The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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Music-in-Becoming: Close Attention! (2022) Edvin Østergaard
In this exposition, I present the compositions of "Ørenslyd" as an artistic-phenomenological research practice. More precisely, I will take you through seven of my considerations while composing the four pieces. I show these considerations as dwellings along my winding journey leading from idea to realization, imagined to realized sound, and personal to shared experience. All the four pieces of "Ørenslyd" are written for and performed by Tone E. Braaten (soprano), Emma Rydh (mezzo-soprano), Per Kristian Amundrød (tenor), and Håkon Thelin (double bass). The exposition is published as part of: Edvin Østergaard, ‘Music-in-Becoming’, in Practices of Phenomenological and Artistic Research, (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, Summer 2022], ISSN 1913-4711. See here: url{to be provided later by the journal}
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Teleportation and Transformation: approaching the 'impossible' through storytelling and technology (2022) Eirini Sourgiadaki
Throughout human history as we know it, there is a range of stories in the arts and the humanities that meet in variations, which shows an old widespread human desire: a wish for as much life as possible, for being immortal or for getting the ability to be everything and to be everywhere- This wish is opposed to the finite nature of the human existence and the knowing about this fact. It has been and can be approached by forms and tools of narration that engage imagination. For the investigation of the ways such practices signify an embodied experience in daily culture, I am approaching the use of language and especially metaphor and its application in therapeutic tools and trauma treatment methods. For this I am exploiting elements from the fields of hypnosis, meditation, neuroscience and lingusitics, along with storytelling patterns in mythology, religion, fairy tales and science fiction, My focus is not on language alone, but on possible combinations with the potentialities of artistic devices. Both, teleportation and transformation can be understood as a three-step processes compiled by: State 1 (before), the in-between moment (the shift) and State 2 (after). Although State 1 and State 2 (before and after teleportation/ transformation) will be respectively studied, a special focus will be given to the middle part of the process, the in-between moment, including time, space, the (technological) device as well as cultural aspects and possibilities. The in-between moment as a moment of trespassing is a point that not much focus has been given in artistic research till now, unlike State 1 and State 2; what exactly happens after Gregor Samsa sleeps as human and before he wakes up as an insect, or what happens right after Alice steps into the mirror and right before she enters Wonderland, what happens while Clark Kent is inside the phone booth (in Greek “thalamus”) are all invisible. The Greek word for the booth is “thalamus”, the same word used for that part of the brain where all senses end up, the relay station for sensory experiences. How to deal with the presence/absence of the body in terms of time and space during the in-between moment and how to stimulate imagination, memory and engage the senses towards the “impossible” using the means that consist a teleportation/transformation device? The aim of my fundamental research-oriented or knowledge-open (erkenntnisoffenen) PhD project is, to proceed without pre-defining the format of the outcome, but letting it evolve through and within the study, investigation and experimentation instead, working on the following groups of objectives and research questions: i. approaching the ‘impossible’, ii. devices, iii. language storytelling) & other media, iv. possible combinations / experiments. Methods used are: reading connected to the main terms, practicing hypnosis, meditation and relevant practices that use language and engage the body, public presentation(s) and interviews with three groups of peers. As peers I consider persons who experience alternative mind sets, indicatively children, people in love and people with schizophrenia. From the very beginning and to this point, the methodology and the format evolve along with the artistic research.
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Rogues (2022) Hanns Holger Rutz, Nayari Castillo-Rutz
A work-in-progress artistic research project. Initiated by Hanns Holger Rutz and Nayarí Castillo in autumn 2021, it will probably develop into a multiple intermedia object that involves collaboration between different artists. As of this writing, this exposition is very much in flux, trying to capture the meanderings of the process.
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Situating Personal Values in Artistic Practice: Towards a Reflective and Reflexive Framework (2022) Annick Odom
In what ways can a musician use reflexivity and reflection to situate her personal values in her artistic practice? To answer this question and put the results into practice, the author combined archival and digital research, interviews, and fieldwork. By combining new and found materials inspired by Appalachian folk music and the state of West Virginia, the connected auto-ethnographic case study is a reflective attempt of the author to engage critically with her personal values of empathy, inclusion, and equity in her artistic practice. Using the reflective lenses of the author’s autobiography as an artist, the audience’s reactions, fellow artists comments, and literature review, she was better able to reflexively see her own assumptions and missteps, better allowing her to situate her personal values within her artistic practice. Besides creating a reflective framework by which other artists could consider their own artistic practice, she also found that by taking on new roles outside that of the traditional classically trained performer, she had a greater agency to influence and understand performance elements such as design and form, materials, context, audience, and production process.
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Music, Meaning and Emotion (2022) Hannah Jefferies
Name: Hannah Jefferies Main Subject: Classical Flute Research Supervisors: Ines de Avena Braga, Research Question: How can elements and features from psychology and philosophy illustrate what is fundamental to our emotions, in what way can these concepts be represented within and expressed by the flute repertoire, and how can we incorporate and convey these understandings as performers to create music meaningfully and be of beneficence to others? Summary of Results: This research sets out to contrast and evaluate diverse standpoints from psychology and philosophy to discuss firstly how emotions can be defined, whether music creates real emotions in us, and what capacities we possess to be both receptive and conveying of emotion within music. During my discussion, I incorporate examples of excerpts from the flute repertoire, consider the harmonic language used and function of musical structures, and balance this against the resulting emotional response from us. This initial discussion is in support of a questionnaire which I conducted in order to gather results from respondents of their perceived emotional response and valence when presented with differing musical excerpts, both upon an initial and second listening. I aimed to gauge and qualify their reaction to musical traits which have been connected more strongly than others to specific emotional states, and additionally I was interested to find if there was a connection between memory of a piece of music, and emotional valence due to this familiarity. Finally, having demonstrated the emotive strength it is possible for music to hold, I investigate how as artists we can harness and emphasise certain functions of music to create performances which are highly engaging and positively affecting for listeners. Additionally, this research then leads us to an understanding of the impact of integrating the effects of emotion and music, and suggests how this combination can be beneficial and utilised in and for the wider society, namely in the field of music therapy. Biography: I am currently a second year masters student from the UK studying classical flute at the Koninklijk Conservatorium with Jeroen Bron and Dorine Schade, having recently completed my Bachelors degree at the Royal Northern College of Music in Manchester. During my studies I have been very lucky to have had the opportunity to perform as part of ensembles including Asko|Schönberg, New European Ensemble, European Youth Wind Orchestra, and Amadeus Orchestra Academy. Outside of performance, I greatly enjoy being part of outreach and community music; a highlight was working with the Manchester Camerata Orchestra, delivering music therapy to people with Dementia.
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Classic Expression: the effect of storytelling in a classical concert for children (2022) Vivian de Graaff
The traditional way of classical concerts – i.e. a concert of 1,5 hour, no moving or making sounds, no interaction – is not the way to attract children to classical music. There are different inviting ways to interest children in a classical performance, for example with interaction, participation or storytelling. In this research we investigate if storytelling has an effect on children’s enthusiasm for classical music and their likeability of playing an instrument themselves. Furthermore, we assess if there is a relation between musical interest, engagement and/or emotional intensity during the concert. We do this by comparing a story-condition with a technical information-condition, in which the presenter talks about the instruments or the performance location. It is executed in the Classic Express, a concert truck in which laureates of the Prinses Christina Concours, a Dutch competition for young musicians, perform and present classical music for primary school classes. Children answer questions before, directly after and one week after the concert about how much they like the music, if they want to experience it again and if they are interested in playing a musical instrument themselves. The results can support musicians wanting to give engaging performances to children, improve the quality of concerts for this target audience and raise likeability of classical music in young generations.
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