Research Catalogue

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  Playing Schumann Again for the First Time (last edited: 2019) author(s): Bobby Mitchell connected to: Academy of Creative and Performing Arts This exposition is in progress.
  How can one learn to improvise convincingly within the context of the nineteenth-century piano repertoire? And why is it important to improvise on this repertoire in the twenty-first century? Taking the music of Robert Schumann as a departure point, Playing Schumann Again for the First Time proposes an answer to these questions through methods towards a pianistic practice that is driven by experimentation and strives to continually find more layers where improvisation can take place, both in sounding musical practice and in notation. These practice methods are substantiated and contextualized by a discussion of the presence of improvisation in Western classical musical practice in the nineteenth century, as well as a plea to use improvisation as a tool for rethinking the current performance practice of nineteenth-century music. Improvisation itself and the concepts driving this term will also be addressed: improvisation in musical performance will be described as a process guided by a feedback loop between mimesis and morphosis with which the practitioner engages using his or her individual cognitive and embodied approach to listening, forgetting, and conceptualizing; the results of which bear his or her own sonic signature. The knowledge gained in this project lies within the realm of what will be described as improvisation as practice, a category of improvisational behavior that circumvents the need to be presented as art and is rather intended for the development of one’s own music-making.
  open exposition comments (30)
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  ALMAT - Iteration LD (last edited: 2019) author(s): Hanns Holger Rutz, Luc Döbereiner, David Pirrò, Daniele Pozzi This exposition is in progress.
  Discourse and materials pertaining to the experimental iteration with Luc Döbereiner, during the Algorithms that Matter (Almat) artistic research project.
  open exposition comments (0)
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  ALMAT - Iteration JR (last edited: 2019) author(s): Hanns Holger Rutz, David Pirrò, Jonathan Reus, Daniele Pozzi This exposition is in progress.
  Discourse and materials pertaining to the experimental iteration with Jonathan Reus, during the Algorithms that Matter (Almat) artistic research project.
  open exposition comments (0)

• LA COURANTE FRANÇOISE. Historically informed performance of the French Courante for harpsichord during the second half of the seventeenth century following the criteria obtained from the Baroque Dance. (2019) author(s): Diego Ruenes Rubiales published in: KC Research Portal
  Research Question: How can the knowledge and practice of Baroque Dance improve our performances of Courantes in the Harpsichord?
  open exposition comments (0)
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  Reapplying Phenomena of Meaning (2019) author(s): Wesley Troeger published in: Research Catalogue
  Name: Wesley Troeger subject: composition supervisors: Samuel Vriezen, Eric Kluitenberg title: Reapplying Phenomena of Meaning question: how can the chosen four phenomena of meaning be reapplied in composition? The paper explores an artistic process of observing and analyzing complexities of meaning in works of different media, and reapplying these complexities in musical composition. Films, stage works, novels and paintings are analyzed for their relevant properties in a series of brief case studies. The problems of abstraction and reapplication are examined, and the ways in which I have done the latter are explained. bio: Wesley Troeger is a master's student in composition at the Royal Conservatoire of The Hague. He is from Westchester, New York and currently studies with Yannis Kyriakides and Alison Isadora. He holds a bachelor's degree in composition from New England Conservatory in Boston.
  open exposition comments (1)
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  The Improvisational Ear-How to build improvisational language through the study of speech (2019) author(s): Hue Blanes published in: KC Research Portal
  This artistic research investigates the transcription process in improvisational musical landscapes. Particularly the transcription process of speeches and speech patterns for the main purpose of developing and furthering jazz language to communicate more effectively as a communicator-improviser. This research asks the question, how can musicians build improvisational musical language through the study of speech? Effective methods of transcribing practice with the goal of developing the musical ear are developed during this research. These are demonstrated with analysis, harmonisation, survey, additional experiments and a set of improvisations and compositions. A systematic approach to improvisation in a spoken style will be shaped and consequently, the ‘voice on the piano’ will be found. These outcomes will be presented with the aspiration to venture toward melodic and harmonic possibilities of functional harmony not yet established in improvisational vocabulary.
  open exposition comments (0)

David Pirrò
Austria (residence), Germany, Italy (citizenship)

vincent roumagnac
Finland (residence), France (citizenship)

Jonathan Reus

Yiorgos Hadjichristou

Hue Blanes
Australia, Netherlands (residence), Australia, Ireland (citizenship)

Russell Marshall
United Kingdom

Shibboleth Shechter
United Kingdom (residence)

Biro Daniel Peter

Raul Saldarriaga