Ableton Live som kreativt verktøy for trommeslagere
(2024)
author(s): Solveig Nyhus
published in: University of Agder, Faculty of Fine Arts
I dette kunstneriske utviklingsarbeidet har jeg eksperimentert med ulike måter å bruke Ableton Live som et kreativt verktøy. Dette med utgangspunkt i mitt hovedinstrument - trommer. Jeg har som en del av masteroppgaven komponert og produsert tre låter. Beskrivelsen av og refleksjonen rundt komposisjonsprosessen presenteres i kontekst av vitenskapelig teori og metode. I løpet av refleksjonen setter jeg ord på en ny bevisstgjøring rundt min kombinerte rolle som utøver, komponist og produsent gjennom solo-komprovisasjon og hvordan dette har gitt meg ny innsikt i egne estetiske preferanser. Jeg reflekterer også over hvordan teknologien jeg benyttet meg av påvirket komposisjonene, hovedsakelig hvordan trommespillet, sound, lydvalg og formen på låtene ble direkte påvirket av hvordan jeg samhandlet med teknologien.
DRUMS IN THE DEEP
(2022)
author(s): Johan Björklund
published in: Research Catalogue
Embracing and finding inspiration in my youth and background to explore methods and paths for creating art.
In this project I have explored and investigated my background growing up in Hedekas, a small rural village in Sweden. I wanted to see both socially and geographically how it could relate to and inspire my artistic work and practice. This resulted in three exstensive series of works that exemplifies this. An important overall aspect of this project is how I connect and releate the titles of my works to specific locations, people and events that have inspired them.
JAZZ DRUMS: 5 unconventional comping examples
(2021)
author(s): Dimitris Koutantos
published in: KC Research Portal
After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics:
1)not-cymbal-oriented
2)non-repetitive.
For his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path:
-searchng and choosing recordings
-transcribing them
-analyzing them
-creating different exercises (to solve problems)
-turning what he learned into action
-looking for his own comping style (inspired by those drummers)
-sharing his thoughts and conclusions.
With this research, Dimitris hopes to help other drum-students:
-explore these 'unconventional' styles of comping
-improve their time & co-ordination
-search for their own style.
Translation of Middle Eastern & Balkan rhythms and meters in my set up, consisting of darbuka, cajon, bendir attached to full drum-set
(2016)
author(s): Ioannis Rizopoulos
published in: Codarts
This paper focuses on the structure of a practical method that facilitates the transition from traditional elements towards the modern expression of performing on percussion. The primal aim behind this idea is to enrich the performer’s experience by, not only exercising on odd meters and rhythms seen in traditional music of the Middle East and the Balkans, but also using a variety of instruments on the same time for getting the required acoustic outcome. On the other hand the main instrument on which the full combination of the percussion-set was based, the drum-set, is giving the perfect match on a try-out to combine different music practices of the East and the West. Conducting a study like that sets the start for experimentation on combinations of music styles and their representative instruments.
The scope and significance of this research is described in the first section, highlighting the importance of the research question under examination in its final phase. In addition possible ways and primal findings that helped on finalizing the build up of a distinct set-up are commented. Technical matters leading to the desired musical outcome are outlined in the second section, along with the important aspects discovered during the implementation of the study. Results, findings and limitations of the study are described below. The next section, which forms the bulk of the paper, turns to the
description of the data under examination, structured into the 3 intervention cycles of research.
Sections 4, 5 and 6 all discuss in more detail the technical, notative procedure used and how it was transformed, during the research period, in order to strengthen the significance and application of the approach under examination; basically how to transfer Middle Eastern and Balkan rhythms and meters on a set up that consists of M. Eastern percussion and the drum set. The paper ends with a brief conclusion and the more detailed description of the resulted methodology.
Movement Practice: A developmental research journey in improvised drumming
(last edited: 2021)
author(s): Conor McAuley
This exposition is in progress and its share status is: visible to all.
About this exposition:
This work documents a progressive journey in improvised drumming. Research was centred around movement, and focused on three major players in the improvised world; Milford Graves, Chris Corsano, and Steve Davis.
The page contains written text analysis of performance, as well as video performance, voice-over, and face-to-camera critique. This mixed methodology, whilst lending itself well to the documentation of progress, resulted in a deepening of knowledge that has now crucially been folded back into my own practice.
Research questions include:
What can I learn from analysing the playing of other drummers? Why do we (drummers) move in certain ways in performance, and why do we play the things we do? What are the processes involved in movement? What can I learn from and how can I develop an awareness around a movement practice? All these questions are aimed at improving my own movement practice behind the drum kit. They were at the fore of this entire portfolio. I address these questions in text, and through video documentation of my own playing.
Themes include:
The role of the body, expression, embodied play, and animated/gestural play. An overarching theme of movement is central to all of this.
Chris Dave: A Live Analysis (Dec. 2015)
(last edited: 2019)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
Can you play in time and out of time?
What is the drummer's role in a band setting?
What are the philosophies of performance innate when sampling, when contrafacting, quoting or manipulating other people's work?
How is Chris Dave "the most dangerous drummer on the planet"?
The paper and performance attempt to answer these questions through a stylistic analysis and evaluation of a drum performance of Chris Dave, unpacking his innovative and conceptual reinvention of drum-set performance.
I dette kunstneriske utviklingsarbeidet har jeg eksperimentert med ulike måter å bruke Ableton Live som et kreativt verktøy. Dette med utgangspunkt i mitt hovedinstrument - trommer. Jeg har som en del av masteroppgaven komponert og produsert tre låter. Beskrivelsen av og refleksjonen rundt komposisjonsprosessen presenteres i kontekst av vitenskapelig teori og metode. I løpet av refleksjonen setter jeg ord på en ny bevisstgjøring rundt min kombinerte rolle som utøver, komponist og produsent gjennom solo-komprovisasjon og hvordan dette har gitt meg ny innsikt i egne estetiske preferanser. Jeg reflekterer også over hvordan teknologien jeg benyttet meg av påvirket komposisjonene, hovedsakelig hvordan trommespillet, sound, lydvalg og formen på låtene ble direkte påvirket av hvordan jeg samhandlet med teknologien.open exposition comments (1)
Embracing and finding inspiration in my youth and background to explore methods and paths for creating art. In this project I have explored and investigated my background growing up in Hedekas, a small rural village in Sweden. I wanted to see both socially and geographically how it could relate to and inspire my artistic work and practice. This resulted in three exstensive series of works that exemplifies this. An important overall aspect of this project is how I connect and releate the titles of my works to specific locations, people and events that have inspired them.open exposition comments (0)
After a long investigation of the jazz discography from 1920s until today, Dimitris Koutantos chose 5 recordings which contain drum-comping styles with these two characteristics: 1)not-cymbal-oriented 2)non-repetitive. For his research exposition, he uses a variety of media (such as videos, musical notation & text) to show you his path: -searchng and choosing recordings -transcribing them -analyzing them -creating different exercises (to solve problems) -turning what he learned into action -looking for his own comping style (inspired by those drummers) -sharing his thoughts and conclusions. With this research, Dimitris hopes to help other drum-students: -explore these 'unconventional' styles of comping -improve their time & co-ordination -search for their own style.open exposition comments (1)
Can you play in time and out of time? What is the drummer's role in a band setting? What are the philosophies of performance innate when sampling, when contrafacting, quoting or manipulating other people's work? How is Chris Dave "the most dangerous drummer on the planet"? The paper and performance attempt to answer these questions through a stylistic analysis and evaluation of a drum performance of Chris Dave, unpacking his innovative and conceptual reinvention of drum-set performance.open exposition comments (0)