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• Eisenhower on Drums (last edited: 2019) author(s): Mathias Holm This exposition is in progress.
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  Wolfe & Libertad May 10 (last edited: 2019) author(s): Laisvie Andrea Ochoa Gaevska This exposition is in progress.
  Wolfe and Libertad is a practice-led research project that combines choreographic and cinematographic ways of working with the aim to locate female potency from a wolves-inspired bodily state. Therefore, one strand of the project refers to develop a unique type of dramaturgy from the kinetic interplay between live and mediated elements; and the other addresses the female topic using the metaphor of the wolf.
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  This Is a Human Being (last edited: 2019) author(s): Hilde Kramer connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress.
  "What role can illustration play in a complex and visually overloaded society?" The first part asks the question of how sensitive content may be conveyed in our time. The question is linked to searching for ways of commemorating the children who died during the Holocaust. As part of a workshop drawing process, information is unfolded about children whose existence was previously documented only by the ghetto archives and the deportation lists made by the Nazi-German administration of Litzmannstadt ghetto. The methodology has been developed though workshops. In the final step of part I, the project investigates how the material may be developed to a book/archive.
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  Addressing the Mapping Problem in Sonic Information Design through Embodied Image Schemata, Conceptual Metaphors, and Conceptual Blending (2019) author(s): Stephen Roddy published in: Journal of Sonic Studies
  This article explores the mapping problem in parameter mapping sonification: the problem of how to map data to sound in a way that conveys meaning to the listener. We contend that this problem can be addressed by considering the implied conceptual framing of data–to–sound mapping strategies with a particular focus on how such frameworks may be informed by embodied cognition research and theories of conceptual metaphor. To this end, we discuss two examples of data-driven musical pieces which are informed by models from embodied cognition, followed by a more detailed case study of a sonic information design mapping strategy for a large-scale Internet of Things (IoT) network.
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  Percussion Theatre: a body in between (2019) author(s): Jennifer Torrence published in: Norwegian Academy of Music
  What does the musician become when sound and instrumental thinking are no longer privileged as the foundation of a musician's practice? In what ways does an emphasis on the musician's body cause music to approach art forms such as theatre and performance? After a generation of pioneering work from Mauricio Kagel, Dieter Schnebel, John Cage and many others, where is the theatrical and the performative in music today? How do its recent developments shape, alter, constitute a musician's artistic practice? Through her research, Jennifer Torrence argues that this type of music demands the musician assume a different understanding and relation to their instrument and therefore a different relation to their body. This relation calls for new ways of making and doing (new artistic practices) that foreground the body as a fundamental performance material. Through an emphasis on the body, the musician emerges as a performer. This exposition is a reflection on the research project Percussion Theatre: a body in between. This project is comprised of a collection of new evening-length works that approach the theatrical and performative in contemporary music performance. These works are created with and by composers Wojtek Blecharz, Carolyn Chen, Neo Hülcker, Johan Jutterström, Trond Reinholdtsen, François Sarhan, and Peter Swendsen. The exposition contains reflections on recent developments in contemporary music that mark a mutation of the executing musician into a co-creating performer, as well as images, artefacts, videos, and texts that unfold the process of creating and performing the work that constitutes this project. The ambition of this exposition is that through the exposure of a personal artistic practice an image of a larger field may come into focus.
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• Towards an integrated method for practicing: internalizing the composer’s language. (2019) author(s): Pim Witvrouw published in: KC Research Portal
  Name Pim Witvrouw Main Subject Music Theory Supervisors Paul Scheepers / David Kuijken Title of Research Towards an integrated method for practicing: internalizing the composer’s language Research Question In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes? Summary of Results Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. Biography Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.
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Sepideh Karami
Sweden (residence), Iran, Sweden (citizenship)

Silje Marie Aker Johnsen

Tuomas H Laitinen
Finland

Jonas Howden Sjøvaag
Norway (residence)

Birgitte Oppegaard Pollen
Norway (residence)

Ives Maes
Belgium

Simona Koch
Austria, Germany (residence), Germany (citizenship)

Avery Gosfield
Italy (residence), United States (citizenship)

Tomi Herseta Bayu Sukma
Netherlands (residence), Indonesia (citizenship)