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.
Reaching for the utmost limits – Making a process visible with The Hands, the Bow, and the Bass
(2025)
author(s): Johannes Nästesjö
published in: Rhythmic Music Conservatory, Copenhagen
Can I, by reaching for the utmost limits on my instrument, in dynamically, technically and pitch related ways both find, for me, new contemporary techniques and expand the ways on how to play and perform them on the double bass?
Can I, by illuminating, documenting, studying, organizing and re-documenting my musical process, design a toolkit for improvising bassists with contemporary techniques?
Can I, in my musical process both act as the first person, i.e. the subjective musician and as the third person, i.e. the objective observer?
If so, can I, as the observer objectively observe and organize the ”discoveries” that I am doing in my daily work as first person.
Can I create this tool kit through the limitations that my instrument offers acoustically (the hand, the bow and the bass).
And can I through this immerse and widen my musical expressions? - A richer language - more elastic - with more colors.
