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Mijn onderzoek gaat over Trio’s in de orgelliteratuur, in het bijzonder de Sonate/ het trio in G dur, BWV 1027/1039, door mij hypothetisch opnieuw gedefinieerd als ‘J.S. Bachs zevende triosonate voor orgel’. Ik zal het onderwerp eerst problematiseren: wat is een trio? Niet elke driestemmige compositie voor orgel is een trio in de zin dat er drie gelijkwaardige (polyfone) stemmen zijn. Een andere belangrijke vraag is: wat is de historische ontwikkeling van de G-dur sonate? Wat is de ‘oerversie’? Er zijn namelijk verschillende versies van BWV 1027/1039: voor gamba en klavecimbel, voor twee traverso’s en continuo, voor hobo, viool en continuo en tenslotte de bewerking voor orgel. Van de versie voor orgel is BWV 1027a (deel 4 van de sonate) het bekendst, terwijl het derde deel (het tweede adagio) helemaal niet voor orgel is bewerkt. IJkpunt in mijn vergelijking van orgeltrio’s zijn de zes Sonata’s ‘voor pedaalclavichord’, BWV 525-530. Daaromheen ligt een scala van trio’s uit vroeger en latere tijden; van Sweelinck tot Ad Wammes. De hoofdvraag van het onderzoek valt in tweeën uiteen: a) Welke problemen en mogelijkheden zijn ontstaan bij het componeren van J.S. Bachs Sonate in G, BWV 1027/1039? b) Door welke oplossingen kan bij het uitvoeren van deze (trio)sonate artistiek resultaat worden geboekt?
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This essay looks to the idea that removing aesthetic character from art provokes an inherent natural way of sensing objects and events from our minds. This concept sees controlled meaningful content in art as the basis of intellectual values that work to suppress a view that only comes to mind when these values are absent from our thoughts. I am looking to see art as a tool that can be used to give recall of an innate inborn form of awareness that we inherit from our animal origins but now keep dormant in day-to-day awareness, and my assertion is that we have evolved to suppress this original experience through controlling how we create art through intelligent learned understanding. If an artist is unaware of this they will be working to suppress, rather than reveal, these old dormant powers of perception. I have used A Note on the physical object hypothesis by Richard Wollheim as the basis of this enquiry, and I am looking to understand that when an artist removes all controlled ways of working and intellectual ideas from what they do – by working through chance and accident – the end result creates a catalyst that triggers the return of our old ability to sense through animal instinct.
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What was Richard Strauss’s intention behind his Tone Poem Ein Heldenleben? How can we as performers approach his intent? My research started from learning in depth about Strauss as a composer/conductor, and Strauss as a man. I read many biographies of Strauss, which were written in diverse perspectives. Also, I took a class by Katarina Markovic on Post-Romanticism, which featured music of Bruckner, Mahler and Strauss few years ago, so the knowledge that I gain from that course was an inspiration for this research. After I learned more about Strauss, I started to study on the performance aspect of his music; how Strauss’s personality, thoughts or interests can be transformed when we perform his music. This was done by comparing the recordings and studying the score in depth. Underneath the autobiographic quality, Richard Strauss’s Ein Heldenleben expresses the composer’s worldview, which was deeply influenced by Nietzsche. Many performances of the piece only emphasize on the autobiographic element; therefore, this tone poem is often misunderstood as an egoistic piece. Rather than over romanticized, glorifying approach, more Classical and lighter approach is appropriate for this piece to bring out the positive Nietzschean attitude. In my presentation, I will be comparing Strauss’s own recording and the recordings by other conductors to show how lightly Strauss approaches this music, and how much of the “tradition”, which is established over the years are not true to Strauss’s intent.
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recent comments

Research: Talking in Circles: Interview, Conversation, Metalogue (2014) by Amber Yared et al.
Siobhan Murphy 09/06/2014 at 21:49

The exposition addresses intellectual questions in an artistic manner. It enacts content through form, and resists the reification of knowledge through insisting on multiple rather than singular meanings. The circularity of the title is enacted throughout the exposition and this rhythm is akin to artistic approaches that return to a subject time and again without exhausting it, gleaning more from each iteration.

 

The exposition’s exploration of form, and the explicitness with which it conducts that exploration, certainly has a lot to say to artistic researchers, albeit somewhat unexpectedly. The ways in which the authors approach the knowledge-making endeavour turn out to be not at all dissimilar to how knowledge arises in artistic research. The focus on dialogue as a site for learning is a useful provocation to thought for artistic researchers – as evidenced in some recent expositions in JAR, the tacit knowledge of art-making is often usefully uncovered through dialogue with another. In this context, I think it is timely to include an exposition that focuses explicitly on dialogue as form. This is of particular interest to artistic researchers in performance which is by nature collaborative and thus already a form of dialogue. The exposition provokes a re-consideration of the solitary reflection often undertaken by artistic researchers when they are engaged in writing.

 

The exposition does not seek to exhaustively answer or even pose questions. What it does is to evidence a history of curiosity on the part of the authors regarding the nature of dialogue and the relationship of dialogue to education. Rather than putting everything ‘on show’ in the exposition itself, the exposition serves as a window onto the authors’ broader practices. In this context practice does not mean artistic practice per se, but rather the authors’ ongoing practices of seeking to learn through talking to others and of seeking novel ways of communicating the singularity and inconclusiveness of that learning. The way in which the authors’ ideas are unearthed in dialogue with one another such that content is not touched on without formal experimentation – content is always enacted as form – takes the exposition into the realm of the performative. It thus enters provocatively into what might be called artistic research even though art-making is not the wellspring of the exposition.

Research: Talking in Circles: Interview, Conversation, Metalogue (2014) by Amber Yared et al.
Eva Maria Gauss 09/06/2014 at 21:48

To make it very short: The heart of this contribution is the epistemology of a method (interview) in qualitative social research and ethnology on the one hand and in community-based-art on the other.. And this makes it so important! It is exactly this method of qualitative research having had its discussion about the epistemic value in academia itself, was then taken up by art practices and can now rise this question in a new way from the experience in the artistic work- taking into acount that the use and demands of doing interviews in the arts are others, their „epistemic“ potentials, too. (?) It makes fun to see how this topic is played through a conversation (and what characterizes a conversation: how many other topic pop up along). It is interesting to get introduced to the concept of Metalogue by G. Bateson. Does it make fun to see, how Amber and Heather try to follow Beteson's concept and to produce a „Metalogue“? Well – I understand the fascination of „Metalogues“ and of course the circle is a harmonic figure. But isn't it simply the question of the epistemic in narratives?

Research: Movement Intervention within British Post-War Architecture (2014) by Jaimie Henthorn
Victoria Hunter 04/06/2014 at 13:30

This is a very interesting and engaging exposition of a site-based creative process. The artist's engagement with Husserl and Adorno's theories, in particular notions of intersubjectivity and 'pairing' help to articulate the creative approach and inform the reading of the performance work. The artist's knowledge of architectural practice is usefully employed to inform the development of the practice-based research that questions and interrogates body-architecture relationships and explores the emerging findings through movement and dance. The artist's reflection on the work is critically informed and some interesting insights are presented, the visual material and performance footage presented helps to create a clear picture of the work and situates the reader / viewer well within a particular performance / research 'world'. I enjoyed reviewing this work and welcome this type of discursive documentation as a valuable record of site-specific dance / movement practice that clearly explicates  a particular practice-based approach.

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