Cor aims to write in an understandable, accessible style, in order to share knowledge with a wide audience without unnecessary hurdles. Below are some of Cor's scholarly writings. The first two are reworked chapters from his thesis for a PhD at the Sydney University in 2016: DISPERSE AND DISPLAY, Structural Strategies for Modular Approaches in Compositional and Instrumental Practice.
A research paper focussing on the impact of a chosen strategy for assembling a composition consisting of pre-fabricated modules. A condensed version of the first part of my PhD thesis. Self published, Sydney, 2016, ©Cor Fuhler.
An research paper on reasons why composers, improvisers and artists alter a piano. This is a condensed version of the second part, The Altered Piano, in my PhD thesis. Self published, Sydney, 2016, ©Cor Fuhler.
A report of an epic trip of the Splinter Orchestra in February 2016 from Sydney to Adelaide via Lake Mungo, and the impact this trip had on the members' approach to sound/silence. Conference publication at Sonic Environments :: ACMC, Queensland Conservatorium, Griffith University, Brisbane. ©Cor Fuhler.
A short writing about the process of incorporating a new technique and the new sounds produced, deriving from ‘fiddling’ with a large vibrator on an acoustic guitar, into Cor's musical practice. ©Cor Fuhler
Improvisation and Multiplicity in Composition
An in-depth course for composers interested in incorporating improvisation and multiple outcomes into their work.
Rationale: Today’s performance practice in both contemporary composition, improvisation and interactive installation is increasingly built on collaboration between composers, performers, instrument builders and audience. Clear borderlines have disappeared and multitasking is demanded from all involved parties. This course enables students from composition, contemporary performance practice, electroacoustic music, jazz and other interested parties, to gain insight in real-time strategies to:
incorporate improvisation into composition,
build in multiple outcomes into a composition,
use compositional elements to structure improvisation,
use compositional elements to structure fixed, but unpredictable, components.
In-depth listening, analysis and critique of historic works is part of the course in which keywords are: the open work, mobile form, conceptual improvisation and interpretational responsibility.
(Email me for a complete layout.)
A research paper about various stages of instrument building.
Introduction: "My DIY tools in my shed are an essential part of my musicianship and compositional thinking. A guitarist or
accordionist adjusts his or her strap for physical reasons, I adjust musical instruments for musical reasons.
My screwdriver, soldering iron and cordless drill are equally important to me as my guitar, piano or synth.
This short writing describes my personal methodology in regard to instrument building, from playing an
instrument utilizing a found object (juxtaposition), via developing customized devices and permanent
alterations (modification), to building a completely new instrument (design). I focus on three of my main
instruments: grand piano, analogue synthesiser ‘EMS Synthi AKS’, and keyolin: a hybrid violin/keyboard, and
add a chapter about installations."
Abstract: Since 2010, Cor Fuhler has increasingly participated in ‘soundwalks’, built outdoor installations and
performed music in open-air. For example, in 2016, with the 21-person-large Splinter Orchestra, he
recorded a triple-cd in Mungo National Park, (outer west NSW); and he created a number of
installations at Sydney bowling clubs and the Bruce Bartrim Oval in rural Tyalgum (situated in a
caldera in north NSW). This paper describes some of Cor’s thoughts and methods whilst being
surrounded by environmental sounds: predictable, semi-predictable and unpredictable.
2017 ©Cor Fuhler
The last few years I’ve been increasingly involved in choreographic music performance as a way to connect with place and the history of the place in question. These choreographies differ from most site-specific performance practice or field-recording in the way that sounds move around in a semi-predetermined way in a constant state of flux, creating an overall form and an intimate relationship with environmental sounds and accidental events to which participating musicians react. They aim at contextualizing the relationship between musicians themselves as well as between musicians and the place in question. I examine the history of music performance involving movement of musicians and describe some of my own concepts.
2017 ©Cor Fuhler