Research Catalogue

an international database for artistic research

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  The Making of 'Commotion' (2023) author(s): Sara Pinheiro published in: Journal for Artistic Research
  “Commotion” is a fixed media multichannel composition that revolved around the principles of minimalist music. This exposition aims at understanding these principles while it tries to place the process of composing the piece within the common premises of artistic research. Due to the nature of its context, this approach includes also theories of reception - mostly by exploring themes such as intentionality, interpretation and representation. With this exposition, the author shares technical terminology of sound practices, in order to promote it in contexts predominantly visual-oriented.
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• 10.1 (2023) author(s): Levin Eric Zimmermann published in: Research Catalogue
  10.1 is a sound art installation and a sequence of daily performances over a lunar cycle resp. 30 days. It deals with questions about the relationship between art and life, the passing of time and its context in a wider discourse. INSTALLATION SETUP The installation view is located in a shop window in a small urban space. It consists of brown sheets of paper hanging from the ceiling of the space that are visible through the storefront windows. On the pages are printed the current lunar cycle, musical notations, text quotations, or quoted drawings. In the lower part of the display window are three instruments. Each of these instruments has three strings that are moved by electromagnets. The resulting sounds are picked up by guitar pickups and sent to tranducers attached to the shop windows so that passersby could hear the sounds through the vibrating window panes. PERFORMANCE SEQUENCE Every evening I went into the installation room to play a page of the score with my guitar. Each page lasted as long as the sunset lasted on that particular day in that particular place. My playing was not only accompanied by the magnetic string instruments, but initiated by them, as the instruments began to play as soon as the sun set, signaling me to join them. After the sun set, the instruments played a dedicated night light composition. These night light compositions were composed by me as a daily routine during this lunar cycle. They sounded throughout the night until dawn, when another composition would begin, signaling the transition to the silent daylight.
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  Performing Hanne Darboven's Opus 17a and long duration minimalist music (2019) author(s): Michael Duch published in: Norwegian Academy of Music
  Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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