Compositional thinking as a practice of opening, queering, and reordering beyond authorship, control, and musical autonomy. What does compositional thinking mean beyond notes, parameters, and musical autonomy? This essay understands composition as a practice of structuring, opening, and queering the world. Moving between music, theatre, and performance, it approaches scores not as instructions but as invitations: to collaboration, ambivalence, loss of control, and re-use. Compositional thinking emerges as a transdisciplinary strategy political, embodied, material resisting normative order, academic seriousness, and binary logic. Music becomes a testing ground for new forms of togetherness, collective authorship, and working in the in-between.

Autorentext
Eloain Lovis Hübner ist nach Kompositions- und Theaterstudien in Köln, Gießen, Dresden und Oslo freiberuflich tätig komponierend, konzipierend, kollaborierend, kuratierend, unterrichtend und kulturpolitisch engagiert. Eloains Kompositionen wurden von internationalen Ensembles aufgeführt und eingespielt sowie vielfach ausgezeichnet. Transdisziplinäre Arbeiten in verschiedenen Formaten entstanden mit wechselnden Teams in mehreren Ländern Europas. Eloain Lovis Hübner following studies in composition and theater in Cologne, Giessen, Dresden, and Oslo, works as a freelancer: composing, conceptualizing, collaborating, curating, teaching, and engaging in cultural policy. Eloain's compositions have been performed and recorded by international ensembles and honored with numerous awards. Transdisciplinary works in various formats have been created with changing teams in several European countries.

Klappentext

Compositional thinking as a practice of opening, queering, and reordering - beyond authorship, control, and musical autonomy. What does compositional thinking mean beyond notes, parameters, and musical autonomy? This essay understands composition as a practice of structuring, opening, and queering the world. Moving between music, theatre, and performance, it approaches scores not as instructions but as invitations: to collaboration, ambivalence, loss of control, and re-use. Compositional thinking emerges as a transdisciplinary strategy - political, embodied, material - resisting normative order, academic seriousness, and binary logic. Music becomes a testing ground for new forms of togetherness, collective authorship, and working in the in-between.