Research Catalogue

EU4ART_differences project is delighted to present the A.Re Days program. Three days dedicated to artistic research will celebrate the core projects developed by EU4ART_differences alliance through the course of the last three years, culminating in the European Researcher’s Night, on September 29, 2023.

Ideas preliminares sobre la nueva creación de ConCuerpos en el 2023 en torno a la ausencia y desarrollando la propuesta de accesibilidad universal en danza.

The Artistic Research Autumn Forum 2023 is hosted by the Norwegian Academy of Music, and organized by the Norwegian Artistic Research Programme. The forum takes place digitally and in Oslo, Norway.

(this research was submitted March 2019) How can late-18th- and early-19th-century vocal techniques influence our way of experimenting with portamento use in Schubert’s violin music and how can we reinstate the practice in ways that are relevant for current listeners and players? The voice and violin have always shared an intimate connection. Violin treatises from the late-18th and early-19th centuries consistently encourage violinists to imitate vocal techniques. My thesis explores this relationship via the music of Franz Schubert (1797-1828), who revolutionised Lieder and used vocal techniques in his instrumental writing. Many fundamental vocal expressive devices, including portamento, have been lost in “modern” and “historically-informed” (HIP) singing and violin playing. My thesis aims to (1) understand the historical appropriateness of portamento in Schubert’s violin music and how different types of portamento work, (2) examine why the technique was lost, and (3) explore ways of reigniting it in today's musical aesthetic. I first analysed relevant written sources and early vocal and violin recordings, finding clear evidence of frequent and varied vocal and violin portamento use, clear links in portamento use between early-recorded singing and violin playing, and consistency between early-recorded portamenti and written sources from Schubert’s time. To understand why portamento was lost, I examined the wider phenomenon of style change in the 20th century and found that both recording technology and general 20th-century aesthetic changes encouraged “cleanness” and “repeatability” in music, thereby eradicating spontaneous and unique expressive devices like portamento. Finally, I researched innate emotional responses to music and portamento’s importance as an engaging communicative tool, and undertook my own artistic experimentation in early-19th-century music, collaborating with and surveying leading vocal and string 19th-century HIP practitioners to explore ways of making portamento expressive and relevant to modern musical practice and appreciation.

Exploring the sound of the parking garage in the building where I live, using cheap Casio electric keyboards, low end melodicas and a recorder. All instruments, electronic or not, have been played live in the garage as if they were purely acoustic instruments, making this an artistic exposition exclusively, intended to make people consider and reflect upon what can be done with humble instruments in the right sonic environment. Videos shot with an iPhone 5. No overdubs, mix, mastering or other tampering with the actual sound.

RAPP Lab was a three-year EU-funded research project supported by the ERASMUS+ programme "Strategic Partnerships". RAPP stands for "Reflection based Artistic Professional Practice". The project took forward through a series of multi-national encounters described as Labs. RAPP Lab explored how the reflective methodologies of Artistic Research empower musicians to creatively respond to the economic-cultural environment with which they are confronted. The project brought together the Artistic Research expertise of seven partner institutions in six different European states: Association Européenne des Conservatoires – AEC Bruxelles, Belgium Conservatorio di Musica Santa Cecilia Rome, Italy Eesti Muusika- ja Teatriakadeemia Tallinn, Estonia Hochschule für Musik und Tanz Köln, Cologne, Germany (as Coordinator) mdw – Universität für Musik und darstellende Kunst Wien, Vienna, Austria Norges musikhøgskole, NMH Oslo, Norway Orpheus Instituut Ghent, Belgium