recent activity
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CCFT
(last edited: 24/07/2017)
author(s): Johan Sandborg, Duncan Higgins, Linda H. Lien, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold
This exposition is in progress.
The Creative Centre for Fluid Territories:
People, Places, Processes (CCFT) is a group of artists, architects, designers and cultural theorists from England, Scotland, Norway, Cyprus and Lithuania, whose practices, individually (and collectively), seek to consider the nature and value of space and spaces, public as well as, marginal. CCFT’s approach is both theoretical, focused on such topics as the aesthetics, cultural archaeology and representation (historical and current) of space and place, and practical in the consideration of how public and marginal spaces might actually be represented and transformed through human engagement and interaction. Core to the Centre’s research is the belief that culture (whether defined in the terms of community, place or landscape) should not be reduced to a state of homogeneity, but should be allowed to express difference as a dynamic aspect of positive exchange.
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#HumanBeingDeported part 1
(last edited: 24/07/2017)
author(s): Hilde Kramer
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress.
What role can illustration play in a complex and visually overloaded society? And where are the boundaries of what we may categorize as illustration?
This project dwells on the destiny of the many children killed in the ghettos and in extinction camps during WWII. From Litzmannstadt ghetto in Łódź alone, 15 681 children between the age of 0 to 10 were deported during a short period in September 1942. Keeping their memory alive is one way of paying respect to their fates.
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Almat Blog
(last edited: 23/07/2017)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress.
Log book for Algorithms that Matter
Recent Publications
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Fast Notes!
(2015)
author(s): Wouter Verschuren
published in: KC Research Portal
The purpose of this research is to investigate the different ways of articulating fast passagework on the dulcian in repertoire spanning the period ca.1550 until ca.1700. Prior to 1787, when Etienne Ozi published his first edition of the Nouvelle Methode de Basson, there are no sources known that specifically discuss articulation or (double) tonguing on bass double reed instruments. When we perform music from this era, we are in the dark as how to articulate highly virtuosic passages. What is preferable: Two-by-two slurring? Slurs over more notes, or maybe the use of some kind of double tongue-stroke?
During this research I will focus on primary sources that deal with articulation on various non-reed wind instruments of the period in question, such as the recorder, the cornetto and the trumpet. By studying the indications and recommendations given by masters of the past we can deduce their musical intensions. When we accept these authors as our guides, they may be able to help us imagining what articulation on a double-reed instrument could sound like. The moment we envision this concept, we can start to translate their instructions into articulation on reed instruments.
The output is threefold:
1. A paper describing the different ways on how to articulate fast passagework on the dulcian and on the bassoon in a way that matches the souplesse and speed of non-reed instruments.
2. Two compositions written for the dulcian, with added articulation-markings by the author.
3. Video examples clarifying some musical examples.
With this project I hope to shed light on practical issues of the performance of highly virtuosic repertoire for dulcian and bassoon from the sixteenth and seventeenth century.
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From Phrase to Phrasing - a Classical Perspective
(2015)
author(s): Jan Willem Nelleke
published in: KC Research Portal
This paper explores the structure and performance of musical phrases according to sources from the second half of the eigtheenth century.
As phrasing is such an essential part of music making it seems curious that there is not much written about it and its application usually taken for granted. This paper wants to address this from the assumption that a better understanding of structure (phrases) will enrich delivery in performance (phrasing). It is written from the viewpoint of a performer with a focus on the practical application of theory.
Subjects include repose-moments, cadences, phrase-rhythm, punctuation, notation, skills in phrasing, breathing, and observations on Classical phrase structures and proportions in general.
Case studies are provided to demonstrate and test the theory on practical use and extend into less obvious areas like writing song intro's and cadenzas.
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Of Rules and Canons — Raaijmakers' Reflection On Morphology
(2017)
author(s): Johan van Kreij
published in: KC Research Portal
Canon-1 is the first of a serie of five electro-acoustic works by Dick Raaymakers for which the concept 'morphology of sound' formed the principle starting point. Alongside the compositional activities, Raaymakers attempted to systematically describe a theoretical model that allowed him to get grip on the difficult matters relating composing with electronic means. This work fully occupied him from autumn of 1963 until spring of 1966. Not only led this work to a unique serie of compositions, it also laid the foundation for his later works covering the fields of composition, music-theater, installation art and writing. This important work was never well documented or contextualized from the perspective of electro-acoustic composition. Based on the original tapes, Raaymakers' schematics and interviews, this research aims to do that.
artists using the research catalogue
David OverendUnited Kingdom (residence)
Andrea PagnesGermany, Italy (residence), Italy (citizenship)
Luk VaesBelgium (residence)
Esa KirkkopeltoFinland (residence)
all artists
