I HAVE THE MOON: aesthetics of contemporary classical music from a composer-performer band retreat.
(2024)
author(s): Samuel Penderbayne
published in: Research Catalogue
The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.
(Un-) settling Sites and Styles
(2021)
author(s): Einar Røttingen, Bente Elisabeth Finseraas
published in: Faculty of Fine Art, Music and Design, University of Bergen
(Un-)settling sites and styles: In search of new expressive means.
Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances.
How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation?
The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.
In Nono's Footsteps
(last edited: 2025)
author(s): DÁNIEL PÉTER BIRÓ
This exposition is in progress and its share status is: visible to all.
The Grieg Academy invites you to an international Symposium on the music of Luigi Nono.
The Italian composer Luigi Nono (1924–1990) is referred to as one of the most central – and radical – composers of the last century. In 2024 Nono would have turned a hundred years old, and at the Grieg Academy in conjunction with the Bergen International Festival, the Holberg Week and the artistic research project Sounding Philosophy, we celebrate the centennial anniversary of Nono’s birth with a symposium and concerts around his work, thinking, philosophy and ongoing relevance in our time.
“Nono expands and enlarges even the most delicate sounds of the ensemble and uses live electronics almost like a magnifying glass to showcase what exists in this microscopic world” conductor and Professor for Composition at the Grieg Academy, Dániel Péter Biró explains. The works on the first program were created at SWR Experimentalstudio, which has worked for more than 50 years with music utilizing live electronics. Throughout the 1980s, Luigi Nono was a regular presence at this important studio, which has also been a workplace for composers such as Karlheinz Stockhausen and Pierre Boulez.
There will be an opening reception for symposium participants on June 1, 2024 at 19:30 in Gunnar Sævigs sal, Grieg Academy.
On June 2, 2024 in Gunnar Sævigs Sal at the Grieg Academy, an international symposium at the Grieg Academy featuring international scholars and composers will discuss the music and thinking of Luigi Nono and its influence on the next generation of composers and musicians.
Boundary objects in Informed Phrasing
(last edited: 2023)
author(s): Nadav Katan
This exposition is in progress and its share status is: visible to all.
Informed phrasing is a doctoral research project which aspires to form performative methods informing phrasing from both the cognitive and the Schenkerian views. A main objective of this project, is to shape the 'informing' process as performative, yet containing analytical and theoretical insights that alternatively would be reached in a non-performative manner . Therefore, the term Informed phrasing in this paper is referred as a performative process that involves analytical and cognitive inquiries which are made by and through the practice of musical performance. In this respect, I attempt in to incorporate analytical and theoretical fields into the performance processes and by that to transform those fields from theoretical terrains into performative methods. In order to fuse analytical methods and cognitive theories into musical performance in a performative manner, I must firstly introduce the concepts that allow those different terrains to relate to each other and to integrate into musical performance. These connections are only possible through the 'boundary objects' of these fields: reductions, universal structures, and classical improvisation. In this paper, I will present and discuss those boundary objects which relate the aforementioned terrains to each other and to musical performance. Thereafter, I will describe the integration of these boundary objects in the methodology of the Informed phrasing research project.
Musikhistorie eller historier om musikere? – Potentialet i akademisk musikhistorie og analyse, på folkemusikuddannelsen.
(last edited: 2022)
author(s): NNH
This exposition is in progress and its share status is: visible to all.
Fra ansøgningen:
Projektet skal generere ny viden indenfor de to fag, men også under en mere overordnet overskrift a la
“Hvad er status på den akademisk forskning i folkemusikkens historie i Danmark?” En undersøgelse af dette vil skabe et overblik over feltet, som både studerende og underviserer kan drage nytte af i fremtiden.
Folkemusikhistorie: Der er brug for en konkretisering og afgrænsning af a) hvad der er vigtigt at vide indenfor dansk folkemusiks historie og vægtningen mellem fokusset på enkelte musikere og større sociale strømninger, b) hvor højt forholdet mellem historisk (før 2000) og aktuel folkemusik (efter 2000) skal vægtes, også med hensyn til relaterede genrer som World Music og c) laves et reelt overblik over status på forskningen i Danmark anno 2020.
Folk music analysis: Her er der et behov for at afdække nødvendigheden og rollen analyse skal spille. Historisk har musikalsk analyse primært beskæftiget sig med at afdække strukturer i musikken, men ikke sammenholde denne med det omkringliggende samfund. Efter Theodor W. Adorno begyndte denne type analyser i 1930’erne, og Susan McClary
opdaterede analyserne i 90’erne, og disse er benyttet på klassisk og rytmisk musik, er det værd at afdække værdien af denne type analyse for folkemusikerer.
For mig at se er det en vigtig prioritering for SDMK at være med til at udvikle disse undervisningsområder da det viser en seriøsitet omkring uddannelsen og folkemusikken generelt, samtidig med at det styrker uddannelsens profil og elevernes udbytte af undervisningen. Den nye viden skal naturligvis være tilgængelig for andre undervisere og lægge grunden for videre udvikling.