Cecilia Arizti, an inspiration to grow
(2025)
author(s): Lisa Maria Blanco
published in: Codarts
This research focuses on the analysis of three piano works by Cecilia Arizti, a pioneering Cuban composer and pianist from the 19th century: Vals Lento Op. 8, Barcarola Op. 6, and Reverie Op. 16. Arizti, a highly respected musician of her era, demonstrated profound technical mastery and musical depth in her compositions. This study aims to explore the structural and harmonic intricacies of her music, with the goal of applying these insights to the development of my own compositions.
The investigation involves a detailed analysis of the melodies and harmonies present in the selected pieces, alongside an exploration of Arizti's compositional style. To deepen the understanding of her work, the research integrates information from multiple sources, including historical recordings, expert interviews, and scholarly literature. These materials provide essential context and support for the musical analysis, offering a comprehensive view of Arizti's artistic contributions.
The findings of this research culminated in the creation of three original compositions: Vals Cubano, Punto de Barcarola, and Habanera para Cecilia. These pieces, inspired by the case studies and musical experiments conducted throughout the project, reflect the stylistic elements of Arizti’s work while incorporating contemporary elements of my own compositional voice. Ultimately, this study highlights the enduring relevance of Cecilia Arizti's music and demonstrates how historical analysis can inform and inspire modern creative processes.
Forum Artistic Research Proceedings Demo
(2025)
author(s): Hanns Holger Rutz
published in: Research Catalogue
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The Sonic Atelier #8 – A Conversation with Rafiq Bhatia (and Son Lux)
(2025)
author(s): Francesca Guccione
published in: Research Catalogue
This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology.
This interview features Rafiq Bhatia, American guitarist, composer, and producer, and member of the experimental trio Son Lux. Bhatia’s work dissolves the boundaries between jazz, electronic, and contemporary classical music, exploring sound as a sculptural and spatial material. His practice embodies a deep integration of composition, production, and performance—where the studio becomes an instrument, and the act of shaping sound is inseparable from the act of composing.
In the conversation, Bhatia reflects on the interdependence between the roles of composer, performer, and producer, on the DAW as a generative and compositional environment, and on the emergence of sonic identity through timbre, space, and texture. He discusses collaboration within Son Lux, his process of scoring for film, and the relationship between abstraction and precision in communicating musical ideas to orchestras and ensembles.
Bhatia’s reflections reveal an artistic vision in which technology and human expression coexist symbiotically: music as a living, evolving ecosystem of gestures, resonances, and spaces—an art of listening, translation, and transformation.
Ybbs 4 Dimensionen
(2025)
author(s): Performatorium
published in: Research Catalogue
Performatorium has been following a performance in public space, which took place on the 21st September 2024 in the framework of ‘4 Dimensions Ybbs’.
Finurleg samspel i ulike konstellasjonar
(2025)
author(s): Tiril Eirunn Einarsdotter
published in: NMH Student Portal
Masterprosjekt for Tiril Eirunn Einarsdotter våren 2025
Sett fra et sted, utviklet fra et punkt
(2025)
author(s): Annika Borg
published in: VIS - Nordic Journal for Artistic Research
A dice roll is the very image of randomness. Every day since September 1, 1994, I have rolled a set of six dice, written down the number combinations and collected the numerical material in an ever-growing physical archive. The project is entitled "one and one hundred dice rolls a day". I use this numerical material as a starting point for transformations by translating each number, 1 to 6, into one sign, shape, sound or word, and by creating rules for how these translations will be used further. This method shapes the concrete outcomes and results in series or other forms of progressions and connections. What unites the different sub-projects that stem from the dice roll project is an exploration of the inherent nature of this special material and its potential for form, expression, and visibility, as well as a fascination with the diversity and variations generated, and with results I cannot fully predict. In this exposition, I will describe, make visible, and reflect on the working method, process, and the development of the formal language and expressions that have emerged from this ongoing, and in many ways interconnected, artistic project. The project is seen from a place (that of me, the artist's perspective) and is developed from a point (the dice rolls with dots representing numbers).
