Expanding horizons – Improvisational explorations of 20th-century classical music
(2025)
author(s): Peter Knudsen
published in: Norwegian University of Science and Technology
"Expanding horizons" is an Artistic research project carried out between 2021 (August) and 2024 (November) at NTNU, Trondheim. The objectives were to contribute to knowledge on how different kinds of departure points can be useful for musicians when approaching 20th-century Western classical music through improvisation, an understanding of how one can navigate and negotiate the musical language of this repertoire, and insights into how the tension between different performance values can be navigated in this process.
The research questions were: When applying improvisation to works of 20th-century classical music, 1. What role does the choice and preparation of musical representations play? 2. How can we navigate and negotiate musical structures such as melody, harmony and form? 3. How can we navigate the tension between fidelity to the work and creative expression?
Based on selected pieces from this repertoire and practical explorations together with participating musicians, various approaches to creating improvisational frameworks were then explored. These included a wide range of scores, including lead sheets and indeterminate notation, as well as ear-based methods. From the perspective of integrating improvisation into the performances, approaches such as repeating elements, working with layers, creating transitions, and introducing open sections were examined. A key point was to use melodic material as a way of building strong connections with the source material, rather than relying on harmonic representations of the music. In terms of balancing respect for the original work with creative freedom, a “healthy dose of disrespect” pervaded much of the explorations, allowing deviations from the originals when they were musically justified. Throughout the work processes, an idea of focal points emerged, as aspects to focus on when reworking a classical work into an improvisational version. These focal points included the score, historical and performative contexts, expressive qualities, and the improviser’s personal voice.
Playing Future Narratives
(2025)
author(s): Futuring Together
published in: Norwegian University of Science and Technology
By experimenting with the use of artificial intelligence and collaborative storytelling in public engagement with sustainability challenges, the Futuring Together group, through an interactive installation "Playing Future Narratives" at Artistic Research Week 2024 (22nd - 27th October 2024) at the Norwegian University of Science and Technology, explored how AI-enhanced collaborative narrative creation augmented with a visual essay could facilitate understanding of energy transition futures in Trondheim, Norway.
The installation utilized ScenSyn, a multiplayer interactive storytelling system combining AI-assisted narrative generation with human creativity, together with a visual essay highlighting the complexities and contradictions inherent in the energy transition.
The project provided an opportunity to test how AI-enhanced collaborative storytelling might offer unique opportunities for exploring complex societal transitions and raised important questions about the role of artificial intelligence in creative processes and public discourse.
L'eco dal popolo
(2025)
author(s): Francesca Campo
published in: KC Research Portal
Name: Francesca Campo
Main Subject: Master Classic Harp
Name of Research Supervisor: Andrew Wright
Title of Research: L'eco dal popolo: Exploring 19th-Century Southern Italian Musical Tradition
Research Question: How can music and musical tradition in Sicily be used nowadays to present the identity of the Sicilian people through a harp concert?
Summary of the Results of the Research:
Sicily, a land shaped by diverse influences due to its geographical position, has a rich but often overlooked musical tradition. This research explores the role of the harp in narrating the cultural and musical identity of Southern Italy in the 19th century. Through historical analysis and experimental methods, I have revived forgotten harp works and transcribed compositions originally written for other instruments or orchestras, giving a voice to composers who expressed the emotions and struggles of their time.
Structured as a journey with defined stages, the research begins with an exploration of the historical context and the "Hymn of Sicily," which lays the foundation for understanding the island's musical heritage. The route then leads to the evocative "Sicilian Vespers," highlighting the region’s strong sense of identity. The journey continues in Naples, the historical capital, where urban musical dynamics come to the forefront. In Palermo, the intricate interplay between the musical traditions of Naples and Sicily is explored, revealing the cross-cultural influences that shaped the region. Finally, Sikelia concludes the journey by showing how something new can be created from past inspirations, demonstrating how music helps express the cultural richness of this land.
The results highlight how music—particularly through the harp—serves as a powerful means of preserving heritage and defining cultural identity. The research not only revives the voices of the past but also demonstrates the ongoing relevance of tradition in contemporary music, culminating in a unique composition born from the research's development and collaboration with the Composition Department of Palermo.
Biography:
Francesca Campo is a harpist and music researcher who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Born to Castelvetranese parents and raised in Verona, she has always navigated between Northern and Southern identities, developing a deep connection with Sicilian culture. After earning her Bachelor's degree in Harp in Italy, she continued her studies at the Royal Conservatory of The Hague. She is a harpist who blends tradition and innovation, exploring the musical roots of Sicily, her homeland. Her research focuses on 19th-century Southern Italian folk music, rediscovering forgotten composers and highlighting music as a powerful expression of identity and culture.
Seeing Each Other Through Music
(2025)
author(s): Ron Aviv
published in: KC Research Portal
Musical performance is not only an aesthetic endeavour, but also a captivating social environment. Hence, this research utilizes principles from social communication theory, mainly through Communicating (Berko et al., 2016), to explore new ways of highlighting and enhancing connections with and among music audiences. A starting point for this study is that most concerts nowadays are built in a similar style to public speaking but use some anachronistic views and inefficient communication methods, thus missing opportunities to convey a message more directly and achieve greater impact. Through literature study and practical experimentation, I will review and test the influence of different factors from interpersonal-communication style – elements that have not been documented and researched enough in this context. These include, among others, performer-audience eye contact, synchronized activity (based on entitativity studies), and vulnerability and openness. The experimental process will be limited to my own artistic practice as a classically trained pianist and free-improviser, and this focus is present in the gathered literature as well. As a qualitative study, the data analyzed is assembled from observations, feedback, and reflection. Results demonstrate how different social and communicational tools create varying levels of engagement, and how challenging the normative role of the listeners can create a more demanding experience yet with more fulfilling outcomes. A performance that really involves the audience enriches everyone, and I hope this paper can inspire new ideas for musicians and artists of any kind to explore this topic further, and to communicate better with the human environment around them.
𝘎𝘦𝘪𝘴𝘵𝘣𝘶𝘴𝘵𝘦𝘳𝘴: The Search for Liberty in Authenticity Through Franz Liszt's Interpretation of Beethoven's music
(2025)
author(s): Aruth Masrangsan
published in: KC Research Portal
This work explores the balance between tradition and innovation in classical music performance, focusing on Franz Liszt's interpretation of Beethoven's music and the concept of Geist (spirit). It traces Liszt's evolution from his early studies with Carl Czerny, a direct pupil of Beethoven, through his virtuosic performance years, to his later focus on preserving Beethoven's legacy as a teacher. Drawing on sources from musicians and scholars, the study examines the philosophical and practical challenges of authenticity, highlighting the tension between historical accuracy and artistic expression. It argues that authenticity should not rigidly reproduce the past but should capture the spirit of the music in a way that resonates with contemporary audiences. Ultimately, the study advocates for a balanced approach, honoring historical sources while allowing for personal creative interpretation. By examining Liszt's legacy, this work aims to inform and inspire my own performance practices, blending historical performance studies with personal expression.
A teatro dai Secco Suardo
(2025)
author(s): Irene Luraschi
published in: KC Research Portal
In Bergamo, a small city in Northern Italy, in 1687 a new theatre was opened: the Teatro Secco Suardo, the only example of “teatro impresariale” that existed in this city. Its story is full of interest and allows us to observe a glimpse of the musical and cultural life of a provincial city in the period of Venetian domination and the resulting cultural influence. For this reason, I felt the need to narrate the story of this place in my own way, trying to combine the historical narration of facts and the discovery of music that was brought to life in our theatre. The play I wrote includes both real and fictional characters and develops following the path of historical facts but with some dramatic escamotages. The music plays two different roles, on one side accompanying the story as a sort of comment, and on the other, showing a glimpse of the "behind the scenes" of the work of the musicians. All the music is extracted and selected from the five operas that took place in the Teatro by Domenico Gabrielli, Marcantonio Ziani, Antonio Sartorio and Francesco Ballarotti, all composers of the Venetian area. The aim and the message of the play is to show the sometimes difficult attempts of people to bring cultural initiatives and spaces in smaller and provincial cities. And I hope that my play will be an example of this drive toward cultural vibrancy, with a future performance by the connection with local theatre groups.
