Research Catalogue

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  Wheels within wheels: Distortion (last edited: 2019) author(s): Ruben Sverre Gjertsen This exposition is in progress.
  The project explores expressions found through interactions between performers of early music and composers. This part of the documentation is focused on the collaboration between Ruben Sverre Gjertsen and Ensemble Currentes, parts where the project has moved outside the field of historically informed performance, and into the experimental field.
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  Nomadic Dialogues- NUUK conversations (last edited: 2019) author(s): Johan Sandborg This exposition is in progress.
  As part of Nomadic Dialogues ongoing development of research , this is part of a future Nomadic dialogue with Nuuk or relevant context in Greenland. The impact and consequence of climate change, limited infrastructure, the colonial and indigenous histories of Greenland, romantic ideas of exploration to the far north, present a complex set of conditions that shape a particular critical point to the wider shared narratives of making, belonging of place.
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  Hyper-listening (last edited: 2019) author(s): Budhaditya Chattopadhyay This exposition is in progress.
  The project examines the complex processes through which everyday sounds are perceived as contours of unfolding and intersecting narratives in the mindful contemplation of an itinerant listener; and how do they trigger streams of cognitive associations as contextual interpretation of the sounds in the thoughts. The outcome of the project includes an artists' book consisting of textual interpretation of sound with poetic connotations.
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• URBAN FOREST: a 360 movie experience (2019) author(s): Maja Maletkovic published in: Research Catalogue
  observations on two types of research conducted and where to draw the line between them
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  Ng revisited (2018) author(s): Johan Jutterström published in: Research Catalogue
  The point of departure for my artistic research project is the piece Ng, composed by me in 2014 for an ensemble of three musicians without instruments and three dancers. Having reached a critical point in my own practice as a saxophonist where the identity of my music and that of the instrument seemed too intricately intertwined and convoluted, I happened to attend a dance rehearsal where the choreography was rehearsed without accompanying music. I listened to the rehearsal with my eyes closed, activated the situation musically and suddenly found myself in a soundscape that was full of musical possibilities seemingly free of much of the problems with western music that the saxophone represented for me. Possibilities that I tried to make sense out of when composing Ng. Approaching an interdisciplinary perspective towards choreography and dance, the movement of the human body became the music material. The sounds that appeared did not originate from an instrument built with the purpose of projecting a certain sound on to the world; they were of this world and in that sense concrete. But they were also of human anatomy and in that sense, I believed, more malleable than other concrete sounds and already in a close relationship to human perception and understanding. I hoped that, by abandoning the music instrument and approaching a choreographic perspective, I would contribute to the theories and practices of western art music while also challenging conventions that I felt was weighing it down—just as the saxophone weighed around my neck. During my artistic research project I intend to challenge Ng and investigate the concepts behind it more thoroughly before finally revisiting and reworking it with the knowledge gained during the research project. Does a choreographic approach offer a substantial addition to western art music theory and practice? Can such a premise challenge how music notation is approached and help expanding how music structure is thought of beyond how it is communicated through notation? Can it change time measuring mechanisms of music and advance the way space is approached? The disposition of my research project is such that I can criticize the ideas of Ng in retrospect, while still actively working on refining them both in practice and theory through Ng revisited. In juxtaposing Ng and Ng revisited I hope that my research questions, my methods, the context of my research and whatever new knowledge my research project can offer will become clear while simultaneously activated by, and contained in, my own artistic practice. As such coalescing concept, form, theory, material and presentation; something that I believe is an important ambition of artistic research.
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  Performing the 'Group of the Six' (2018) author(s): Federico Forla published in: KC Research Portal
  Name: Federico Forla Main Subject: Oboe Research supervisor: Wouter Verschuren Title of Research: Performing the 'Group of the Six' Research Question: Which are the common aesthetic aspects found in the Group of the Six? How can one exemplify it in the performance? Summary of Results: A new French style starts to develop at the beginning of twentieth-century. This style will flourish and develop trough all the century. We can find in the 'Group of the Six' a first controversial example of this new aesthetic. In my research I used historical sources, writings of the composers and writers of the time, together with detailed analysis of representative compositions. Merging all this information, I was able to create a clearer picture of the new French aesthetic of the 'Group of the Six'. Performance practice is a central aspect: specific examples of the aesthetic's reflection in the scores are intended as a suggestion for the execution. A case-study at the end of the research shows a practical example of how the collected information can be used and related within a specific piece. Biography: Since the beginning of my musical studies I got really interested in chamber music. It was for me the most direct, simple and democratic way to make music together. In the following years this interest persisted, giving me the urge to explore and experiment new repertoire. My initial period at the Royal Conservatoire was characterized by my first serious approach to French chamber music of twentieth-century. My research was inspired by the issues, doubts and reflections of that period.
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Eivind Buene
Norway (residence)

Franz Thalmair
Austria (residence)

Markus Schwander
Switzerland (residence)

Julie Rokseth

Henna-Riikka Halonen
Finland (residence)

Budhaditya Chattopadhyay

Anabela Marcos
Netherlands (residence), Portugal (citizenship)

Elisabeth Holmertz
Norway (residence), Sweden (citizenship)

Klas G Dykhoff
Sweden