Research Catalogue

Abstract The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing. The working hypothesis was: Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage. The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population. Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

Media scores—expansion of musical notation that incorporate other modalities, particularly enabling interactive and generative elements—have reshaped the relationships between composer, score, and performer. This essay examines nine distinct attributes of the media score that differentiate it from traditional notation. Through historical and contemporary examples, the discussion highlights how these attributes manifest in various artistic practices. Additionally, the author's own compositions are cited, with particular focus on Mutability, a large-scale collaborative project that highlights many of the elements discussed in the paper.

A work that explores the possibilities of creating hybrid genres on the drum kit to achieve a personal artistic expression. From experimenting with different groove combinations and rhythmical structures to developing concrete practice methods for limb independence, Fred establishes a way to mix electronic and Brazilian rhythms on the drum set. As the work deepens, he continues to explore the hybrid expressions through improvisation, composing and ensemble playing. With the purpose of connecting the otherwise loose threads of a peculiar musical background, he seeks new ways to approach the drum kit to create a united sound that reflects his earlier musical journeys within the electronic and Brazilian traditions.


Denne nettsiden dokumenterer refleksjonsarbeid fra det kunstneriske utviklingsprosjektet Improvisasjon som møtepunkt i en intermedial kontekst (INTERIMP) – et samarbeidsprosjekt mellom Norges musikkhøgskole (NMH) og Balletthøgskolen ved Kunsthøgskolen i Oslo (KHiO), med ekstern finansiering fra det nasjonale Program for kunstnerisk utviklingsarbeid/Prosjektprogrammet (2012–2015). Prosjektdeltakere har vært musikerne Lisa Dillan, Sidsel Endresen (2012–2014) og Ivar Grydeland (alle NMH), og danserne Siri Jøntvedt, Cecilie Lindeman Steen og Ingunn Rimestad (alle KHiO). Formålet med prosjektet har vært å undersøke og øke bevisstheten rundt prosesser og problemstillinger som oppstår når improviserende dansere og musikere møtes på gulvet. Aktiviteten i prosjektet har bestått av arbeid på gulvet og arbeid på møterommet, og det har vært en gjensidig og kontinuerlig veksling mellom disse fasene. Utprøvinger og tester på gulvet har informert diskusjonene på møterommet, som igjen har generert nye utprøvinger og tester på gulvet.

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Dokumentasjonen av prosjektet ble opprinnelig gjort på en dedikert nettside. Den er nå flyttet til Research Catalogue for å bedre sikkerhet og distribusjon.