Radical Interpretations of Iconic works for Percussion
(2024)
author(s): Kjell Tore Innervik
published in: Norwegian Academy of Music
The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works.
Participants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer Ståle Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg.
During the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure.
The cd [UTOPIAS ](http://www.2l.no/pages/album/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><-
On this site you will find other interpretations and iterations of the music made by the team.
From Singer to Reflective Practitioner: Performing and Composing in a Multimedia Environment
(last edited: 2016)
author(s): Aleksandra Popovska
This exposition is in progress and its share status is: visible to all.
This exegesis comes as result of performing, composing and researching in a multimedia environment over
the past few years. I started working on my projects with the following question in my mind: how can I
improve my own practice?
Asking this led to identification of the problems related to making a live media performance, as well as prompting discussions about the types of knowledge necessary for producing a work of art that includes more than one medium.
Rather than attempting to draw definitive conclusions regarding topics as broad as live media
performance, I summarize and reflect upon the creation process as I experienced it, elucidating my personal
contemplations regarding my experience and practice in multimedia environment.
I will present three projects: ’Bukefalus’, ’Tribute to Morty’, and ’Every. When’, all designed as electroacoustic pieces with video displays. I shall take a
closer look at how the pieces were developed, discuss their cross-disciplinary character, and good and
bad practices involved in them. Finally, I shall focus my attention on how things go in practice when
one is composing and designing an interactive piece using improvisation and different media. In all three
projects I have been involved in different roles, as a performer, composer or designer, and in all of them
collaboration played important role. I made particular choices, sometimes blending my roles and the roles
of the participants.
I hope that my experience as a musician, having passed through both classical and technology-based
educational systems and participating in them in different roles – as performer, concept designer, composer, producer and teacher – will be useful for all creative people coming from the conservatory and wanting towork in the field of multimedia performance.
With this exegesis I would also like to make my own contribution to reflective practice and living theory
(Whitehead, 1998), by exploring improvisation and experimenting in my projects. I will write about how
it has enhanced my own identity as performer, composer and designer, and why and how I have been
committed to sharing its transformational potential with people I collaborate with. Its claim to originality
is that it arrives at a living concept of knowledge transformation through multidimensional reflection; as
a singer who is a composer, as a composer who is a researcher, as a student who has been a teacher, as an
artist who has lived in an imaginative world creating her works, and as a researcher dealing with institutional
policy and educational change. “I am my own informant into different perspectives, and will try through
these personae to have a dialogue between several positions and arrive at a concept that is tested and lived
from several perspectives.” (Spiro, 2008, p. 29)