A Singing Orna/Mentor's Performance or Ir/rational Practice
(2019)
author(s): Elisabeth Laasonen Belgrano
published in: RUUKKU - Studies in Artistic Research
This exposition is an orna/mentor’s doing, an attempt, an essay, a performance, a line-of-thinking, a series of relations, a performance-research-model, a beginning of an orna/mentor’s manifesto. It might appear chaotic for some, and inviting for others. Its aim is to allow for the visitor to dive into the ‘orna’ (as in ‘urn’ meaning: an ornamented vase) mentored by a vocal performer. The exposition performs the raw and asymmetric intimacy of a research process searching to penetrate into (while at the same time radically opening up) that-which-is-yet-to-be-known. The performative caring has created an endless amount of philosophizing figures/sounds-in-themselves, as ornamented variations of an original musical score; a translation of one doing of another doing of another doing. Included in this exposition - as yet another ornamented variation – is a ‘peer-review-dialogue’ (a Q & A) between the orna/mentor and a Chorus of Unknown Reviewers. This dialogue has been included to clarify (or perhaps confuse even more) some of the questions that might arise in the mind of the visitor while moving through the exposition.
Ornamenting Vocality. Intra-active methodology for Vocal Meaning-Making.
(2018)
author(s): Elisabeth Laasonen Belgrano
published in: RUUKKU - Studies in Artistic Research
This exposition departs from the silence of a non-existing voice. A voice about to touch the ears and eyes of both author and readers/listeners. A voice already sounding in the head of the author - sounding as thoughts, words, letters and sentences. A non/voice being part of a never ending development of new materialities. An onto-epistemological voice diffracted through a singer's process of making sense of a lesson from a 17th century vocal manuscript. A voice as a mattering method for the art of singing through new materialist theories, vocal and discursive narratives and somatic awareness.
Moving early music: Improvisation and the work-concept in seventeenth-century French keyboard performance
(last edited: 2023)
author(s): Mark Edwards
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
At present, historically-informed performance (HIP) functions simultaneously as an established musical tradition and as a method for artistic inquiry and renewal. HIP’s capacity to effect change within artistic practice is, however, constrained by its own doxa. This study of Mark Edwards therefore asks the question: what kinds of new practices might have once been, and might still become possible without the influence of the work-concept? Using the keyboard music of Jacques Champion de Chambonnières as its central case study, this dissertation proposes understanding a piece’s fluid range of identities using the concept of mouvance, conceived as a kind of variance that arises within performances and is acknowledged by cultural participants (audiences and performers). Moreover, this study attempts to re-create this practice of mouvance by also re-creating the improvisational practice upon which mouvance relied. To that end, it adapts and extends existing research on historical improvisation (particularly studies of partimento) using techniques from computational musicology. It puts forward an “inductive” approach to style re-creation and improvisation pedagogy in which techniques and procedures are extrapolated from highly specific repertoires. Through mouvance, this study thus offers a new and historically-informed approach for applying the insight gained through improvisational practice to the creative performance of historical repertoires.
Moving through the Garden of Senses / En Vandring i Sinnenas Trädgård
(last edited: 2017)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
Walking Through the Garden of Senses...
... is a musical salon;
an experience of longing
for that-which-has-not-yet-been-spoken;
a walk through the Garden of Senses.
A theorbo and a voice
are moving through a musical landscape.
Their sound is an entanglement
of poetry, words and ornaments.
This walk comes with one specific purpose:
to perform a certain something;
to enact je-ne-sais-quoi,
nurtured by French Baroque composers
such as Michel Lambert, Jean-Baptiste Lully, Honoré d’Ambruis, Sebastien Le Camus.
... towards that-which-we- don't-know-anything-about ...
Elisabeth Belgrano Voice
Sven Åberg Theorbo
Björn Ross Scenography
Lessons in the Shadow of Death
(last edited: 2017)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
Meaning-making as vocal ornamentation.
This exposition departs from the silence of a non-existing voice. A voice about to touch the ears and eyes of both author and readers/listeners. A voice already sounding in the head of the author - sounding as thoughts, words, letters and sentences. A non/voice being part of a never ending development of new materialities. An onto-epistemological voice diffracted through a singer's process of making sense of a lesson from a 17th century vocal manuscript. A voice as a mattering method for the art of singing through new materialist theories, vocal and discursive narratives and somatic awareness.open exposition comments (0)
Walking Through the Garden of Senses... ... is a musical salon; an experience of longing for that-which-has-not-yet-been-spoken; a walk through the Garden of Senses. A theorbo and a voice are moving through a musical landscape. Their sound is an entanglement of poetry, words and ornaments. This walk comes with one specific purpose: to perform a certain something; to enact je-ne-sais-quoi, nurtured by French Baroque composers such as Michel Lambert, Jean-Baptiste Lully, Honoré d’Ambruis, Sebastien Le Camus. ... towards that-which-we- don't-know-anything-about ... Elisabeth Belgrano Voice Sven Åberg Theorbo Björn Ross Scenographyopen exposition comments (0)
Meaning-making as vocal ornamentation.open exposition comments (0)