The Story of Method of Vienna (MoV) or exploring the epistemic idea of rethinking with a rediscovered concert format
(2024)
author(s): Susanne Abed-Navandi
published in: Research Catalogue
The following article presents the current status of the artistic research project Method of Vienna (MoV) and answers the questions:
How can I imagine the MoV initiative in detail?
Which methodological approach was chosen?
Which MoV events have been realized so far?
The presentation ends with a personal reflection after six years of commitment to Method of Vienna, in which current observations, conclusions and the future of the project are put up for discussion.
Waldorf music education meets Kodály methodology.
(2023)
author(s): Raoul Boesten
published in: KC Research Portal
How can Kodály music methodology contribute to the already existing Waldorf music education in giving the children ownership in music.
(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.
Reconstructing Verses by Henry Loosemore and John Coprario
(2020)
author(s): Helen Roberts
published in: Research Catalogue, Birmingham City University
This exposition comprises a package of outputs from practice-led research around two unique pieces of instrumental music with winds from early seventeenth-century England. Along with the first critical performance edition and a world premiere recording of these two pieces, I present a detailed discussion of the investigation which informed the editorial process, focussing on three historical artefacts: MS Drexel 5469, the fragmentary source of the music in question; the Christ Church cornetts, two original instruments that may historically have been associated with performance of this type of repertoire; and the St Teilo organ, an instrument reconstructed after Tudor archaeological evidence and representative of the style of instrument in use when MS Drexel 5469 was compiled. I examine each artefact in turn, establishing the wider historical context of each and assessing the connections between all three. This process has not only shed new light on two pieces overlooked by historical performers until now, but raised important questions surrounding the performance of early-seventeenth century liturgical music in general.
In Nono's Footsteps
(last edited: 2025)
author(s): DÁNIEL PÉTER BIRÓ
This exposition is in progress and its share status is: visible to all.
The Grieg Academy invites you to an international Symposium on the music of Luigi Nono.
The Italian composer Luigi Nono (1924–1990) is referred to as one of the most central – and radical – composers of the last century. In 2024 Nono would have turned a hundred years old, and at the Grieg Academy in conjunction with the Bergen International Festival, the Holberg Week and the artistic research project Sounding Philosophy, we celebrate the centennial anniversary of Nono’s birth with a symposium and concerts around his work, thinking, philosophy and ongoing relevance in our time.
“Nono expands and enlarges even the most delicate sounds of the ensemble and uses live electronics almost like a magnifying glass to showcase what exists in this microscopic world” conductor and Professor for Composition at the Grieg Academy, Dániel Péter Biró explains. The works on the first program were created at SWR Experimentalstudio, which has worked for more than 50 years with music utilizing live electronics. Throughout the 1980s, Luigi Nono was a regular presence at this important studio, which has also been a workplace for composers such as Karlheinz Stockhausen and Pierre Boulez.
There will be an opening reception for symposium participants on June 1, 2024 at 19:30 in Gunnar Sævigs sal, Grieg Academy.
On June 2, 2024 in Gunnar Sævigs Sal at the Grieg Academy, an international symposium at the Grieg Academy featuring international scholars and composers will discuss the music and thinking of Luigi Nono and its influence on the next generation of composers and musicians.
Remembering Lost Music
(last edited: 2025)
author(s): DÁNIEL PÉTER BIRÓ
This exposition is in progress and its share status is: visible to all.
Prosjektet er initiert av Arnulf Christian Mattes, leder for Senter for Griegforskning og Dániel Péter Biró, professor i komposisjon i samarbeid med Hilde Haraldsen Sveen, førsteamanuensis i vokalmusikk ved Griegakademiet. Ved å bringe sammen kunstneriske, historiske og musikkvitenskapelige perspektiver skal dette prosjektet bidra til å øke bevisstheten om jødisk kulturarv i Bergen, Norge og Skandinavia.
Lite er kjent om de jødiske komponistene og musikerne som har levd og virket i Skandinavia, de fleste av dem immigrerte tidlig på 1900-tallet eller ble drevet i eksil under andre verdenskrig. Hva vet vi om deres biografier, deres sosiale og kulturelle forhold, deres pedagogiske eller institusjonelle betydning og virkning? Hvordan formet mottakelsen av majoriteten deres identitet som kunstnere og migranter med jødisk bakgrunn i lokale og nasjonale sammenhenger?
Et annet mål med dette prosjektet er å se på historien til jødene i Skandinavia i lys av den overordnede fortellingen om forfølgelse, trauma og Holocaust. En workshop med Griegakademiets komposisjonsstudenter resulterte i nye komposisjoner basert på lyrikken av Nelly Sachs, som utforsker disse aspektene kreativt og fra individuelle utgangspunkt. Disse komposisjonene vil bli sidestilt med komposisjonen Gvul (Border) av Dániel Péter Biró, som undersøker historisk hukommelse og traumer via dekonstruksjon av musikalsk materiale.
Utover dette har målet vært å initiere en tverrfaglig utveksling med forskere i visuell kunst om hvordan personlige vitnesbyrd og kulturell erindring, historier om forfølgelse, eksil og overlevelse kan engasjere nye publikummere. Seminarets andre dag er viet dette spørsmålet: Hvordan kan deltakende metoder for fortelling med kunstnere og tidsvitner i tett dialog utfordre og utfylle tradisjonelle former for historieskrivning?
Resultatene av dette prosjektet presenteres i samarbeid med BIT20, pianist Ermis Theodorakis, Griegakademiet og Senter for Griegforskning ved Universitetet i Bergen.
Konsert i St. Markus kirke 2. mai kl. 19:30
Remembering Lost Music:
Julia Constance Wiger-Nordås
Resitasjon
Olve Haugen, Voice
Diego Lucchesi, Clarinet
Peter Kates, Percussion
Francisco Corthey
but who?
Filip Eriksen, Voice
Jon Behncke, Trumpet
Peter Kates, Percussion
Isak Hård
Om eg berre visste
Louise Engeseth, Voice
Diego Lucchesi, Clarinet
Martin Shultz, Violin
Emiliano Ortíz Benítez
Ágata Blanca
Maria Myklemyr Reite, Voice
Jarle Lars Rotevatn, Piano
Diego Lucchesi, Clarinet
Dániel Péter Biró
Gvul (Border) for Piano and Electronics
Ermis Theodorakis, Piano
Dániel Péter Biró, Electronics
Prosjektet er støttet av strategiske prosjektutviklingsmidler delt ut av Fakultet for kunst, musikk og design ved Universitetet i Bergen.
B.O.D.Y. - Between auditory fiction and body-reality
(last edited: 2025)
author(s): Erika Matsunami
This exposition is in progress and its share status is: visible to all.
The exposition "B.O.D.Y. – Between auditory fiction and body-reality" is a summary of my project `B.O.D.Y. 2010´, which was represented from 2009 (ground work) until 2012 and includes theory, artistic practise, procedure, realisation, representation and perception. Thereby, the theories refer to my artworks and are summed up my artistic thesis. The artworks in this exposition are related to the theses of the academic and scientific fields. The artistic research for the audio and visual works is based on the project `B.O.D.Y. 2010´. This project is an intermedia project; it uses media such as photography and drawing, photography and sound installation, and music (sound/sonority/noise) and drawing. The research field is interdisciplinary in visual arts and music within the expanded scope of the transdisciplinary approach.
In the project B.O.D.Y., I used the time-based mediums of sound and performance which are the mixing layers of design, happening and performing. The act, as well as performance, is conceptual and improvisational which evokes, in contrast, the connotation of the objects with the body in real-time.
In the space design for the installation and performance, the horizontal dimension of this installation is variable. Each exhibition space of the installation and performance will be re-designed by the cross-disciplinary approach in the art such as in the representation's concept and artistic approaches.
This digital exposition is likewise a part of the concept and contemplation for the art book B.O.D.Y. about the conceptualisation for a multimedia art book design with intermedia artwork.
(Human studies in the keywords is not the area of studies such as human science.)
Therefore, my artistic practice in sculpture is 'relief' of its spatiality and narrativity in connection with materiality rather than as the symbolism in the post-conceptual era. It is MA (間) as a transmedia between Relief and Byōbu.
Tactile paths : on and through notation for improvisers
(last edited: 2022)
author(s): Christopher A. Williams
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Tactile Paths: on and through Notation for Improvisers is an artistic research project that articulates and expands the nexus of notation and improvisation in contemporary and experimental music. The project interweaves direct artistic experience with insights from improvisation studies, the social sciences, philosophy, and various scholarship in the arts to reveal methodological connections among diverse artists such as Richard Barrett, Cornelius Cardew, Malcolm Goldstein, Lawrence Halprin, Bob Ostertag, Ben Patterson, and the author. By focusing on how notation is used, rather than on what it represents in an abstract sense, the author shows how written scores emerge from and feed back on ongoing improvisational processes. Thus, it is argued, they are not fixed texts whose primary purpose is to prescribe and preserve, but rather tactile paths in the improviser’s ever-crescent musical and social environment. This practice-based approach aims to lay the conceptual groundwork for theorizing and broadening the creative relevance of work whose importance to practitioners belies its marginal presence in academia and institutions.
The Dim Lit Subterranea of the Ancient Mind: the influence of place in ‘inspired’ composition, and the search for 'Ur' sound.
(last edited: 2020)
author(s): Jonathan Day
This exposition is in progress and its share status is: visible to all.
This interdisciplinary research progresses aspects of musical composition, musicology and organology though the application of specific recent developments within philosophy and physics.
There are two contingent ‘expeditions’–articulated constellations constructed of a suite of compositions (released as a musical album), exegetical writing and performances.
Atlantic Drifter investigates and evidences interactions developing from the implications of Object Orientated Ontology, (Harman, Bogost et al) for composition. OOO identifies the independent cosmopoesis of non human objects–the manner in which objects-with-agency declare the nature of their ‘world’ through artefacts. It calls the interaction of object worlds ‘encounters’. This research interrogates and transcribes a series of these encounters, experienced in locations internationally. It explores and reveals the agency of place, Genius Loci–air, water, stone, architecture interacting with the composer/philosopher. The research resulted in new music released through Proper Records. A chapter in Music, Myths and Realities (2017) offers a detailed exegesis of the theoretical advances facilitated by the creative work. The works and ideas were shared by invitation as concerts and keynote lectures at prestigious venues internationally.
The second expedition, A Spirit Library, develops from this and examines the ‘encounter’ with the physical presence and agency of sound itself. Schopenhauer’s exposition of music as Will was revisited though the lens of String Theory and aspects of Steven Hawking’s ideas about universal futures. The work explored the sound/human/instrument ‘encounter’, resulting in novel engagements with the cosmopoesis of sound. It allowed an extension into organology, where the generative influence of ‘Ur’ sound was applied to the construction of instruments, offering a novel understanding, shared in a streamed Keynote lecture, available online.
The work was performed by invitation at high status venues and on radio internationally. The music was positively reviewed, including selection as Album of the Year 2019 by Folk Radio UK.
Musical Source as Part of a Performative Ritual: Crossing borders through Explorative Strategies
(last edited: 2018)
author(s): Elisabeth Laasonen Belgrano, Johannes Boer, Assi Karttunen, Catalina Vicens, Dinko Fabris, Björn Ross
This exposition is in progress and its share status is: visible to all.
Proposal peer-reviewed and accepted as ”Themed Session”,
18th Biennial conference on Baroque Music,
Cremona 10-15 July 2018
In the light of the conference main theme ’Crossing borders’ the aim of this round table / themed session is to develop an experimental discourse departing from a musical source from the period 1550-1750, as part of a performative ritual for crossing borders and strict dichotomies. The objective is to search from new chiasmatic crossings between a musician’s gaze, a musical source from the Baroque era and musicological findings. Following the discourse of letting go of the perceived strict dichotomy between musical text and music performance (Schulze 2015:3) this session proposes a radical move towards a borderless entangled reading of musical sources based on performative methodologies. This approach may allow for new relations to develop between traditional distinctions pronounced through musicological findings and artistic performance methods; it might also allow for closer collaborations between musicologists and artistic researchers in music. Artistic research in music is a fast growing experimental academic field, with a strong link to musicology. Highly significant to this new field is the desire to find ways of merging sensuous (subjective) knowledge with a variety of other research methodologies. The artistic research purpose is often to follow the performing process of understanding a musical score and the active performance practice calling for praxical strategies such as ritual thinking, musicking through texts and theories (ex. hermeneutics, feminist new materalism), reflective/diffractive methodologies, meaning-making through translation studies, essayistic writing, and speculative performance philosophy. For this session four short (5 min.) presentation will be performed with one common point of departure: ‘musical source a part of a performative ritual for crossing borders and strict dichotomies’. With reference to these four presentations the stage will open up for an intra-active and explorative dialogue between all participant in the session.
An Erotics of Art: A Specific Attempt at Failure
(last edited: 2018)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
Is it possible to conceive of a form of musical criticism that reflects the very subject(s) it attempts to mobilise? To embrace the fluid ontologies of music while limiting the ossifying nature of linguistic criticism?
An Erotics of Art was a project I ran in 2016 to try and create such an art form. Myself and a select few artists, writers and musicians were asked to create "responses" to musical works of their choice. These responses had to be created in real-time, as they listened. These are my submissions.
Because of my grounding, the majority of each response is text based (I am loathe to say linguistic...) but occasionally text fails me. I stretch it to what I saw as its intelligible limit at the time, and used images and free-drawing.
The resulting pieces are a searing autoethnographic matrix of my situation at the time, as provoked by these musics. The inspiration came from both Susan Sontag, from whom I clearly ape the name of the series, and an old Downbeat Magazine section called "Blindfold Test". Examples are easily found. They may seem discursive but rest assured: I am talking about the music itself and nothing else.
The following article presents the current status of the artistic research project Method of Vienna (MoV) and answers the questions: How can I imagine the MoV initiative in detail? Which methodological approach was chosen? Which MoV events have been realized so far? The presentation ends with a personal reflection after six years of commitment to Method of Vienna, in which current observations, conclusions and the future of the project are put up for discussion.open exposition comments (0)
How can Kodály music methodology contribute to the already existing Waldorf music education in giving the children ownership in music.open exposition comments (1)