributed with a Kaddish and wrote a libretto in 6 languages (aramaic, hebrew, arabic, latin, french, english) to Qoutayba Neaimi’s Cantate (a co-production with Abu Dhabi Festival & Namur Concert Hall / Arsonic / Boulezsaal). She is currently setting to music magic spells from manuscripts such as the Tree of knowledge.
She has collaborated with visual and video artists and set her own texts to music. Her musical works were performed in Belgium, France, Austria, Italy, Canada , Germany, Armenia, Lebanon...
She devotes part of her time to education and research, giving conferences (ULB, Collège de Belgique, Conservatoire royal de Bruxelles, ARTS2, Conservatoire de Lille, Fondation Auschwitz…) on subjects such as the contact points between Western and Middle-Eastern music, or the role of musical and poetic production after a genocide.
Her music was recorded by Musiques Nouvelles (Anniversary CD, CYPRES, 2022). and by Akhtamar Quartet (Enluminures, CYPRES, 2023).