Storytelling in improvisation-based composition: a classical flute player's experience with experimental music
(2023)
author(s): Catalina Popa-Mörck
published in: Research Catalogue
This master thesis is a documentation of a journey towards self-discovery and artistic development which took place during my two years as a NoCom (Nordic Master for the Composing Musician) student at the Academy of Music and Drama in Gothenburg, Sweden.
In the Research Catalogue pages I have gathered ideas, reflections, analysis, experiments, scores and audio/video material that, I feel, surmise the work I have done during my studies. However, beyond the tangible elements offered, I believe this content tells the story of my process towards coming into my own practice.
With the goal of using the creative and performative tools at my disposal (that stem from my background as a classical musician with a passion for rock/metal music and live electronics) in order to facilitate storytelling through my compositions and a better communication with the audience, I present to you my journal as I go through this process, told in the frame of a fairy tale.
Performing the ecstasis: An interpretation of Katharine Norman’s Making Place for instrument/s and electronics
(2022)
author(s): Jean Penny
published in: Journal for Artistic Research
Katharine Normans’ work Making Place for instrument/s with live electronics (2013/16) combines recorded sounds, images, text, live interactive processing and instrumental music performance to create a unique experience of place. As the performer, I can choose a location, collect photographic images and recorded sounds, and interpret and re-create the score. The score is semi-improvisatory, consisting of many composed and freely pitched musical gestures which trigger text, visual animations and sound processing. This exposition traces the re-conceptualization, adaptation and performance of Making Place for alto flute. A multi-layered experimental methodology evolved that encompassed practice, discussion, description and reflection, with the performance itself forming the pivotal event, the epoché. To begin I share pre-performance thoughts – ideas of re-conceptualization and the construction of method. I follow with an account of pre-performance activities – the walk, collecting materials, transposing the music for alto flute, inserting new artefacts into the software, and rehearsals. Next come descriptions of the performance, and finally, I offer a reflective conclusion to the project. This project illuminated the quotidian through sound, image and text, transforming the everydayness of a walk along a disused railway track, turned walking/cycling track, in Victoria, Australia, into an extraordinary musical work, creating a shift from a knowing about to a knowing from within, from playing and doing to reflective awareness.
The characters of the flute. A performer’s exploration of the dramatic roles of the baroque flute
(2017)
author(s): Maria Florencia Gomez
published in: KC Research Portal
Before the flute's ascension to rival the violin and harpsichord in repertoire and expressive character, its first defined soloistic role emanated from music in the reign of Louis XIV.
Iconography and collections of allegories, circulated in Europe since Cesare Ripa's Iconologia´s first edition in 1590, depicted the flute with two distinct figures. In the first, the flute symbolises the sweetening of the human voice in vital persuasion, while the second related to the art of pleasing.
These artistic representations influenced the composer's choices for the flute, from keys and tempi to specific technical requirements. It must follow, then, that there is a strong link between the dramatic or allegoric content of the pieces in question and the technical and expressive identity of the late Sixteenth Century and early Eighteenth Century flute.
This paper addresses this phenomenon through the French Cantate, with a primary focus on A. Camprá and N. Clérambault, in addition to further context of stylistic influence in subsequent compositions.
The advent of the transverse flute in Italy and its use in mixed consorts during the sixteenth and early seventeenth centuries
(2015)
author(s): Giuditta Isoldi
published in: KC Research Portal
ABSTRACT
Title of Research:
The advent of the transverse flute in Italy and its use in mixed consorts during the sixteenth and ear-ly seventeenth centuries
Research Question:
Which were the possible combinations of instruments that included flute and which occasions saw performances of these mixed consorts?
Summary of results:
The performance of vocal polyphony on instruments during the sixteenth century appears to be guided by two main ideas. On the one hand, musicians tried to imitate the a cappella choir with homogeneous instrumental consorts, or whole consorts, where the instruments belonged to the same family. On the other hand, they tried to maintain the polyphonic texture clear, letting instruments with a very different timbre play in a mixed choir, or mixed consort. Based on a wide array of sources (letters, chronicles, iconography, inventories, instruction treatises, and surviving instruments) my Research Paper investigates the possibilities of combining the flute with other instruments and with voices in mixed consort settings. My main conclusion is that whole and mixed consorts did not follow a completely separate development, but the two choirs would often overlap and integrate in many different combinations, with much freedom and invention. This consideration should encourage modern performers of secular Italian music of the sixteenth century to keep their mind open to the possibility of transforming a cappella compositions into colorful ensembles mixing voices and different instruments.
Biography:
Giuditta Isoldi studied at the Conservatory of Florence, where she graduated in Flute with Paolo Zampini. In 2010 she moved to the Netherlands where she focused her studies on Historical in-formed Performance Practice of the flute and she obtained a Bachelor in Traverso with Barthold Kuijken at the Royal Conservatory of The Hague. Next to Traverso, she studies baroque Oboe with Frank de Bruine. She is currently attending a Master in Traverso at the Royal Conservatory of The Hague with Barthold Kuijken, Kate Clark and Wilbert Hazelzet.
Jiří Čart (Georg Czarth) and his Flute Sonata in D minor
(2014)
author(s): Michaela Kouřilová
published in: KC Research Portal
Name: Michaela Kouřilová
Main Subject: Traverso
Research Coaches: Inês de Avena Braga and Donna Agrell
Title of Research: Jiří Čart (Georg Czarth) and his Flute Sonata in D minor
Research Questions:
What is the current status of research on the life of Jiří Čart as an émigré musician? Is it possible to establish bibliographic control of this research, and outline the major deficits in existing literature? By examining Čart's writing for flute, and in particular his D minor Sonata, is it possible to define the characteristics of his compositional style? Is there a further link between his output and his position in various European ensembles, suggesting a development in line with other composers?
Research Process:
Musical emigration was quite characteristic in Czech musical life in the eighteenth century, but was not a completely new phenomenon. Throughout history Czech emigrants, such as Jan Václav Stamic, František Benda or Josef Mysliveček, came to well-deserved fame, but others await a return to modern appreciation. This is surely the case when we consider the life and work of Jiří Čart (1708-c.1778). Despite the contemporary success and reputation, Čart’s name has fallen into insignificance. No thematic catalogue has ever been attempted, leaving performers with no basis for modern performance, and thus audiences with limited opportunities to hear and discover his music. This thesis is potentially a model for further extrapolation of his output and a beginning of a more developed research path. However, the scope of this current document is limited, and therefore centres on Čart’s flute Sonata in D minor.
Summary of Results:
This work provides detailed information about the professional life of the violinist, flutist and composer Jiří Čart, which has yet to be considered in English. This information is embedded in the historical context, providing an overall picture of the social situation in the eighteenth century for émigré musicians from the Czech lands such as Čart. The so- called ‘Czech Musical Emigration’ is a very important ingredient of European music history, which partly influenced the direction and the onset of classicism as we now see it. Čart spent his adult life following his musical talents and opportunities as an émigré. In doing so, he occupied several important posts in major European orchestras and establishments. New details about his life and compositions are uncovered in this work, which is accompanied by a critical edition of his ‘Solo à Flauto Traverso è embalo’ in D minor. This edition was prepared using several variant texts from the eighteenth century, as the sonata exists only in contemporary manuscript copies, as well as a transcription for violin. Disseminated throughout European libraries, the work shows a mature compositional style, with the idiomatic knowledge necessary to craft a showpiece for the flute, allowing the performer to engage with, and enlighten the audience.
"Plant Wide Web" - Phytopoetic Creation Database
(last edited: 2024)
author(s): Ponce de León Marisa
This exposition is in progress and its share status is: visible to all.
This exposition contains a database of materials resulting from the artistic research "Phytopoetic Creation: An artistic and ecological intervention", within my doctorate studies in Performance at the Department of Comunication and Art (DeCA) of University of Aveiro (UA), Portugal.
As these results were mostly documented through video, audio and photographs, I decided to use this platform as a medium to share these moments that were central to this artistic research, also containing a published article.
The form of relationship established between these materials, with mutual connection and sharing of information and resources, was similar to a network that was developed throughout this research, through practical experience and application.
This network, here refered as "Plant Wide Web", contributed crucially to the creation of the final artistic product of this research, "Intertwined Paths: an embodied journey of connection with plants" (2024).
Exploring Japanese (Inspired) Music
(last edited: 2023)
author(s): Martine Mussies
This exposition is in progress and its share status is: visible to all.
Objective:
This proposed exposition aims to critically examine the pitfalls of Orientalism and Occidentalism within the context of artistic research in music. By delving into the complexities of cultural representation and misrepresentation, it seeks to challenge preconceived notions and foster a more nuanced understanding of cross-cultural musical encounters.
Methodology:
Comparative Analysis: Through an in-depth comparative analysis, I will investigate the ways in which Orientalism and Occidentalism manifest in music performance practices. Drawing on diverse musical traditions, including Japanese influences, I will explore the power dynamics, stereotypes, and misappropriations that can arise when engaging with cultural musical expressions.
Sonic Experimentation:
Building on my expertise as a professional musician, I will create original compositions and sonic installations inspired by the concepts of wabi sabi, mono no aware, and ma. These explorations will serve as sonic reflections on the intricate relationship between artistic research, cultural heritage, and personal interpretation, allowing for a deeper engagement with the complexities of musical representation.
Critical Reflection:
Throughout the exposition, I will engage in critical reflection on my own artistic practice, acknowledging and addressing the potential biases, blind spots, and unintended consequences that can arise when navigating the cultural landscape of music. By scrutinizing my own work and interrogating the underlying assumptions, I aim to foster a greater awareness of the ethical and social implications inherent in artistic research.
Expected Contributions:
Providing insights into the manifestations of Orientalism and Occidentalism within music performance practices and their impact on cultural representation.
Illuminating the potential pitfalls of cultural appropriation and misinterpretation in artistic research, while proposing alternative approaches that embrace collaboration and respectful dialogue.
Fostering critical dialogue within the field, encouraging fellow artists and researchers to engage in self-reflection and thoughtful engagement with cultural differences.
Audience Engagement:
To ensure a broad and inclusive audience engagement, I plan to organize interactive workshops and performances, inviting participants to immerse themselves in the sounds and stories that emerge from my artistic research. By actively involving the audience, I aim to facilitate meaningful conversations about cultural exchange, representation, and the potential transformative power of music.
Anticipated Impact:
This exposition seeks to challenge established paradigms, disrupt Orientalist and Occidentalist frameworks, and promote a more equitable and culturally sensitive approach to artistic research in music. By critically examining the pitfalls of cultural misrepresentation, it aims to contribute to a more inclusive and respectful musical landscape that celebrates diversity and fosters cross-cultural understanding.
Roman flute players and flute players in Rome in the turn of the Eighteenth Century
(last edited: 2023)
author(s): Anna Gambino
This exposition is in progress and its share status is: visible to all.
This article focuses on flute players that lived in Rome during the first half of the 18th century, such as English flutist Robert Valentine, active in Rome, and Filippo Ruge, Italian flutist active in France.
Theobald Böhm and the Böhm Flute
(last edited: 2023)
author(s): Joana Machado
This exposition is in progress and its share status is: visible to all.
Theobald Böhm (1794-1881) was a German acclaimed flautist, composer and flute maker who changed the course of flute history in several ways. In the beginning of the nineteenth century, Böhm created a new and improved flute. The Böhm flute due to its several developments, is to this day a great system.
A historical Overview of Flute Materials
(last edited: 2023)
author(s): Elin Körnich
This exposition is in progress and its share status is: visible to all.
The flute is one of the oldest instruments in the world. Most likely, after humans figured our percussion, they blew across reeds to make sounds. And so the flute was born. They are an instrument shrouded in mystery and ritual, but that is not what this text will be focusing on. Rather I would like to ask the question how we went from making flutes out of the bones of animals, to wood and today to using precious metals such as gold and silver? What makes this material so much better than the wood that had been the standard for hundreds of years, even though it arguably is much more difficult to acquire? In this text I will explore the different materials used throughout history for the European Flutes, and when and why it changed.
Listen, Imagine, Move
(last edited: 2020)
author(s): Rachel Ho
This exposition is in progress and its share status is: visible to all.
The purpose of this research is to explore the response of intermediate adolescent flute students on their experience with the Dalcroze approach. The development of their expressive skills is also measured to see the effectiveness of this approach while learning a new piece. The Dalcroze approach is heavily emphasized on embodiment in music education and also stands on the idea of using movement to develop musicianship and expressivity.
This research offers a description of the students’ responses to the exercises that were designed for them based on Dalcroze approach. This study also intends to examine the effects of Dalcroze on their expressive skills and how it can be incorporated in the way they learn a new piece of music in the future.
Flow, enjoyment and performances
(last edited: 2017)
author(s): Emeline Dessi
This exposition is in progress and its share status is: visible to all.
This research idea came to mind some time ago after I had lost enjoyment practicing and performing with my flute. I wondered, where the inspiration had gone that I used to feel and that had guided me to become a professional flute player? Some other questions followed: why do I feel great playing sometimes and other times not at all? Why am I not performing as well as I can play during practice?
Around the time I started having these questions, I started to experience stage fright, which I had never before.
This research refers to the subject of Flow and the road I took to reach that state. I organised this report according to the Artistic Research requirements of Codarts. I divided the research in three sections called cycles that contain zero-point recordings, feedback, data collection, intervention, endrecordings and results. The first cycle concerns grounding and body awareness, the second cycle refers to Flow in audition and the third cycle relates to the Mozart flute Concerto in G major k313, which is an important piece of the flute repertoire, and how I reached a Flow state playing this piece.
At first with this research, I thought I would find techniques or exercises that would help me master my level of playing during performances and auditions. I actually discovered a much deeper inner-self and body-awareness. I found out that I am much stronger than I ever imagined. My experiments and results concern my playing and my personality and I hope this work will inspire people to seek their own way to Flow.
This journey made me grow as a musician and as a person and brought Flow in my life, which has led to true and deep happiness.
Theobald Böhm (1794-1881) was a German acclaimed flautist, composer and flute maker who changed the course of flute history in several ways. In the beginning of the nineteenth century, Böhm created a new and improved flute. The Böhm flute due to its several developments, is to this day a great system.open exposition comments (0)