Research Catalogue

This research is rooted in nihilism, exploring how the contrast between materiality and spirituality leads to an uncomfortable way of percieving existence. What does it mean to be unable to believe in "what's beyond"? What role does the body play in such an issue? The starting point is a deeply philosophical debate. Through art and numerous attempts it tries to unravel itself.

With the rediscovery of the cornetto at the beginning of the Early Music movement in the 20th century, the first players solved the technical difficulties of this instrument in very different ways, resulting in a great diversity of techniques today. During my bachelor studies with the cornetto, I discovered and learned the Alexander Method with individual and group lessons. For this master's studies, I actively researched how to connect the Alexander principles of inhibition and direction with my cornetto playing. I did a case study with myself, exploring at the practice room to find the desired sound result by applying the Alexandrian principles. I continuously documented the process with notes after each AT and cornetto lesson, and during my daily practice, to observe how this connection affects my development as a player. A part of the research has been the understanding and description of the Alexander Method to share this knowledge with other cornetto players, as I have found that this technique is unknown among most cornetto students and teachers. Learning to play a musical instrument is never easy, but knowing a little better about how the human body works, understanding the body and mind as a unity, and learning to use it in a more efficient and coordinated way has made playing the cornetto much easier for me, obtaining full body resonance, achieving comfort while playing, expanding artistic possibilities, and preventing injuries and body pain.

In today’s age of information overload, it is all too easy to become constantly overstimulated. As both a composer and an improviser, I have found a new source of inspiration by exploring minimalism—especially Holy Minimalism—using simple materials, embracing a slower creative process, and diving into the music of Estonian composer Arvo Pärt. The introspective elements, structure and usage of space and silence in this music guided me towards a journey that has helped me reconnect with music in a profound way. Drawing from the composers of the ECM Record Label's New Series who specifically connect a certain image and sound, this thesis examines selected works by Arvo Pärt, whose Tabula Rasa was the starting point for the New Series. This research is to unpack the ideas behind these compositions, explore the thought processes involved, and discuss the underlying philosophies with external concepts that I find highly inspiring, all in search of fresh perspectives. As more artists turn toward simplicity, I believe that looking at this music and the philosophies behind it through both an improvisers and a composers lens can open up exciting new pathways for inspiration.

Table of contents JSS issues

Home page of the Journal of Sonic Studies

The artistic works discussed in this article – two audio pieces and three experimental films – showcase a tangible connection with the tools, machines, and processes used in their making. The sonic works include Mes bronches by Henri Chopin and “Opus Putesco” by Jacob Kirkegaard. The films feature Noisy Licking, Dribbling & Spitting by Vicky Smith, Transit(ive) by Sarah Bliss, and a Darkness Swallowed by Betzy Bromberg, including a soundtrack by Pam Aronoff. The five case studies depict the technologically mediated human body as the source and basis of sound. This article aims to examine the complex relationship between materiality and hapticity. The theoretical approach will explore how performativity is embedded in the production of embodied sounds (and images) and why a dynamic view of materiality is essential. It will then discuss haptic vision and haptic listening, shifting the focus to the act of reception. As I will argue, engaging with the material through embodied forms of art production and reception has significant ethical and political implications.