The musical environment of the duet Zurna-Davul to Laouto
(2025)
author(s): Asterios Varveris
published in: Codarts
This research is about the implementation of elements derived by the musical environment of the
Zurna-Davul duet into a stringed instrument named Laouto.
Although, in Greece, Laouto is mainly used
for accompaniment roles close to violins, clarinets, singers and lyras, the potential and the possibilities of
this instrument seems to have changed given that enough musicians use it to perform even complicated
and demanding melodies. In any case, I am really glad that I dived in the process of revealing and
formulating the solo aspect of the Laouto in association with this distinct musical environment.
During this research, I experimented and tried to find ways to utilize elements of this duet on Laouto;
those elements were the Zurna phrasing, including ornaments, Davul phrasing, the songs’ structure and
rhythm flexibility - rhythm plasticity. Furthermore, practicing the idioms’ repertoire, playing, improvising as
well as composing over odd rhythms such as 7/8, 9/8 and 11/8 while using the above mentioned elements
was part of that research. As my main reference about this style and idiom I used recordings conducted
by the Ethnography process in the city of Naousa. Last but not least, in this musical environment dance constitutes an indivisible aspect.
Transcultural collaboration within the context of West African griot music: Exploring the role of the drummer and the case of the band Faso Kan
(2025)
author(s): Ossi Raippalinna
published in: Research Catalogue
The purpose of this text is to reflect on my experiences as an active member of a culturally diverse ensemble called Faso Kan. The primary source is the artistic work of Faso Kan during the years 2006-2020. The ensemble worked intensively during 2020-21, resulting in an album completed in September 2021. My main contribution to the album was adapting and arranging traditional West African rhythms for the drum kit and performing them in the studio. This study attends to cover different aspects of that process, particularly the drummer’s point of view. I will also cover the collaboration-based music-making approaches that I encountered while working with Faso Kan. Although Faso Kan´s repertoire consists mainly of traditional pieces from Burkina Faso, the working methods resulted in music representing several musical cultures. The study is primarily based on artistic work, but I will also reflect on the related experiences of other researchers and musicians.
Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm
(2025)
author(s): Vadim Keylin
published in: Journal of Sonic Studies
Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm
Manifesto
(2025)
author(s): Tereza Strmisková, Silvia Diveky
connected to: Janáček Academy of Performing Arts (JAMU)
published in: Research Catalogue
A project of three countries working with youngsters to bring an artivistic theatre to life.
On Sworld: Report and reflections on an artistic research into how audio can evoke human experiences of absence, ghosts and lost memories, explored through performance and composed walks
(2025)
author(s): Alexander Holm
published in: Rhythmic Music Conservatory, Copenhagen
Alexander Holm have been developing the artistic research project 'Sworld' on the APD program at RMC in Copenhagen 2021-2024. The project seeks to explore how simultaneous experience of sounds with- and without a visible cause can evoke human experiences of ghosts, absence and lost memories. The project researches and expands on composer and theorist Michel Chion's audio visual concept of Synch Points, examined through a versatile compositional praxis including choreography, text, voice, walks and live performance.
Gravity and Breathing as an Integrated Musical Frame
(2025)
author(s): Halym Kim
published in: Rhythmic Music Conservatory, Copenhagen
This artistic research explores a performance practice that integrates the phenomena of gravity and breathing as extensions of musical expression in improvisation. The aim is to develop a musical language that translates the qualities and characteristics of gravity and breath into sonic gestures, examining how they generate tension and release through both musical actions and silences.
The project draws inspiration from traditional Korean music and dance, in which an embodied awareness of gravity and breathing constitutes a foundational approach to performance and interpretation. These cultural references serve as a framework for rethinking musical practice and transcultural awareness. As part of the research process, I undertook studies in traditional Korean dance, the vocal tradition of Pansori, and the percussion instrument Soribuk to understand how gravity and breathing are communicated artistically, verbally, and methodologically across these three disciplines. Insights from this embodied practice were then translated into the context of Western contemporary improvisation.
The resulting concept is designed to enhance the performer’s awareness and is specifically conceived for a solo drum set context.
