Musica does not use a rigid, but an adaptive methodology. In this way we guarantee the greatest possible flexibility in the development and supervision of creative processes. Each artistic process goes through four different phases, inspired by biological processes. The process matures from our world of ideas or ‘atmosphere’ (1), then we create a habitat (2) in which artistic cross-pollinations take place (3) that culminate in a phase of creative harvest (4).

These biological metaphors point to an organic chronology, but at the same time underline the flexible and adaptive nature of our working method. In any artistic process we are in fact faced with an abundance of variables: environmental factors, sudden events, the character and personal baggage of each participant. By participant we mean everyone who is actively or passively involved: the participant, artist, audience, partner, visitor, etc. Seemingly banal aspects such as temperature, acoustics and furniture also have an undeniable influence. These variables often contain the seeds of an artistic result.

Thanks to its many years of experience, Musica can embrace these variables and weave them into an artistic development. In doing so, we focus on optimal guidance: stimulating interaction between participants, an open and critical questioning process, constantly offering new and challenging perspectives. Here too, the biological process forms an ideal metaphor for our thinking about artistic contexts and interactions. The following questions are central: How do we relate to each other and the world? In doing so, how do we take into account the complexity of impressions, interpretations and interactions?


Musica’s atmosphere is the collection of the ideas, the collective knowledge and the experience within the team. It is nurtured, supported, questioned and critically challenged by everyone we work with. Through impressions and experiences, through looking back and insights from past projects, new ideas and perspectives emerge. The atmosphere forms the framework for thinking and feeds the criteria that lead to the shaping and estimation of projects. We explore the variety of conditions that guarantee an optimal variety of artistic outcomes.


Each Musica project creates a new habitat: an environment “inhabited” by artists, educators, participants, organizers, partners. This environment is largely predetermined, but evolves along with its inhabitants as an adaptive fact as the project progresses. The equality between all actors makes the habitat a safe home.


Atmosphere and habitat both influence pollination. All participants interact with each other and with space, material and time. In this way they influence the output. Pollination occurs in many ways: through present expertise, attitudes, gestures, facial expressions, intonations, rhythms, ideas, objects, artworks, language and other forms of (non-)verbal interaction. This cross-pollination enriches one’s own experience and leads to awareness of one’s own musicality.


Once a process of pollination and flowering is underway, it inevitably leads to a result: a composition, improvisation, installation, recording, choreography, reflection, or lasting memory. This result contains the seeds for a new cycle and lays seeds for the participants and for Musica’s operation.


We attach great importance to the ‘after preparation’, by analogy with the German term Nachbereitung. Each project is thoroughly evaluated afterwards with all the participants. The process is examined from different angles: looking back, thinking through, deepening, zooming in and out, putting things in perspective. In this way we enrich and refine the process and by extension our methodology from everyone’s experience. The evaluation, in turn, provides new inspiration and possibly leads to new artistic perspectives from the realization that an artistic process can never be reproduced. Thus, as in nature, it is cyclical, with nothing ever being quite the same.