Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Clew: A Rich and Rewarding DIsorientation
(2024)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives?
[This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]
Reading Garoto – a study over the legendary musician who changed Brazilian music.
(2014)
author(s): Henrique Gomide
published in: KC Research Portal
This research was based in an investigation over the life and importance of the Brazilian composer "Garoto" (Anibal Augusto Sardinha), as well in my personal experience with his work. My readings over this topic involved all the literature existing about this composer (which was not vast), as well as books, articles, thesis and encyclopedias that contained information of the period he lived and the context in which he worked. Other important sources for my research were Garoto’s recordings, score and manuscripts as well as interviews made with musicians that played with him, important musicians that were influenced by him and researchers of his life and work.
Garoto was one of the most versatiles musicians that Brazil ever had, possessing an outstanding technique in eight different string instruments. He recorded and composed in several diferent styles, and his compositions were one of the firsts to introduce influences from jazz and classical music into the popular music from Brazil. His extremely innovative style inspired a whole generation of composer and was a decisive influence to the “Bossa Nova”, musical movement that emerged in Rio de Janeiro in the late 1950’s, just a few years after Garoto’s death.
Garoto’s repertoire is mostly played by guitar players in it’s original arrangements, as a consequence of a solo guitar Song-Book made by Paulo Bellinati that is sold trough all the world. In this research I present eight arrangements proposing a new approach of his pieces, to be performed on the piano with different instrumentations: solo, duo with bass, piano trio, piano trio with saxophone and piano trio with an ensemble of seven clarinets.
Due to the 100th birthday of Garoto next year (2015) I also engaged some different projects to promote his music and his name: a CD recording, a documentary and a Festival with recognized musicians performing Garoto’s works.
Combining Coco, Arranging for Het Coco Collectief
(2014)
author(s): Jannelieke Schmidt
published in: KC Research Portal
Name: Jannelieke Schmidt
Main Subject: Classical Singing
Research Coach: Patrick van Deurzen
Title of Research: Combining Coco, Arranging for “Het Coco Collectief”
Research Question:How do I arrange from a market, artistic, voice technique and stylistic point of view mostly single-voiced by piano accompanied music for “Het Coco Collectief” which consists of five sopranos and one pianist?
Research Process: In order to develop my skills, theoretic knowledge and insight in the process of making arrangements I studied sources concerning music theory and chord writing, I made several arrangements, I interviewed arrangers and singers, I had my fellow Coco colleagues answer questions about their preferences concerning singing in the ensemble and I analysed my arrangements.
Summary of Results:
My paper contains all the information I gathered over a two year research period. It has become a little handbook of tips, tricks and rules. I gained skill and knowledge mainly through trial and error, rehearsals with the ensemble and analysing my interviews and questionnaires. I arranged three pieces by Rossini (La pastorelle delle Alpi, La Danza, La legend de Marguerite) one piece by William Bomcom (Amor) one piece by Johannes Röntgen (Op een Kwal) and one piece by Bizet (Adieux de l’hotesse Arabe). I used La Danza en La legend de Marguerite as material to compare arrangements before and after my research in order to detect differences in choice making and using gained knowledge and skill. I used Op een Kwal en Adieux de l’hotesse Arabe in order to explain how a piece changes through a rehearsal process and adapting the piece for either stage of radio.
Through talking to the arrangers and working on my pieces together with my coco colleagues and my research coach I found what I was looking for: skill. From the beginning of this research I was looking for justification of my choices. I found that for me to feel secure of my work I needed those two years of thinking that rules is all I needed. That if I could explain an idea by saying it there because of a style or historical context, from a voice technical of personality choice, from Coco’s image or other peoples opinion my arrangement would be good enough. If I could find arguments and explanations for why I did what I did, I should not have to justify why I dare to rearrange already ‘perfect’ repertoire. I created the handbook, containing tips tricks and rules: music theory, all the knowledge shared with me during interviews, Coco’s preferences, all the rules are there. Everything in order to be able to let go of them if it pleases me. My choices are still based on knowledge but now I can consciously use or not use the rules. I have developed a greater trust in my own artistic ideas about the pieces I arranged. I have developed a greater understanding of what it is to write for this ensemble, for these people. And as said before I have created a little booklet of rules for anyone who wants to arrange for voices and piano. During my presentation Het Coco Collectief will sing both La Danza and Adieux de l’hotesse Arabe.
This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives? [This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]open exposition comments (0)