recent activity
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Sense and Sensibility, performing music by Carl Philipp Emanuel Bach
(last edited: 18/08/2017)
author(s): Ingrid Eriksen Hagen
connected to: Norwegian Artistic Research Programme
This exposition is in progress.
Engaging in the complex and expressive music of Bach; on the clavichord, which is as intense and nuanced as it is delicate and soft in volume; aspiring to a musical empathy in which the performer and the listener jointly experience the true content and emotion of the music – spurs a craving for closeness and intimacy.
But how close can we get? How close do we want to get?
Close enough to hear the instrument. Close enough to understand what the music is telling us – to follow all the wonderful diversions – in close up. Deepest sincerity. Tender caresses. The rush of joy. The thought that could not be – could… be… – …
But then the floor creaks. Someone turns round. I can’t hear it. Why is she playing so faintly? I don’t understand it. All those notes. So full on the whole time! So, who was that guy anyway – he lived a long time ago, right?
These are the reflections in Ingrid E. Hagen’s research fellowship project. Based on my personal encounters with the music of Emanuel Bach (1714-1788), I worked on public mediation of his music. I have explored the tension that exists between intimacy and distance – and have experimented with different means of achieving that intimacy, and registered the resulting resistance to these experiments.
My artistic method has been a reflexive process in which questions are addressed in experiments, articulated in a dialogue with the study material, be it musical, literary or artistic experience, in a constant quest for intimacy; for getting closer.
My research fellowship was undertaken at the Grieg Academy, Institute of Music, under the Norwegian Artistic Research Programme and was funded by the University of Bergen.
My supervisors were Professor Torleif Torgersen of the Grieg Academy, and Professor Maria Bania of the University College of Theatre and Music, University of Gothenburg, Sweden.
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Invitation
(last edited: 17/08/2017)
author(s): Katarina Eismann
This exposition is in progress.
A draft to be continued,
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Performing with Plants - Att sam-agera med växter
(last edited: 17/08/2017)
author(s): Annette Arlander
This exposition is in progress.
EN
This exposition documents and archives the artistic research project performing with plants.
SVE
Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att sam-agera med växter.
Recent Publications list view
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Body movement awareness as a path to expression in violin playing
(2017)
author(s): Sara Balasch Lozano
published in: Research Catalogue
When playing the violin my goal has always been to communicate and emotionally move my audience. I saw this as an important role as a musician in general, but it was also important for me as a human being. From the first moment I began thinking about my Masters research, I was aware that I would spend hours of practise on the violin and likely read many books. I really wanted to work on something that I was passionate about. I have always been interested in body movement. I love violinists who move easily on stage and I have always been curious about how they connect so well between their body and the instrument. I wished to have the same freedom in my own movement when playing. Violinists such as Janine Jansen and Pinchas Zuckermann were always a great inspiration for me. They were so full of power and emotion in both their musical and physical expression while playing. I felt that this kind of physical expression wasn’t my strongest point as a violinist when I started my research process. Sometimes I felt stiffness in my muscles while playing. On other occasions I had the feeling of not being able to transmit the emotions of the piece to the audience in its totality because I was having blocked or stiff movements. I also felt that my sound was affected by this stiffness. For these reasons I wished to examine the effect that body movement has on my playing. I also wished to explore how I could help my violin sound and musical phrasing through awareness of my motion.
I wanted to connect more with my audience as a musician and as a person and I wished to do it through movement, but how could I connect these two subjects? Further, how could movement and physical awareness affect my violin playing? I started asking others such as teachers and musical peers about methods and ways to expand my range of movement and how to connect it with expressivity. It was a complicated topic and difficult to define what I needed. My research coach, Nicole Jordan suggested that I contact some experts in movement analysis such Annemieke Wijers from the dance and health department of Codarts. I needed a place to begin research into movement and expression. During the talk with Annemieke I was told about Laban Movement Analysis and it became the starting point of my research.
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Fast Notes!
(2015)
author(s): Wouter Verschuren
published in: KC Research Portal
The purpose of this research is to investigate the different ways of articulating fast passagework on the dulcian in repertoire spanning the period ca.1550 until ca.1700. Prior to 1787, when Etienne Ozi published his first edition of the Nouvelle Methode de Basson, there are no sources known that specifically discuss articulation or (double) tonguing on bass double reed instruments. When we perform music from this era, we are in the dark as how to articulate highly virtuosic passages. What is preferable: Two-by-two slurring? Slurs over more notes, or maybe the use of some kind of double tongue-stroke?
During this research I will focus on primary sources that deal with articulation on various non-reed wind instruments of the period in question, such as the recorder, the cornetto and the trumpet. By studying the indications and recommendations given by masters of the past we can deduce their musical intensions. When we accept these authors as our guides, they may be able to help us imagining what articulation on a double-reed instrument could sound like. The moment we envision this concept, we can start to translate their instructions into articulation on reed instruments.
The output is threefold:
1. A paper describing the different ways on how to articulate fast passagework on the dulcian and on the bassoon in a way that matches the souplesse and speed of non-reed instruments.
2. Two compositions written for the dulcian, with added articulation-markings by the author.
3. Video examples clarifying some musical examples.
With this project I hope to shed light on practical issues of the performance of highly virtuosic repertoire for dulcian and bassoon from the sixteenth and seventeenth century.
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From Phrase to Phrasing - a Classical Perspective
(2015)
author(s): Jan Willem Nelleke
published in: KC Research Portal
This paper explores the structure and performance of musical phrases according to sources from the second half of the eigtheenth century.
As phrasing is such an essential part of music making it seems curious that there is not much written about it and its application usually taken for granted. This paper wants to address this from the assumption that a better understanding of structure (phrases) will enrich delivery in performance (phrasing). It is written from the viewpoint of a performer with a focus on the practical application of theory.
Subjects include repose-moments, cadences, phrase-rhythm, punctuation, notation, skills in phrasing, breathing, and observations on Classical phrase structures and proportions in general.
Case studies are provided to demonstrate and test the theory on practical use and extend into less obvious areas like writing song intro's and cadenzas.
artists using the research catalogue
Julius EloFinland (citizenship)
Carla SwertsBelgium, Turkey (residence), Belgium (citizenship)
Elisavet KalpaxiUnited Kingdom (residence), Greece (citizenship)
all artists
