Radical Interpretations of Iconic works for Percussion
(2024)
author(s): Kjell Tore Innervik
published in: Norwegian Academy of Music
The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works.
Participants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer Ståle Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg.
During the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure.
The cd [UTOPIAS ](http://www.2l.no/pages/album/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><-
On this site you will find other interpretations and iterations of the music made by the team.
"Accademia di Dame, Vienna 1697" by Susanne Abed-Navandi and Margit Legler
(2024)
author(s): Susanne Abed-Navandi
published in: Research Catalogue
The work presents selected parts of a women's academy in the form of a short film, which was originally performed once at the Viennese court in 1697. The video is the result of an interpretative approach based on the acting techniques of the period when this academy was created. The music harmonises with the movement, which, in turn, follows the affect of the text. The filmed scene was rehearsed by students, graduates and teachers of the Department of Early Music at the University of Music and Arts of the City of Vienna (MUK) as part of the course “Period Acting Techniques“ under the direction of Margit Legler. This work contributes to the visualisation and imaginability of this historical event, where five authors and singers presented speeches, poems and music they had composed themselves on a specific research question. In addition to the score of the selected parts, this publication includes a historical report on the creation of the academy, summarising the findings of a dissertation on music history dedicated to this event (Pumhösl 2014). It concludes with a personal reflection on how the performance of today's interpreters changes when they employ period acting techniques in speeches, recitatives and arias.
The Story of Method of Vienna (MoV) or exploring the epistemic idea of rethinking with a rediscovered concert format
(2024)
author(s): Susanne Abed-Navandi
published in: Research Catalogue
The following article presents the current status of the artistic research project Method of Vienna (MoV) and answers the questions:
How can I imagine the MoV initiative in detail?
Which methodological approach was chosen?
Which MoV events have been realized so far?
The presentation ends with a personal reflection after six years of commitment to Method of Vienna, in which current observations, conclusions and the future of the project are put up for discussion.
Are you colour deaf?
(2024)
author(s): Phoebe Rousochatzaki
published in: KC Research Portal
Originating from antiquity, the idea of associating colour with music has been researched extensively in recent decades. The terms for this phenomenon include crossmodal correspondences and synaesthesia (or chromaesthesia), both of which refer to associations our brain makes from stimuli that it perceives through different senses. Correspondence between sound and music, and light and colour, has been a scholarly topic for years—mostly from a scientific point of view.
This thesis aims to investigate different views on the subject, focusing on its artistic/aesthetic rather than neurobiological components. Music-colour correspondence was born from the need of philosophers to make sense of both music and the world. Linguistics has proven ambiguous when used to explain or make sense out of music, hence colour has been a very powerful replacement. It is possible to draw parallels between sound and light because of their similar ontological nature (vibration).
The goal of this thesis is to prove that such an association can enhance a classical music performance for the audience (as related to engagement) and for the performer (as related to analysis, artistic input). As a case study, Olivier Messiaen’s Theme and Variations is analysed in this rather unconventional colour-coded way.
Keywords: synaesthesia, chromaesthesia, crossmodal correspondences, Olivier Messiaen, colour and music.
Here I want to be - Wandering through poetic fieldnotes
(2024)
author(s): Amba Klapwijk
published in: KC Research Portal
In this research I explore how writing poetic fieldnotes relates to my (compositional) practice. I examine a method of repeatedly visiting the same locations, wherever I am at the time, and writing about and reflecting on those situations and places when I'm there. Through this process of exploring and returning I hope to wander into ideas, connections, or otherwise inspirations for my practice.
Ensemble & Ensemble of Me – What I Think About When I Think About Improvisation
(2024)
author(s): Ivar Grydeland
published in: Norwegian Academy of Music
This exposition is a copy of Ivar Grydeland's artistic research fellowship project (2011-2015) at The Norwegian Academy of Music, financed by The Norwegian Artistic Research Fellowship Programme. The exposition was redesigned within The Research Catalogue in 2024. The content is identical to the original documentation.
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Ensemble & Ensemble of Me is an artistic research fellowship project carried out at the Norwegian Academy of Music, as part of The Norwegian Artistic Research Fellowship Programme between 2011 and 2015. In this project I produced solo improvisations deriving from the music of two improvising ensembles to which I belong: Dans les arbres and Huntsville, and I produced collective improvisations with the ensembles.
The project’s key questions:
- What are my concepts when improvising with the ensembles and when improvising alone?
- How do the ensemble improvisations inform my solo improvisations?
- What do I think about when I think about our and my own improvisations?
The Haruki Murakami-paraphrase in the sub-heading indicates a process of on-going reflection upon what I regard as key aspects when I improvise. More specifically, what I regard as key aspects in the music of Dans les arbres and Huntsville, as well as for my own solo improvisations. These reflections reveal key aspects and main challenges that emerged during my attempts to create solo works informed by the ensembles. The reflections are chiefly documented in the form of a personal encyclopaedia. The encyclopaedia includes audio and visual examples, both from the final artistic results and from artistic activity during the project.
