The symposium grew out of Klangklassen and the wider KLANG environment. I organised it as a serious meeting place for young composers: not a concert, not a masterclass, but a day where musical thought itself could be tested.
Philosopher Christiane Mossin gave a lecture on aesthetic regimes, Jacques Rancière and Walter Benjamin. I delivered two lectures of my own: one on the history and problems of absolute music, and one on what I called Gestalt rhyme.
In the second lecture, I opened a mechanism I had noticed in music itself: a possible connection between phonetic rhyme, memory, expectation and the way contrapuntal material becomes intelligible. The point was not to prove a closed theory, but to offer the students a strange and productive thought-tool — a way of hearing how musical lines can remember, answer and recognise each other.