[theoriae doxa] I.
 

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WHO THE RESIDENCY IS FOR

The open call is addressed to:

 

– Musicologists developing historical, analytical, archival, ethnographic, or methodological research on contemporary music

– Writers and critics working through essays, reviews, interviews, profiles, editorial projects, or independent public discourse

– Scholars and philosophers examining aesthetic, political, technological, social, epistemological, or institutional questions

– Artistic directors and curators reflecting on programming, commissioning, mediation, audiences, organizational structures, and responsibility

– Interdisciplinary groups developing collaborative research, publications, archives, symposia, or discursive projects

 

Academic affiliation is not required. Established and emerging applicants may work within universities, cultural institutions, independent practice, journalism, publishing, artistic research, or hybrid contexts. Applications may be submitted by individuals or groups.

Projects may enter at different stages. Applicants may propose a research question, draft article, essay, archival or theoretical project, institutional case study, curatorial framework, publication concept, lecture, or collective inquiry. The work should be sufficiently defined for substantive discussion while remaining open to revision.

Participants should be prepared to:

 

– Present and contextualize their intellectual, critical, or curatorial practice

– Share drafts, papers, portfolios, sources, recordings, or other relevant working materials

– Engage closely and constructively with the work of other participants

– Offer and receive precise scholarly, editorial, and methodological feedback

– Discuss historical, theoretical, institutional, political, and ethical questions

– Participate in collective reading, analysis, debate, revision, and reflection

– Remain responsive to the transformation of projects through sustained exchange

– Contribute to a shared working environment grounded in attentiveness, reciprocity, independence, and professional responsibility

 

The program is particularly suited to participants who understand discourse not merely as commentary on artistic production, but as inquiry capable of transforming musical knowledge, institutions, and public understanding.