Research Catalogue

an international database for artistic research

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  Music-in-Becoming: Close Attention! (2022) author(s): Edvin Østergaard published in: Research Catalogue
  This exposition is published as part of Edvin Østergaard, ‘Music-in-Becoming’, in "Practices of Phenomenological and Artistic Research", (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], ISSN 1913-4711. See here: https://journals.library.ualberta.ca/pandpr/index.php/pandpr/index
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• Sounding Philosophy (last edited: 2024) author(s): DÁNIEL PÉTER BIRÓ, Halvorsen Erik Håkon This exposition is in progress and its share status is: visible to all.
  Sounding Philosophy Grieg Academy Composition Research Group Research Group Leader: Dániel Péter Biró This project integrates the fields of music composition, philosophy and science to understand how theories of reason and the mind can be approached from creative, metaphysical and scientific perspectives. This project will build on research-creation initiated by a Guggenheim Fellowship in 2017-2018, presentations at the interdisciplinary annual conference of the Swiss Philosophical Society in September 2018 and discussions undertaken in the context of the Grieg Academy Composition Research Group in 2019-2020.
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  The Dim Lit Subterranea of the Ancient Mind: the influence of place in ‘inspired’ composition, and the search for 'Ur' sound. (last edited: 2020) author(s): Jonathan Day This exposition is in progress and its share status is: visible to all.
  This interdisciplinary research progresses aspects of musical composition, musicology and organology though the application of specific recent developments within philosophy and physics. There are two contingent ‘expeditions’–articulated constellations constructed of a suite of compositions (released as a musical album), exegetical writing and performances. Atlantic Drifter investigates and evidences interactions developing from the implications of Object Orientated Ontology, (Harman, Bogost et al) for composition. OOO identifies the independent cosmopoesis of non human objects–the manner in which objects-with-agency declare the nature of their ‘world’ through artefacts. It calls the interaction of object worlds ‘encounters’. This research interrogates and transcribes a series of these encounters, experienced in locations internationally. It explores and reveals the agency of place, Genius Loci–air, water, stone, architecture interacting with the composer/philosopher. The research resulted in new music released through Proper Records. A chapter in Music, Myths and Realities (2017) offers a detailed exegesis of the theoretical advances facilitated by the creative work. The works and ideas were shared by invitation as concerts and keynote lectures at prestigious venues internationally. The second expedition, A Spirit Library, develops from this and examines the ‘encounter’ with the physical presence and agency of sound itself. Schopenhauer’s exposition of music as Will was revisited though the lens of String Theory and aspects of Steven Hawking’s ideas about universal futures. The work explored the sound/human/instrument ‘encounter’, resulting in novel engagements with the cosmopoesis of sound. It allowed an extension into organology, where the generative influence of ‘Ur’ sound was applied to the construction of instruments, offering a novel understanding, shared in a streamed Keynote lecture, available online. The work was performed by invitation at high status venues and on radio internationally. The music was positively reviewed, including selection as Album of the Year 2019 by Folk Radio UK.
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  New Artistic Possibilities with The Max Maestro - An Animated Music Notation System for Non-Professional Performers (last edited: 2016) author(s): Anders Lind This exposition is in progress and its share status is: visible to all.
  The Max Maestro – an animated music notation system was developed by the author to enable the exploration of new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, to enable groups/crowds of non-professional performers regardless of musical background to perform fixed music compositions written in multiple individual parts. Furthermore, The Max Maestro was developed to facilitate concert hall performances where non-professional performers could be synchronised and perform along with an electronic music part and/or a professional chamber/symphony orchestra. This exposition presents the background, the content and the artistic ideas and possibilities with The Max Maestro System and looks at three live concert hall performances where The Max Maestro was implemented. An artistic research approach with a qualitative methodology was adopted for the study. Empirical data from the three performances were analysed through the lens of the author as a composer. This exposition contributes with new knowledge to the field of animated music notation and how to facilitate performances including non-professional performers in a contemporary art music context.
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