Research Catalogue

an international database for artistic research

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  EXPLORING THE ARTISTIC LEGACY OF WILLIAM GILLOCK: JAZZ EDUCATION AND COMMUNITY PRACTICES IN THE MODERN ERA (2024) author(s): Angelina Tarlovskaia published in: Research Catalogue
  This paper explores the artistic legacy of William Gillock through a practice-based lens, focusing on his influence on jazz education and contemporary musical practices. As a composer and educator, Gillock’s work has been instrumental in shaping modern jazz pedagogy. The study reflects on my own pedagogical practice and its relationship to Gillock’s methods, examining how his compositional techniques and teaching strategies continue to inform my approach to jazz instruction. By engaging with Gillock’s work in practical contexts, I highlight how his contributions foster the development of technical proficiency and expressive artistry among students. This reflection underscores the enduring relevance of Gillock's innovations, as they continue to inspire and shape the growth of the jazz community today, ensuring that his legacy remains central to the evolution of jazz education and performance.
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  Are you colour deaf? (2024) author(s): Phoebe Rousochatzaki published in: KC Research Portal
  Originating from antiquity, the idea of associating colour with music has been researched extensively in recent decades. The terms for this phenomenon include crossmodal correspondences and synaesthesia (or chromaesthesia), both of which refer to associations our brain makes from stimuli that it perceives through different senses. Correspondence between sound and music, and light and colour, has been a scholarly topic for years—mostly from a scientific point of view. This thesis aims to investigate different views on the subject, focusing on its artistic/aesthetic rather than neurobiological components. Music-colour correspondence was born from the need of philosophers to make sense of both music and the world. Linguistics has proven ambiguous when used to explain or make sense out of music, hence colour has been a very powerful replacement. It is possible to draw parallels between sound and light because of their similar ontological nature (vibration). The goal of this thesis is to prove that such an association can enhance a classical music performance for the audience (as related to engagement) and for the performer (as related to analysis, artistic input). As a case study, Olivier Messiaen’s Theme and Variations is analysed in this rather unconventional colour-coded way. Keywords: synaesthesia, chromaesthesia, crossmodal correspondences, Olivier Messiaen, colour and music.
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  Η ΑΝΑΠΝΟΗ ΚΑΙ Η ΣΤΑΣΗ ΤΟΥ ΣΩΜΑΤΟΣ, ΓΙΑ ΤΗΝ ΙΔΑΝΙΚΗ ΠΑΡΑΓΩΓΗ ΤΟΥ ΉΧΟΥ ΜΕ ΈΜΦΑΣΗ ΣΤΟ ΌΜΠΟΕ. (2024) author(s): Χρήστος Τσόγιας-Ραζάκοβ published in: Research Catalogue
  Η αναπνοή και η στάση του σώματος, για την ιδανική παραγωγή του ήχου με έμφαση στο όμποε. Συγγράφηκε στα πλαίσια του διδάσκοντος μαθήματος: Παιδαγωγική και Διδακτική Οργάνου ΙΙΙ, του Τμήματος Μουσικών Σπουδών, του Ιόνιου Πανεπιστημίου, το έτος 2016. Ο σκοπός της εργασίας είναι διττός, να δοθεί μία σύντομη περιγραφή της λειτουργίας του αναπνευστικού συστήματος με τεκμηριωμένα παραδείγματα, πώς η ''ορθή'' στάση του σώματος επηρεάζει την λειτουργία του αναπνευστικού συστήματος. Αλλά και να συμβάλλει στον τρόπο διδασκαλίας της αναπνοής, για μία ιδανική παραγωγή του ήχου, κυρίως στο όργανο - όμποε, όπου έχει ιδιαίτερα χαρακτηριστικά λόγω της φυσιολογίας του οργάνου. Επιπλέον, όσον αφορά την τεχνική της αναπνοής δίνει μία εναλλακτική οπτική, πέρα το ''μηχανικό'' στοιχείο της, αλλά περισσότερο ως ένα αναπόσπαστο κομμάτι της μουσικής γλώσσας, με ποιοτικά χαρακτηριστικά. Συμπληρωματικά, παρουσιάζονται διάφορες ασκήσεις για την αναπνοή, με την κάθε άσκηση να αποσκοπεί σε έναν διαφορετικό σκοπό. Οι ασκήσεις κυρίως αφορούν τους ομποΐστες, λόγω του ιδιαίτερου συνδυασμού της αναπνοής με το καλάμι του όμποε και των ποικίλων χαρακτηριστικών του. Χρήστος Τσόγιας-Ραζάκοβ Παιδαγωγική και Διδακτική Οργάνου ΙΙΙ. Κέρκυρα: Ιόνιο Πανεπιστήμιο, 2016.
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  Reinterpreting Ysaÿe’s Annotations - Franck's Sonata - Audio Examples (2024) author(s): Joanna Staruch-Smolec published in: Research Catalogue
  This website provides musical examples linked to my analyses of Eugène Ysaÿe's annotations on scores of César Franck's 'Sonate pour piano et violon'. It is an appendix to the article: Joanna Staruch-Smolec, 'Reinterpreting Ysaÿe’s Annotations. Musical sources relating to Franck’s Sonata in Viola Mitchell’s collection (Juilliard School Library)', Revue belge de Musicologie, 2025.
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  I HAVE THE MOON: aesthetics of contemporary classical music from a composer-performer band retreat. (2024) author(s): Samuel Penderbayne published in: Research Catalogue
  The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.
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  Possible Connection between the Development of Executive Functions and Music Education According to the Kodály Concept (2024) author(s): Orsolya Toldi published in: KC Research Portal
  This research will focus on comparing tasks that are used to measure the development of executive functions (EFs) and musicianship exercises according to the Kodály concept in order to find analogies and functional intersections between them. EFs are essential for our mental and physical health, for school and job success. Since these skills can be improved and early EFs training might help reduce social disparities in academic achievement and health, pinpointing activities that could develop EFs has become an important research topic in psychology, neuroscience, and education in recent years. The main direction of this research will be a close examination of the tasks used for measuring the three core components of EFs - inhibition, cognitive flexibility and working memory alongside musicianship exercises taken from Kodály methodological books and lesson observations that work in a similar way. This study has found similarities between EF tasks and Kodály musicianship exercises in all the three core components of EFs. These findings could indicate that with Kodály’s music education approach we are not only practising musicianship exercises but we might challenge our EF skills as well. This research, therefore, could be a first step that leads to a more complex investigation into the potential positive impact of music education according to the Kodály Concept on EFs.
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  Performance as Device for Disorientation (2024) author(s): Jennifer Torrence published in: VIS - Nordic Journal for Artistic Research
  By its very nature, performance is precarious—there is always the chance that everything might fall apart. In an attempt to mitigate the discomfort of this unpredictability, many musicians develop strategies in the hope of holding the reins on the proverbial cart. But what if one chose not to maintain control and instead embraced the wild nature inherent to performance? What kinds of knowledge and aesthetic experiences might emerge in the inevitable moments of collapse? Drawing on her recent research in the project Performing Precarity, an extended collaboration with composer Simon Løffler, as well as concepts by Jack Halberstam and Sara Ahmed, percussionist/performer Jennifer Torrence meditates on the notion of performance as a device for disorientation—that is, performance as an embodied practice of rupture, of getting lost, and of undoing the order of things.
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  UVTOWER (2024) author(s): Andrea Guidi published in: Research Catalogue
  The UVTOWER is a generative installation and interactive performance instrument which produces dense post-rave music.
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  Score: Mechanical Asynchronicity – audio album (2024) author(s): Martin Scheuregger, Danica Maier published in: Research Catalogue
  This exposition is the online, open-access audio album of 'Score: Mechanical Asynchronicity' by Danica Maier and Martin Scheuregger. The album allows you to play full ensemble versions of the project's two pieces, and also mix your own versions of each piece by combining and balancing the individual instruments. It accompanies the publication of a related 40-page book on the project from Beam Editions.
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• Feedback Saxophone: Expanding the Microphonic Process in Post-Digital Research-Creation (2024) author(s): Greg Bruce published in: Research Catalogue
  The microphonic process is the term I use to encapsulate how microphones, loudspeakers, and related media are used to support, extend, and innovate musical practice. In this research-creation thesis, I contextualize, document, and analyze my own application of the microphonic process – feedback saxophone. My feedback saxophone system combines the unique characteristics of the tenor saxophone with the idiosyncrasies of various microphones and loudspeakers to produce and manipulate acoustic feedback. While there are examples of similar systems, there is no standardization and little documentation exists outside of audio recordings. Furthermore, my work employs feedback in a systematized fashion that challenges its conventional, indeterminate use in performance and composition. To support this research-creation, I discuss the history of the microphonic process, examine contemporary “microphonic” practices, and use these findings to describe and analyze my own works. For the history of the microphonic process, I discuss how microphone amplification changed popular vocal technique through the work of early-microphone singer Bing Crosby. I then discuss how microphonic instrumentaria were variously employed by avant-garde and popular artists using the examples of Mikrophonie I by Karlheinz Stockhausen, Hugh Davies’ feedback work Quintet, and the guitar-feedback practice of Jimi Hendrix. Following this discussion of instrumentaria, I establish the contemporary context in which my research-creation occurs by examining two present-day microphonic saxophonists, Colin Stetson and John Butcher. I use their distinct electroacoustic practices as a springboard to explain recent musical-technological trends: from the accelerating consumption of digital media in the new paradigm of sound, to the reactionary concepts of post-digitalism and the minimally augmented instrument. Lastly, I describe the creation of three concert etudes for my post-digital, minimally augmented feedback saxophone system, and critically examine the new works’ processes of creation, musical materials, and aesthetics.
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• fimbul (2024) author(s): Tor Einar Bekken published in: Research Catalogue
  Improvised music for solo guitar, influenced by the works of performers/composers such as John Fahey, Joseph Allred, Derek Bailey, Wendy Eisenberg, and others.
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  Performing with Sonic Tools. An approach to designing and analysing new instruments (2023) author(s): Gaute Barlindhaug published in: Journal for Artistic Research
  In recent decades, digital technology has accelerated the development of new musical instruments, not only establishing new techniques for creating sound but also enabling new performance practices. From the perspective of the performer, this has significantly broadened their possibility to express themselves, but through earlier experimentations it has become clear to me that audiences have problem comprehend such use of new musical instruments. In a traditional setting, when an artist performs with an instrument the audience can build on their cumulative experience and knowledge to evaluate the skill of an artist. With new experimental instruments such a strategy to understand a performance is not possible. This text describes my work with the dance performance Sound of Silence, and the creation of a device called the Looping Camera. Base on previous experience from using sensor technology in musical performances combined with theories and about the listeners position, we tried find a new approach to the creation of new sound producing devises that could overcome earlier problems with audience comprehension. With our work we tried to create a device that, even if it was largely unfamiliar for the audience, could establish a sense of meaning for the audience by including references to non-musical media technology. This performance also resulted in the developing of an analytical concept, that of “sonic tools”, that is meant to draw attention to the aesthetics of new an unfamiliar instrument through liberating such tools from the dichotomy of musical vs- nonmusical sounds.
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• 10.1 (2023) author(s): Levin Eric Zimmermann published in: Research Catalogue
  10.1 is a sound art installation and a sequence of daily performances over a lunar cycle resp. 30 days. It deals with questions about the relationship between art and life, the passing of time and its context in a wider discourse. INSTALLATION SETUP The installation view is located in a shop window in a small urban space. It consists of brown sheets of paper hanging from the ceiling of the space that are visible through the storefront windows. On the pages are printed the current lunar cycle, musical notations, text quotations, or quoted drawings. In the lower part of the display window are three instruments. Each of these instruments has three strings that are moved by electromagnets. The resulting sounds are picked up by guitar pickups and sent to tranducers attached to the shop windows so that passersby could hear the sounds through the vibrating window panes. PERFORMANCE SEQUENCE Every evening I went into the installation room to play a page of the score with my guitar. Each page lasted as long as the sunset lasted on that particular day in that particular place. My playing was not only accompanied by the magnetic string instruments, but initiated by them, as the instruments began to play as soon as the sun set, signaling me to join them. After the sun set, the instruments played a dedicated night light composition. These night light compositions were composed by me as a daily routine during this lunar cycle. They sounded throughout the night until dawn, when another composition would begin, signaling the transition to the silent daylight.
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• The Garage Tapes (2023) author(s): Tor Einar Bekken published in: Research Catalogue
  Exploring the sound of the parking garage in the building where I live, using cheap Casio electric keyboards, low end melodicas and a recorder. All instruments, electronic or not, have been played live in the garage as if they were purely acoustic instruments, making this an artistic exposition exclusively, intended to make people consider and reflect upon what can be done with humble instruments in the right sonic environment. Videos shot with an iPhone 5. No overdubs, mix, mastering or other tampering with the actual sound.
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• Shamisen som kompositorisk ankerpunkt (2023) author(s): Olav Hanem published in: University of Agder, Faculty of Fine Arts
  Denne oppgaven utgjør en del et mitt kunstneriske utviklingsarbeid og fokuseres mot min rolle som komponist, der mine egne originale verk er objektet for utforskning. Hovedformålet med oppgaven er å undersøke innvirkningen japansk tradisjonsmusikk kan ha på min signatur som komponist. For å avgrense oppgaven ytterligere er det japanske musikkinstrumentet shamisen i fokus.
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  Pause in Nature, then Carry on with Hope (2023) author(s): Vija Anna Moore published in: Research Catalogue
  In this project, I set out to investigate and increase my understanding of the ways in which art and music can be used to give us the strength to process difficult emotions arising from complex societal issues and injustices. In psychology, artistic processes can be seen as a way of bridging the external world with the artist's internal world, thereby creating individual logic and organised chaos. (Kogan, 2018; Stratou, 2014; Hagman, 2010). Creating art is a process of the artist processing the outer world within their inner world and channelling the combined emotions into a form of artistic expression, (Stratou, 2014; Kogan, 2018; Hagman, 2010) which, in my case, is music. With my current work, the creation process itself takes place in the forest because to me, that is a space that balances the complex and at times overwhelming external world and my internal world. By going into the forest I become immersed in the natural external world, rather than composing conceptual ideas of music in a practice room, isolated from the multi-sensual external world. As a consequence, the natural environment of the forest provided rich inspiration for composing music, providing stability and calm between my inner world and current external complexities. Urban landscapes and nature provide a haven for people in urban environments, especially those living in apartments, such as myself (Tan, Liao, Hwang, & Chua, 2018). Throughout the project I uncovered new reflections and discoveries about moral responsibility following my research question of: How can art and music enable us to process difficult societal issues, emotions and give us hope?
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  Aimpathy (2023) author(s): Amit Yungman published in: KC Research Portal
  Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist’s emotional conception and the audience’s perception. In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions. In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.
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  A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings (2023) author(s): Eduardo Gaspar Polo Baader published in: KC Research Portal
  During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience. This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner. Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
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  Transient sound (2023) author(s): Alicia Lazaro Arteaga published in: Research Catalogue
  Art, and music, have the capacity of placing us in front of the symbolic. They bring us closer to everything we cannot understand in a rational manner, allowing us to see ourselves from the inside. Going back to the notion of music as a transformative ritual, a role that has had along centuries in most societies. Music as a sacred space. This exposition explores the relationship between music and text. Placing the idea of narrative as part of the music, connecting storytelling with sound. By using folklore stories as a structural element in the composition process, I have attempted to grasp the emotional landscapes inside of the tales and translate them into music. This process has been crystallized into several pieces that show the path between the starting point, which was using a text to create music, and the broader conception of music as an experience that involves not only sound but images, space, and movement.
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  A List of Greek composers with works for the oboe or for the instruments of the oboe family (list - under update) (2023) author(s): Christos Tsogias-Razakov published in: Research Catalogue
  During doctoral research at the University of Macedonia (Thessaloniki - Greece), in collaboration with the Ionian University (Corfu - Greece), the Ph.D. thesis under the title "Works for Oboe by Greek Composers: Public Performance and Recording, Cataloguing, Indexing" have been included in the catalogue of works of the oboe family of instruments (during the third academic year - January 2023) four hundred and thirty-one works (431) in total. In the following list (under progress) are published, for the first time, the names of the Greek composers in alphabetical order who composed musical works for the oboe family of instruments.
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  ΟΝΟΜΑΤΕΠΩΝΥΜΑ ΕΛΛΗΝΩΝ ΣΥΝΘΕΤΩΝ ΜΕ ΈΡΓΑ ΓΙΑ ΌΜΠΟΕ Ή ΤΗΣ ΟΙΚΟΓΕΝΕΙΑΣ ΟΡΓΑΝΩΝ (ΑΡΧΙΚΗ ΛΙΣΤΑ ΥΠΌ ΑΝΑΝΕΩΣΗ) (2023) author(s): Christos Tsogias-Razakov - Χρήστος Τσόγιας-Ραζάκοβ published in: Research Catalogue
  Κατά την διάρκεια της εκπόνησης της διδακτορικής διατριβής στο Πανεπιστήμιο Μακεδονίας (Θεσσαλονίκη), σε συνεργασία με το Ιόνιο Πανεπιστήμιο (Κέρκυρα), με τίτλο “Έργα Ελλήνων συνθετών για όμποε: δημόσια εκτέλεση και ηχογράφηση, καταγραφή, ευρετηρίαση”. Έχουν συμπεριληφθεί στον κατάλογο έργων της οικογένειας οργάνων του όμποε (κατά την διάρκεια του τρίτου ακαδημαϊκού έτους - Ιανουάριος 2023), συνολικά τετρακόσια είκοσι-οκτώ έργα (428). Στην ακόλουθη αρχική λίστα, σημειώνονται τα ονοματεπώνυμα των Ελλήνων συνθετών σε αλφαβητική σειρά, που συνέθεσαν μουσικά έργα για την οικογένεια οργάνων του όμποε.
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  Structures for Freedom: In-performance communication in Traditional musicians in Scotland (2022) author(s): Lori Watson published in: Journal for Artistic Research
  This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.
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  Oboe Reed Making and Sorting Tips Before Gouging From Ancient Greece of Theophrastus till the use of the Hellenic Cane of Today. (2022) author(s): Christos Tsogias-Razakov published in: Research Catalogue
  The following material is an excerpt from the master’s research exposition: THE IMPORTANCE OF ARUNDO DONAX CANE SELECTION, FOR MANUFACTURERS OF OBOE REEDS (2020) by Christos Tsogias-Razakov. Limited Publication. The master’s research exposition was published to members of the KC Research Portal, 3. Internal publication (20/8/2020). The article is an excerpt from the conclusive chapter of the research exposition (2020) by Christos Tsogias-Razakov.
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  The Art of Adjusting the Oboe Reed (2022) author(s): Christos Tsogias-Razakov published in: Research Catalogue
  The following material is an excerpt from the master’s research exposition: THE IMPORTANCE OF ARUNDO DONAX CANE SELECTION, FOR MANUFACTURERS OF OBOE REEDS (2020) by Christos Tsogias-Razakov. Limited Publication. The master’s research exposition was published to members of the KC Research Portal, 3. Internal publication (20/8/2020). All rights reserved. The current fragment is from the section: b) from the introductive Chapter I about The Art of Adjusting the Oboe Reed.
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  The primary knowledge about cane, by Theophrastus. (2022) author(s): Christos Tsogias-Razakov published in: Research Catalogue
  The following material is a short excerpt from the master’s research exposition: THE IMPORTANCE OF ARUNDO DONAX CANE SELECTION, FOR MANUFACTURERS OF OBOE REEDS (2020) by Christos Tsogias-Razakov. It is mentioned that already from the period of classical antiquity existed methods that helped manufacturers to make playable reeds for the instruments of that time.
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  Sonic Complexion (2022) author(s): Jacob Anderskov, Niclas Hundahl published in: Rhythmic Music Conservatory, Copenhagen
  The Sonic Complexion project has investigated from an artistic perspective the musical dimensions texture and ‘klang’ (harmony), with the aim of creating new music and new perspectives. The outcomes of the project are a number of new albums, methodologies and perspectives, coming from quite different starting point in terms of how to systematically-artistically investigate texture and harmony.
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  The Theatre of Words Set to Music (2022) author(s): Lars Skoglund published in: Norwegian Academy of Music
  This doctoral project in artistic research concerns the relationship between music and text when both are created by the same person: a composer writing his own libretti. The project is situated in ‘the everyday’, with commonplace language and daily life situations being examined and explored both thematically and as material. The combination of music with other elements on the stage has resulted in pieces of music theatre, with a focus on different forms of storytelling. The reflection given withing this exposition describes how the works have evolved and discusses the different impulses that have led to specific artistic and ethical choices. This exposition is presented in partial fulfillment of the Ph.d.-programmet i kunstnerisk utviklingsarbeid at the Norwegian Academy of Music.
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  Aubiome: A Collaborative Method for the Production of Interactive Electronic Music (2021) author(s): Joel Diegert, Adrian Artacho published in: Journal for Artistic Research
  Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.
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  Μove to the rhythm (2021) author(s): Ioannis Christoforou, Nicolas Delphinis, XF Fotiou, andreas Patsalidis, Loizos Georgiou Limited publication. Only visible to members of the portal : Department of Multimedia & Graphic Arts - Cyprus University of Technology - [Internal]
  In this project we tried to combine image and sound of our own construction, to create a dance composition with audiovisual effects.
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  HONEYMOON IN POMPEII - work in progress (2021) author(s): Sven Vinge published in: International Center for Knowledge in the Arts (Denmark)
  “HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad. I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of: 1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries. 2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking. 3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame. 4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa. We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?
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  9 Lives of Piano (2021) author(s): Eka Chabashvili, Nino Jvania, Tamar Zhvania published in: Research Catalogue
  Since 2018, we have been conducting an artistic research that aims to research sound production techniques of piano in the 21st century. We have been inspired by the words of Karlheinz Stockhausen who declared, in 1992, that “piano music has come to an end and something quite different is coming… With the claviers made up to this time, there is nothing new to discover anymore.” The research resulted into a piece composed by a composer Eka Chabashvili in interaction with pianists Nino Jvania and Tamar Zhvania for 2 pianos, modified piano, video-installations and the virtual piano orchestra. The main aim of the piece “Has Piano Music Come to an End?” is to contradict Stockhausen and demonstrate various new possibilities of engaging acoustic piano in contemporary music. In this exposition we offer two different presentations of the same artistic research introducing some of the research results employing, on one hand, academic and, on the other hand, creative writing styles.
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  Beyond the Visual - A research curriculum for explorations in spatiotemporal environments (2021) author(s): Constantinos Miltiadis, Gerriet K. Sharma published in: Journal for Artistic Research
  Virtual reality and spatial audio technologies bring about a new paradigm in the fields of architecture and music. Works developed in these media produce experiences beyond what is perceivable in the physical world, extending therefore our capacities to design/compose as well as our sensibilities for spatial and temporal perception. By operating in the spatiotemporal domain, these new media, question our disciplinary understandings of space and time as well as their aesthetics, requiring an altogether new post-disciplinary conception of design/composition and experience. "Beyond the Visual" is a research curriculum for the investigation of spatiotemporal aesthetics, in the interface between architecture and music, in regard to perception and creativity and design/composition. This exposition is part of the research agenda of the Society of Artistic Research Special Interest Group (SIG): Spatial Aesthetics and Artificial Environments.
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  Voicelanding - Exploring the scenographic potential of acoustic sound in site-sensitive performance (2021) author(s): Mareike Nele Dobewall published in: Stockholm University of the Arts (SKH)
  This practical artistic research project explores how the performance of acoustic sound in dialogue with site can create a sonic scenography, experienced by an audience from within the sonic structures. Six art projects were carried out in the context of this research. Their form varies due to the site-sensitive approach that is employed: the space and the participating musicians are both the source and the frame for the resulting spatial sound performances. During workshops the collaborating musicians are introduced to site-sensitive methods. They learn full-body listening, spatial sounding, and space-care. The musicians learn to co-create with the space. In a collaborative process, spatial sound compositions are created using the site-specific sonic material that is elicited from the dialogue between the performers and the space. The relation to the audience plays an important role in the sharing of the performance space and the experience of the sonic scenographies. Therefore, active audience encounter is considered during the creative process towards the performance and it is further explored during each performance. As sound is invisible and ephemeral it is a vulnerable material to engage with when creating scenographies. In this research its instability has revealed itself as an indispensable quality of a scenography that aims to connect the elements of a shared space and make their relations perceivable. There is a tendency to make ‘reliable’ material scenographies and to sustain spatial sound through audio systems while attempting to overcome the challenges a site brings to performance. This approach to performance, scenography, and spatial sound composition, however, limits the relation between acoustic sound and site. In my sonic scenographies the performers are dependent on the dialogue with the space in order to create sonic structures that can be experienced by an audience. The attention needed for this collaboration is space-care. It includes care for all entities in the space, and especially the audience. The ephemeral quality of acoustic sound creates an active sonic scenography that performs together with the musicians, and engages multimodal listening. The resulting spatial sound performance includes the placement and movement of sonic expressions that are specific for each instrument-site relation. In the created performance, as the audience can ‘roam through’ it, they can experience a sonic scenography that unfolds around them. In the interaction of performers and audience in these shared spaces (architectural space and sonic space) a social space can develop that allows for an ephemeral community to emerge.
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  (Un-) settling Sites and Styles (2021) author(s): Einar Røttingen, Bente Elisabeth Finseraas published in: Faculty of Fine Art, Music and Design, University of Bergen
  (Un-)settling sites and styles: In search of new expressive means. Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances. How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation? The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.
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  The Sound of Software Tranquillity (2021) author(s): Erik Natanael Gustafsson, Baudry Benoit published in: RUUKKU - Studies in Artistic Research
  This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.
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  YEARNING TO CONNECT A Short Introduction to Music Curatorship (2021) author(s): Heloisa Amaral published in: Research Catalogue
  A presentation of the master elective With and Beyond Music combined with a description of own curatorial projects and the disclosure of findings of the research project Curatorship and Social Engagement, led by the lectorate Music, Education & Society.
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  Aural Transposition, Psychogeography and the Ephemeral World (2020) author(s): Katt Hernandez published in: VIS - Nordic Journal for Artistic Research
  Aural transposition sits at a crossroads between being a tool for practice and creating work, and being a tool that illuminates aspects of another entity. In day-to-day music practice, transposition can be an age-old tool for learning material, or a multi-layered exploration of an object or place. Transposition can also be a means of recreating places, real or imagined, through the transposition of ghost traces back into sound. And the transposition of spaces onto other spaces is possible through multichannel sound arrays. The territory for re-imagining both sound and place lies in the impossible space between the sounding entity at hand and the instrument that transposes it. Just as in the dérive of psychogeography, the spaces between well-trod paths leads to a world beyond the banal. This exposition first situates these practices in psychogeography, and amongst other artists whose work utilizes various transposition, soundwalking or psychogeographical practices. It then discusses those aspects of my own artistic practice and work—across a spectrum of electroacoustic music, improvised violin work and collaborative composition for an ensemble of mechanical string instruments— that are centered around aural transposition as an act of psychogeography.
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  Storyworld 2.0 (2020) author(s): Simon Jon Andreasen published in: National Film School of Denmark
  In this project we are exploring how you can use gaming technology to create digital STORYWORLDS (transmedial universes) as a basis for creating film, theater, games, television, comics, books, VR and formats we do not yet know. The exposition contains: - a personal artistic and practical journey through familiar yet unknown story territory where we build an actual world - a series of interviews with professional storytellers about their artistic ways and how they use and can use storyworld thinking - three excercises which can be used in teaching of students as well as professionals in the art of creating storyworlds. Finaly the exposition propose a new UNIVERSE DEVISING model blending game and theater methods to create transmedial universes.
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  Habitable Exomusics (2020) author(s): Jacob Anderskov published in: Rhythmic Music Conservatory, Copenhagen
  PROJECT DESCRIPTION: “The project examines post tonal material structuring principles in improvised music.
 It deals with (searches for) unexploited opportunities or new forms of expressions within improvised music through studies of possible ways to organize the musical material - and with relevant practical and creative ways to find room for them in improvised music.” Original RESEARCH QUESTION: Through my own artistic practice, I will examine -  To which extent it is possible for me to use definable post tonal structuring principles in my improvisations, and 
-  Which of these principles can best be used in my improvisational universe. 

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  Music for the inner ear (2020) author(s): Niels Lyhne Løkkegaard published in: Rhythmic Music Conservatory, Copenhagen
  Our fantasy has crumbled - yet we must go into utopia to articulate alternative realities that will allow us to escape the current systems we are living in and by. What can we do if we only dream pragmatic and rational dreams that speak into already existing paradigms and systems? When a catastrophic or sudden event occurs we often say that reality exceeds fantasy, this being the exception of the norm, but what if reality exceeding fantasy is in fact the norm - and not vice versa? - what if our fantasy has crumbled in such a degree that we only are capable of imagining realities and solutions which already fit into a dysfunctional system? Are we doomed? - or do we dare to go full on into utopia? In the artistic research project; Music for the inner Ear - Niels Lyhne Løkkegaard looks into the realms of imaginary sound and sonic potentiality unfolded within different artistic domains - raising the questions; Is it possible to create imaginary music only audible for the inner ear of the listener & when does something actually exist? In the project the notion of potentiality is a main driver both in activating the listener but also simply by addressing the potential of potentiality.
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  Matter Dialogues (2020) author(s): Otso Tapio Aavanranta published in: RUUKKU - Studies in Artistic Research
  This exposition relates Claude-Lévi Strauss' concept of bricolage with two examples of the author's artistic praxis, with the aim that the subjective case studies will contribute to highlight a more general methodological standpoint of contemporary artistic creation, namely: the artistic work as a dialogical, enactive process where the discussion with the artistic material takes a guiding role. The proposal intends to resituate a classic concept from structuralist anthropology, which I find strikingly useful for analysing contemporary intermedia artistic processes and works. The exposition discusses the philosophical implications of a practice that abandons itself to an unforeseen, dialogical relationship with the environment. The oeuvre then becomes an ecological process of using what is offered by the situation, in a constant discussion with the environment. Ideas, forms and materials are engendered, lost and transformed in a dynamic process that resembles a sort of artistic aikido. The ecological strand of the discussion on bricolage leads to Anna Tsing's "Mushroom at the End of the World" and Timothy Morton’s “Dark Ecology”, where the concept of Nature and the value of naturalness are abolished in favour of a flat relationship between human and her environment: an ecological system between different manifestations of being, where human-made phenomena are not regarded as extra-natural. An artistic practice of bricolage finds a favourable breeding-ground in such a conceptual context.
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  The Eco-Mesh Approach: A Sustainable Methodology for Socio-Culturally Interrogative Artistic Research (2020) author(s): Charulatha Mani published in: RUUKKU - Studies in Artistic Research
  One of the most striking features of Artistic Research is that apparently disjointed issues including pressing calls to action from social, ethical, political and cultural perspectives can organically unfold, evolve, and shape interdisciplinary academic discourses through the centralised lens of artmaking. It thereby creates a holistic picture of research in a manner that only an artist’s singular perspective can yield. A methodology approach that looks from the enmeshed and messy microcosms of ecologies at interplay to the broader macrocosms of the world, through the lenses of socio-cultural interrogation and ethical accountability, I argue, presents an sustainable model for a decolonised artistic research ethos to emerge. According in this publication, I offer "an ecomesh approach" to achieving a framework for "socio-culturally interrogative artistic research" with music and culture as my two key modes of inquiry. As a female native culture bearer of South Indian Classical music now also active within the sphere of Western academia, I feel that I have an ethical responsibility towards the ways in which culturally contingent aspects of my music and culture are represented in and communicated to the world (both in education and artmaking). I leverage my insider/outsider position to problematise aspects of power, belonging, and ownership in global ecologies of dissemination and reception of material and material labour.
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  DEBUSSY AND MOVEMENT - IMANOL CASAN (2020) author(s): Imanol Casan published in: KC Research Portal
  For this project, Lien Baelde and I created a choreography based on "La Soiree dans Grenade" by C. Debussy. In order to prepare the choreography, I made an approach to the connection between music and dance and I analyzed the harmony and sctructure of the piece. The objetive of the research is to see how my playing changes while working “La Soireé dans Grenade” with a dancer. To answer this question, I compare a recording before and after working with the dancer. This research concludes that mixing arts in the learning process has benefits in my playing, adding flexibility and tempo control.
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  Demmin – letting a city sound (2020) author(s): Mareike Nele Dobewall published in: VIS - Nordic Journal for Artistic Research
  The project ’Demmin – eine Stadt zum Klingen bringen’ (’Demmin – letting a city sound’) explores the history and stories of the German city of Demmin in a dialogue between the local choir, Peenechor, and the site of Haus Demmin. During a two-week workshop the choir and Mareike Dobewall explored how to vocalise other stories, of the inhabitants of Demmin and the two decaying buildings known collectively as Haus Demmin (the ruins of an 11th century fortress and a former mansion). In a sonic dialogue between ageing voices and decaying architecture a vocal performance in the open air was created. Stories, history and fairy tales took new shape through vocal music, and un-listened sound was given presence. The site-determined performance allowed for the memory and the imagination of the visitors and the participants to rise up and become a part of a holistic experience.
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  Masterprosjekt - monodrama (2019) author(s): Ragnhild Thu Austnaberg published in: NMH Student Portal
  Dokumentasjon av mitt masterprosjekt i klassisk sang ved Norges Musikkhøgskole.
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  Addressing the Mapping Problem in Sonic Information Design through Embodied Image Schemata, Conceptual Metaphors, and Conceptual Blending (2019) author(s): Stephen Roddy published in: Journal of Sonic Studies
  This article explores the mapping problem in parameter mapping sonification: the problem of how to map data to sound in a way that conveys meaning to the listener. We contend that this problem can be addressed by considering the implied conceptual framing of data–to–sound mapping strategies with a particular focus on how such frameworks may be informed by embodied cognition research and theories of conceptual metaphor. To this end, we discuss two examples of data-driven musical pieces which are informed by models from embodied cognition, followed by a more detailed case study of a sonic information design mapping strategy for a large-scale Internet of Things (IoT) network.
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  Percussion Theatre: a body in between (2019) author(s): Jennifer Torrence published in: Norwegian Academy of Music
  What does the musician become when sound and instrumental thinking are no longer privileged as the foundation of a musician's practice? In what ways does an emphasis on the musician's body cause music to approach art forms such as theatre and performance? After a generation of pioneering work from Mauricio Kagel, Dieter Schnebel, John Cage and many others, where is the theatrical and the performative in music today? How do its recent developments shape, alter, constitute a musician's artistic practice? Through her research, Jennifer Torrence argues that this type of music demands the musician assume a different understanding and relation to their instrument and therefore a different relation to their body. This relation calls for new ways of making and doing (new artistic practices) that foreground the body as a fundamental performance material. Through an emphasis on the body, the musician emerges as a performer. This exposition is a reflection on the research project Percussion Theatre: a body in between. This project is comprised of a collection of new evening-length works that approach the theatrical and performative in contemporary music performance. These works are created with and by composers Wojtek Blecharz, Carolyn Chen, Neo Hülcker, Johan Jutterström, Trond Reinholdtsen, François Sarhan, and Peter Swendsen. The exposition contains reflections on recent developments in contemporary music that mark a mutation of the executing musician into a co-creating performer, as well as images, artefacts, videos, and texts that unfold the process of creating and performing the work that constitutes this project. The ambition of this exposition is that through the exposure of a personal artistic practice an image of a larger field may come into focus.
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• Concepts of Embodiment in Interdisciplinary Work Within a Musical Context (2019) author(s): Sarah Albu published in: KC Research Portal
  Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question "How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?", examined through the lens of definitions of embodiment, spinning, technology, community, and inter/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.
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  Ng revisited (2018) author(s): Johan Jutterström published in: Research Catalogue, University of Stavanger
  The point of departure for my artistic research project is the piece Ng, composed by me in 2014 for an ensemble of three musicians without instruments and three dancers. Having reached a critical point in my own practice as a saxophonist where the identity of my music and that of the instrument seemed too intricately intertwined and convoluted, I happened to attend a dance rehearsal where the choreography was rehearsed without accompanying music. I listened to the rehearsal with my eyes closed, activated the situation musically and suddenly found myself in a soundscape that was full of musical possibilities seemingly free of much of the problems with western music that the saxophone represented for me. Possibilities that I tried to make sense out of when composing Ng. Approaching an interdisciplinary perspective towards choreography and dance, the movement of the human body became the music material. The sounds that appeared did not originate from an instrument built with the purpose of projecting a certain sound on to the world; they were of this world and in that sense concrete. But they were also of human anatomy and in that sense, I believed, more malleable than other concrete sounds and already in a close relationship to human perception and understanding. I hoped that, by abandoning the music instrument and approaching a choreographic perspective, I would contribute to the theories and practices of western art music while also challenging conventions that I felt was weighing it down—just as the saxophone weighed around my neck. During my artistic research project I intend to challenge Ng and investigate the concepts behind it more thoroughly before finally revisiting and reworking it with the knowledge gained during the research project. Does a choreographic approach offer a substantial addition to western art music theory and practice? Can such a premise challenge how music notation is approached and help expanding how music structure is thought of beyond how it is communicated through notation? Can it change time measuring mechanisms of music and advance the way space is approached? The disposition of my research project is such that I can criticize the ideas of Ng in retrospect, while still actively working on refining them both in practice and theory through Ng revisited. In juxtaposing Ng and Ng revisited I hope that my research questions, my methods, the context of my research and whatever new knowledge my research project can offer will become clear while simultaneously activated by, and contained in, my own artistic practice. As such coalescing concept, form, theory, material and presentation; something that I believe is an important ambition of artistic research.
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• Madness in music (2018) author(s): May Kristin Hegvold published in: KC Research Portal
  Name: May Kristin Svanholm Hegvold Main Subject: Early Music Singing Research Supervisor: Inês de Avena Braga Title of Research: Madness in music Research Question: How can one, convincingly, portray madness in a musical performance without being considered in a state of madness? Summary of Results: In the 17th century, madness was a relatively common theme in entertainment such as poetry, theatre, and music. There was something that fascinated the people of that time with the uncontrollable nature of madness. Henry Purcell and Thomas d’Urfey was among the many writers and composers who dealt with this subject, and a selection of their mad songs and texts are the main focus of my research. Feelings such as love, hate, envy, sadness and happiness are feelings most of us have felt in our life, but madness is perhaps a state that is exclusive to some people. Is it then possible to portray this state of mind convincingly in a performance of the music? To answer this question, I have examined how madness was portrayed by Purcell and d’Urfey, and generally how people that were considered mad was treated and viewed by the society. After researching the madness of the 17th century and what we today view as madness through music, text, historical documents and other forms of entertainment, I have come to the conclusion that it is possible to portray madness convincingly, but that madness is something completely different than the feelings previously mentioned. One person can view something as madness while someone else sees it as completely normal. Biography: May Kristin Svanholm Hegvold is a soprano from Norway. She did her bachelor's degree at the Conservatoire in Trondheim with professor Elisabeth Meyer-Topsøe, and is now studying for a master's degree in the early music department at the Royal Conservatoire in The Hague, with Rita Dams. May Kristin has participated as a soloist in many productions, including the premieres of two new operas by Norwegian composers, “Pappapermisjon” by Bertil Palmar Johansen and “Kommentarfeltet” by Trygve Brøske. She has also, among other things, been the soloist in Pergolesi’s “Stabat Mater” and sung the roles of Dido, 2nd Woman and 1st Witch from the opera “Dido and Aeneas”. Her latest roles involve Pamina from the opera “Die Zauberflöte” and Piacere from Händels “Il Trionfo del Tempo”.
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