REWORK: EMBEDDING CREATIVE PROCESSES OF REMIX IN THE CHAMBER OPERA LA LUNA

The dissertation Rework: Embedding Creative Processes of Remix in the Chamber Opera La Luna uses methods of artistic research to develop a theoretical framework model for analyzing my compositional work. At the center is a comprehensive analysis of my chamber opera La Luna (premiere: 24.06.2022, Staatsoper Hamburg). The project represents a significant contribution to the German research landscape, in which artistic research within the framework of artistic-scientific doctoral programs (Doctor Scientiae Musicae) at the Hochschule für Musik und Theater Hamburg has so far been underrepresented - despite its growing relevance in other disciplines and international contexts.

At the center of the work is the concept of rework - a paradigm that understands the creative process as the appropriation, transformation and recombination of existing material. Rework offers a practical model for applying the principles of remix culture in contemporary music composition. It examines how existing sound material can be reworked in the sense of a compositional tool through remixing. The central research question - How did I use ready-made sound material to compose the opera La Luna? - runs through all phases of the creative and analytical process.

The score of La Luna is the result of a practice-based investigation of this core question: the composition process serves as an opportunity to test and further develop the theoretical concepts. Following the completion of the score, the work will be analyzed within a new discursive-theoretical framework that combines remix methods with compositional procedures of Western art music.

Two central theoretical points of reference form the foundation of this model: Eduardo Navas' Remix Theory, which defines remix as a cultural practice of reconfiguring existing materials, and J. Peter Burkholder's Taxonomy of Musical Adaptation, which provides a methodological basis for analyzing appropriation and transformation within the classical music tradition. Both concepts prove to be essential for understanding the creative processes behind La Luna.

The analytical method, the aesthetic reflections on the reworking and the artistic component itself (the score of La Luna) are presented as equally valid research results. In essence, the work aims to make the author's creative process transparent and comprehensible through theoretical and cognitive reflection.

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