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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Variation II (2021) Erika Matsunami
- Post-contemporary art for the Joint Artistic Research: Performance in the site-specific and spatial installation (in the real space), that will consist of the conjunction between gaps of the different artistic fields, mediums, and techniques, and their materiality and dynamics. - The artistic approach of the Joint Artistic Research through the Intersubjective connections in different artistic fields and their gaps: Social relationship and as well as economy and social system immediate within the digital society after the corona pandemic, that suggests exploring the transformations, which are new imaginaries, and which aims in the Joint Artistic Research towards the underpinning of contemporary social space. - Problem of the cross-disciplinary artistic research: A problem in a collective artistic research is contextualism and relativism in different artistic disciplines, that might be impossible to explore a new artistic dynamic technically. Another problem is functionalism, especially which refers to multiple realizability in a cross-disciplinary artistic research collectivity. - Solution of the cross-disciplinary artistic problems: For example, in a collaboration with a composer and conductor Valerio Sannicandro in which research subjects of decentralization, and sonic and visual space(s). The gaps between visual arts and music (composition): What are the specific creativity in each artistic field and the individual artistic characters? How can we work dynamically? Therefore, we need to explore the new artistic method for the conjunction from the wide perspectives in each artistic field, that is the aim of the Joint Artistic Research "Variation II". In the case of Karlheinz Stockhausen, he explored "Lautsprecher Musik", it was a starting point of musical automatization, however, it was a new music method of monophonic and polyphonic, heterophonic texture and homophonic texture, and so on for a multi-layered sonic space and time in a concert space, was neither music nor symphonic orchestra. It was rather something new sound and sonic texture as a new music composition in post-war. In the real space (environment), we can de- and reconstruct and transform "spatialization" into the multi-layered phonic texture as the musical and sonic expressions very simply. On the topic of spontaneous, there are many possibilities and opportunities for combining diverse artistic layers and actions, such as by humans (performers or participatory way of randomness or interactive way) and/or by nature. Thereby the communication means very widely. ...
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Meetings with Remarkable and Unremarkable Trees (2021) Annette Arlander
This exposition serves as an archive for the project "Meetings with Remarkable and Unremarkable Trees", where Annette Arlander spends time with specific trees and poses for camera together with them. The exposition is under construction
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Performance and Pedagogy Working Group (2021) Adelheid Mers, Rumen Rachev
This site will support the working group's online workshops, in June and July 2021. The new Performance Studies international (PSi) working group Performance & Pedagogy (P&P) offers a forum for sharpening questions and workshopping models that arise from the PSi membership. P&P opens conversations spanning embodied being, doing and knowing across multiple dimensions of pedagogy, such as learning, teaching, and institutional contexts of delivery. Our goal is to discover and expand on urgent topics in dialogue with PSi membership across positionalities. This working group can serve as one support system through which to assess existing and imagine new topologies of P&P practices and methods.
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recent publications >

A Study on Ornamentation and Expression in French vocal Music (1650-1750) (2021) Kitty Lai
This study aims to understand and learn about the historical performance practice in the 17th century. As an early music singer, I am attracted to the sweet and charming 17th-century French vocal music. In particular, I am interested in the relationship between French ornamentation and expression. This research investigates the background of 17th-century performance practice in France in relation to the ornamentation, the pronunciation of 17th-century French, the different types of ornaments and the expression implied by the ornaments. The performance practice in the 17th century was different from now since it was undergoing a major change from polyphonic to solo music, which emphasised more the text than the music. The knowledge of ornamentation was an expected requirement for all well-trained singers in the 17th century, ornamentation was not merely a decoration, but a tool in emphasizing the importance of the text. Thus, it is necessary to learn ornamentation for a complete 17th-century French vocal performance. Since text was the main element in 17th-century French vocal music, it is important to know the characteristics of French language in this period. The ability to distinguish French long and short syllables was important because ornamentation could only be applied mostly to long syllables. The pronunciation of certain French vowels has undergone a significant alteration, and the ‘old’ way of pronouncing them is included in the study. The research findings also show that some ornaments were meant to be used only in certain expression and they help me to better ‘compose’ French ornamentation in future performances.
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Intabulation as process and practice (Master thesis) (2021) Asako Ueda
Research Title: Intabulation as process and practice Research questions: When it comes to the manifold surviving solo lute intabulations from around 1500, where is the line between "unwritten" and "written" intabulation? Intabulating involves the writing out of several parts into tablature, but does this twofold distinction really apply to all pieces? What was the process of appropriation of vocal polyphony for a lutenist of the early 16th century? How can we apply this to our own processes? Abstract: Intabulation refers to the arrangement of vocal pieces for what Johannes Tinctoris refers to as a “perfect instrument”, amongst which he counts such instruments as keyboards and the lute – and it implies writing out the parts of a polyphonic composition into tablature. However, after playing many surviving intabulations for several years, I had a strong feeling that there must be an “unwritten” solo lute intabulation practice behind the “written” intabulations from the beginning of the 16th century, in contrast to the more “composed” intabulations from the time after the mid-16th century. While surviving sources provide us with much information on what lutenists played, they also hide the “unwritten” practice which they did not record. We can only imagine what was happening. In this thesis, I investigate the process of intabulation by lute players from this time by analysing and comparing different versions of the same song from different sources. Through this research, I trace the transition of the changing style of intabulation, which is in turn related to the transition of lute technique from plectrum to finger-plucked and the change in style of the vocal models. Moreover, the diffusion of printed music changed the manner of the transmission of music. To conclude, I hypothesise that lute players might have listened to and copied each other’s intabulations unconsciously, and when they wanted to preserve their work, they might have made some adjustments to their intabulations. The study also suggests how to apply these ideas to actual intabulation practice, which will be presented in the Research Symposium online as a video format. Biography: The Japanese lutenist Asako Ueda studied the lute at the Royal Conservatory of The Hague with Mike Fentross and Joachim Held and completed her Bachelor's with the highest achievable mark, which gives her the opportunity to continue to the Master’s program with the Excellence Scholarship of the Royal Conservatory of the Hague. She won first prize at the Biagio Marini Competition and third prize at the International Van Wassenaer Competition. She started playing the violin at the age of five. After finishing her Bachelor’s degree with the violin in Tokyo, she continued to study the Baroque violin and composition.
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Batterie & Baroque Guitars (2021) Matthew Xie
The objective of my proposal is to educate aspiring professionals and students of baroque guitar on the history and development of the instrument and the strumming style in France
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