«The Phenomenology of Audial Experience» connects science (especially acoustics), music and musical composition, and philosophy of science in an aesthetic learning process.
The interdisciplinary aspect of the project is grounded in the research group at RealTek, Art and Science in Education. Based on a phenomenological inquiry, the project aims at providing knowledge about sound as experience and attentive listening and their relevance for teaching and learning. The project has two main research questions:
The project consists of a research component, an artistic part (musical composition), and an educational component. (...)
Torsdag 3. februar 2022 delte Norsk Komponistforening ut tre priser for Årets Verk 2021. Ett av verkene er "Ørenslyd. Ritus V". Verket ble fremført av Tone Braaten, Håkon Thelin, Per Kristian Amundrød og Ebba Rydh. Begivenheten fant sted i Marmorsalen på Sentralen, Oslo. Prisutdelingen vises på NRK2 "Hovedscenen", 13. mars, 2022. Se også oppslag på sidene til Norsk komponistforening.
"Ørenslyd" - concert and seminar in Berlin, 24.-26. October 2019
Composition and Moderation: Edvin Østergaard First performance: Thursday, 24.10.2019, 21.00 o’clock Further concerts: Friday 25.10.2019 and Saturday 26.10.2019, both days 19.00 o’clock Place: Tieranatomisches Theater. Adresse: Philippstraße 13 / Campus Nord, Haus 3 / 10115 Berlin Programme “Ørenslyd”:
Performers: Tone E. Braaten (Soprano), Ebba Rydh (Mezzo-Soprano), Per Kristian Amundrød (Tenor) and Håkon Thelin (Double bass). Tickets: 10 €/8 €. Reservations of tickets: please contact:
Workshop: The Phenomenology of Audial Experience – Conversations on phenomenology, audibility, sound, Helmholtz, vocal articulation and musical composition. Time: Friday, 25.10.2019, 16.15-17.45 Participants: Tone E. Braaten, Ebba Rydh, Per Kristian Amundrød, Håkon Thelin, Olaf L. Müller and others. Moderator: Edvin Østergaard. Place: Tieranatomisches Theater. Adresse: Philippstraße 13 / Campus Nord, Haus 3 / 10115 Berlin.
Østergaard, E. (2021). Tuning in on the Becoming of Music. Open Philosophy, 4(1), 198-210. https://doi.org/10.1515/opphil-2020-0168
Østergaard, E. (2020). Listening in Science Education: Fostering Students’ Lifeworld Experiences. In Burnard, P. & Colucci-Gray, L. (Eds.) Why Science and Art Creativities matter. (Re-) Configuring STEAM for future-making education, pp. 131-147. London: Brill | Sense.
Østergaard, E. (2019a). Echoes and Shadows. A phenomenological reconsideration of Plato’s cave allegory. Phenomenology & Practice, 13(1), 20-33. https://journals.library.ualberta.ca/pandpr/index.php/pandpr/article/view/29372/21392
Østergaard, E. (2019b). Music and Sustainability Education – a contradiction? Acta Didactica. https://journals.uio.no/index.php/adno/article/view/6452
Østergaard, E. (2019c). The Attentive Ear. Forthcoming in Journal of Aesthetic Education.
Østergaard, E. (2017). Earth at rest. Aesthetic experience and students’ grounding in science education. Science & Education, 557-581. https://link.springer.com/content/pdf/10.1007%2Fs11191-017-9906-2.pdf
Østergaard, E. (2010). Moon Music. A Composition of Art and Science in Dialogue. Leonardo, 43(3), 223–228.
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