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.
Interdisciplinary Exploration of AI within a University setting
(2024)
author(s): Helen Scarlett O'Neill
published in: Research Catalogue
Case study - AI Week at Robert Gordon University, Aberdeen.
Staff share their experience of running RGU’s first AI week, which was held in October 2024 at Gray’s School of Art in collaboration with School of Computing. This online case study provides insights from workshops and discussions covering Gen AI, its ethics, its implications as/within art, and its role within learning/production processes.
CCC at the mdw: Interweaving Artistic and Musicological Exploration at Music University
(2024)
author(s): Chanda VanderHart, Judith Kopecky
published in: Research Catalogue
Even at one of the world's oldest and largest music universities, the mdw - University of Music and Performing Arts in Vienna, the siloing of fields is the norm. Thanks to budgetary and organizational structures, it is rare that artistic practice and traditional musicology teaching are actively combined; what conservatory students learn in music history seminars and what they learn from their performance teachers exist largely separately from each other.
This exposition documents an ongoing, pragmatic attempt to interweave traditional music research with artistic practice and interventions, thereby introducing students to Artistic Research at bachelor's and master's levels. The CCC (Content-Concept-Context) module was initiated by Judith Kopecky at the Antonio Salieri Department of Vocal Studies and Vocal Research in Music Education and has enjoyed cooperation with the Institute for Musicology and Performance Studies (IMI) for the past three years. Here she, Stephen Delaney and Chanda VanderHart reflect on the promises, surprises, limits, and potential for intertwining scholarship and artistic practice in an institutional setting.
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.
A Love Letter to Ironing: Learning and Unlearning
(2024)
author(s): Tricia Crivellaro, Lynne Heller
published in: Research Catalogue
What does ironing have in common with learning to build a digital world? This exposition explores the nature of learning and unlearning through the juxtaposition of skills, specifically ironing, a competency acquired for the most part through unconscious absorption, versus creating in a digital medium where our learning was much more self-conscious. In learning to build and program in Unreal Engine (UE5), a game engine capable of enabling a virtual reality (VR) experience, we learned, once again, what it means to learn. The exposition is written as a lyric essay to encompass both the prosaic and poetic ways that we engaged with a project titled, Craft and the Digital Turn. By using VR as a means of data visualization we sought to bring our craft backgrounds together with future trends in digitalization and communication. Through personal narratives and histories, melded with theory and analysis we hope to record a process that was deeply engaging and extremely challenging for us as practitioners.
FACT stage one
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds.
The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions.
FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021.
Image copyright: Christina Hillheim
The sea as a site of curation: Reflections on aesthetics education
(2023)
author(s): John Baldacchino
published in: HUB - Journal of Research in Art, Design and Society
With the sea as a “site” of curation, a thalassic approach (as that which belongs to the sea), facilitates a showing of those things that converge upon the contingency of daily living. The case for aesthetics is pedagogical, inasmuch as it provides us with a strategy for exiting into the wider world as we move outside the walls of a building (and that of Bildung). Exiting also implies rejecting all those institutionalized constraints that education’s edificial approach brings to learning. Here, in its aporetic nature, art is one of those few human actions which allow us to articulate and enact a sense of being both strangers and homecomers in our own world. In other words, this is a form of curation that is claimed through the autonomy that it portends.
Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
(2023)
author(s): Noa Meshulam
published in: KC Research Portal
Name: Noa Meshulam
Main Subject: Historical Clarinet
Research Supervisor: Wouter Verschuren
Research Title: Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
Research Questions:
• How are the changes in the clarinet’s design and playing techniques, musical aesthetics, and taste being manifested in Amand Vanderhagen’s method from the first to last edition (1785-1819)?
• Has Vanderhagen changed his pedagogical model in the 34 years that passed between his first book and his last? If any changes occurred, what were the factors that contributed to that?
Summary:
During the last decades of the eighteenth century, the field of clarinet pedagogy started to blossom and rapidly developed alongside the publishing of the first comprehensive methods for the instrument. The earliest amongst these important treatises, Méthode Nouvelle et Raisonnée pour La Clarinette, by Belgian-French clarinetist Amand Vanderhagen, was published in 1785.
Throughout his lifetime, Vanderhagen edited and republished his method twice after the initial edition; In 1799, the Nouvelle Méthode de Clarinette, and in 1819, the Nouvelle Méthode de Clarinette Moderne à Douze Clés.
In this research, I demonstrate the ways in which the development of the clarinet and the changes in the musical culture in Paris affected, contributed to, and inspired Vanderhagen to modify his pedagogical model. In addition, I examine the ways changing musical aesthetics and styles are manifested throughout the three methods. During the process, I got the impression that Vanderhagen was extremely sensitive and attentive to the changes in the musical scene, as well as the advancements in the clarinet culture in Paris. Hence, between his three methods, I could spot several interesting changes in his approach, particularly in topics like embouchure, exercises, embellishments, etc.
With this comparison, I aimed to draw attention to a different thread that focuses on Vanderhagen’s approach to clarinet pedagogy in the late-eighteenth and early-nineteenth centuries, and appreciate the ways in which the instrument’s evolution contributed to the development of the method and practice of teaching.
Biography:
Noa Meshulam is an Israeli-Portuguese clarinetist specializing in historically informed performance. She earned her bachelor’s degree from the Jerusalem Academy of Music and Dance. During her bachelor studies, she participated in the Nazarian Excellence in Chamber Music Program and played with The Jerusalem Symphony Orchestra on several occasions. After graduating she moved to the USA to pursue her master’s degree at Indiana University and was awarded scholarship and fellowship grants. There, she also started studying historical clarinet with Eric Hoeprich, with whom she continued her second master’s studies at the Royal Conservatory in The Hague.
Petals to Light...Pedagogic Possibilities with Floor Art
(2022)
author(s): Geetanjali Sachdev
published in: Journal for Artistic Research
My research explores rangoli and kolam floor art practices to understand their pedagogical potential for the study of plants. The research involved an analysis of a personal archive of rangoli and kolam images and a series of artistic collaborations. As indigenous art practices, rangoli and kolam have moved beyond traditional media that historically involved powdering rice plant seeds to draw dots and lines with our fingers, and decorating the ground with various flowers, leaves, and twigs. These floor art practices have expanded to incorporate alternative media such as lights, rollers, stencils, coloured beads, and stickers. The pedagogical value of rangoli and kolam floor art practices for plant study lies in the new media and materials that these indigenous ritual practices have embraced. These practices enable interpretations and contemporary adaptations within both traditional and modern contexts, and this allows learners with multi-literacies to access different kinds of knowledge about plants.
Territorial Art, Design & Architecture
(2022)
author(s): Sergio Montero Bravo
connected to: Konstfack - University of Arts, Crafts and Design
published in: VIS - Nordic Journal for Artistic Research
This collaborative and cross-sectoral project addresses places, environments and spaces beyond mere functional urban endeavors. The project explores possibilities that become visible when public space is viewed from perspectives beyond the urban norm. The aim is to restore lost rural relations and to search for ways to leave the anthropocentric narrative. In the past, densification of cities has been considered synonymous with sustainable development, creativity and innovation. However, a one-sided urban focus leads to disarmament of rural habitats, and dissociation from human interdependence with non-human nature. Today, adaptation to global warming is dependent on the survival of the rural. Therefore, this artistic research project is primarily informed by activities in rural environments together with species and ecologies other than human and urban. The goal is to investigate how art, design and architectural interventions can foster oppositional narratives to anthropocentricity. What I present in this exposition are my most recent collaborations and a journey of professional metamorphosis to reach this goal. The result is a series of ongoing projects and processes that demonstrate how I explore places of communality, togetherness and mutual beneficial interdependency between species.
Movement first : Directing for Movement-Based Performative Arts
(2021)
author(s): Lena Stefenson
published in: Stockholm University of the Arts (SKH)
Making performances that have movement as a base means in many ways to venture out into an unexplored landscape. What is to be played on stage usually has its origin in a movement-based idea and not in an already written text to be analyzed. How can this work go? Where are the challenges and what methods can be used?
Lena Stefenson has written this book on the basis of her own experiences as a choreographing director with examples from various works as well as her own and others' teaching. The text is about how to create the elevated movements in a performance. How to work with theme? With story? What is the relation between text and movement? What does it mean to be a choreographer / director for a movement-based work? How are the last rehearsal weeks going?
The book is aimed at anyone who is, or wants to become, a choreographing director or actor in the movement-based performing arts with forms such as dance, mime and circus. It is also aimed at those who generally want to make their scenic work more physical.
The politics of creative justice: Conversations on creative processes
(2021)
author(s): Srivi Kalyan
published in: Research Catalogue
This exposition explores the question of creative justice in creative processes and pedagogy. Through an evolving conversation on a chat app, a mentor shares her creative process of a painting that she is emerging with her students at the Masters level. And interwoven through these, they evolve a pedagogy of artistic research, decolonization, reflective inquiry into self, aesthetic encounters with their own cultures, Indian aesthetics and philosophies, meandering and pondering together. The exposition is constructed in four parts. Part 1:Utopia and the politics of creative justice. Part 2: The Conversations through chats. Part 3 - Student responses and reflections. Part 4:
Part 4: Teaching as philosophy of a way of being. The mentor journeys through over twenty five years of her practice, inviting her students to participate, question, reflect and ponder with her, offering a creative pedagogy for artistic research that is also bound in the politics of creative justice.
Performative Well-Being: Conditions of Sharing
(2018)
author(s): Alexander Komlosi
published in: RUUKKU - Studies in Artistic Research
Since Ruukku 8 has asked us to consider “conditions of sharing”, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!
Mycological provisions
(2016)
author(s): Christopher Lee Kennedy
published in: Journal for Artistic Research
This exposition considers the use of mycology and chance operation as a method and material for arts-based research. The exposition details a series of mushroom hunting excursions designed to engage four artist-teachers in collaborative dialogue about their practice and identity. As participant and researcher converse, the hunts unfold as dérive-like encounters with a landscape interrupted through chance and embodied experience. The project draws from the work of artist and composer John Cage, who used fungi and mushroom hunting as one of many devices for exploring sound and its relationship to environment. Contextual research and documentation offer a glimpse into this process, while considering unstructured, kinetic, and uncertain ways of knowing in qualitative and arts-based research. The aim is to explore mycology as a post-formal lens for understanding the pedagogical and creative practices of the artist-teacher as a networked, fluid, and relational system.
The place of modern technique in historical performance practice.
(2014)
author(s): Mikaela Oberg
published in: KC Research Portal
Name: Mikaela Oberg
Main Subject: Historical Flutes Research Coaches: Wouter Verschuren
Title of Research: The Place of Modern Methods used to acquire Technique on Period Instruments, within Historically Informed Performance Practice.
Research Question:
How has the way we acquire technique on the flute developed since 1700 and to what extent can the use of instructional methods intended for Boehm system flutes within historically informed performance practice be deemed valid?
Research Process:
The information for my research has come from a collection of over fifty treatises, methods and technical workbooks written between 1700 and 2013. My historical overview was based on a more in-depth analysis of just over thirty of these and I also interviewed twenty-seven historical flute players, of various ages and levels to acquire an understanding of the current approach towards technical development.
Summary of Results:
By examining a large variety of flute instructional methods written across three hundred years I have discovered that there is a continuous relationship in ideologies associated with the development of sound, articulation and finger technique on the flute. This continuity of ideas, combined with the results of my interviews with current student and professional historical flute players has brought me to the conclusion that it is quite valid for historical flute players to include methods intended for Boehm system flutes as part of their practice material.
I have found evidence supporting the fact that eighteenth century flute players included technical exercises as part of a daily practice routine, apart from their repertoire practice. I have also found that the most popular and enduring exercises in use today, many of which us flute players know from our modern flute studies, have their foundations in material found in eighteenth and early nineteenth century method books.
In my power point presentation I will offer various examples from my research material highlighting the development of technical material from 1700 to the present. This will display the links that exist between the old and the new as well as offer several often over-looked suggestions for flute players looking to expand their practice resources.
Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education
(2014)
author(s): Ida Vujović
published in: KC Research Portal
While in some educational systems solfège is taught systematically from a young age (whether in specialized music schools or in classroom music), in other countries it is a compulsory discipline only in professional education. In the latter case, students start learning solfège as teenagers or young adults but by that time they have already developed some of the solfège skills through years of playing an instrument. What these skills exactly are, and what overall musical knowledge students already have, differs from one student to another. Some are already familiar with certain chord progressions, some have general knowledge about keys and intervals, some have never sung before, and some can already play by ear on their instrument. Students themselves are not always aware of the level of their skills or may have the wrong impression about them. Teachers need time to obtain an objective picture of each student’s abilities. If the teacher wants to build on the students’ pre-knowledge, it can be difficult to decide exactly where to start and which route to take towards the goal. Starting at the level of basic skills makes this much longer and might demotivate students; starting at too high a level will unavoidably leave gaps in knowledge. Many music theory pedagogues choose to start “half way,” after first having systematized all the knowledge and skills that should already have been developed—which might turn out to be both too low and too high at the same time.
While there is much research in the domain of solfège issues in music psychology and there are many publications concerning classroom music, almost the only sources of information about solfège methodology for college-level students are solfège method books and textbooks. Conservatory students without previous solfège training are not problematized as a specific group of solfège-learners. In this article I am proposing that conservatory beginners are seen as a specific group of learners who are experienced and novice at the same time. I will point out and discuss several issues that are relevant to the design of the solfège method for this group, especially concerning the first months of learning where the foundation is being built. I will argue that learning solfège in general is a process with its own particularities, and that the awareness of these should be the starting point for the planning of the learning sequence. A solid foundation is seen as the requirement for any further learning, and the role of the teacher is crucial in developing or strengthening it in students. In this context the concepts such as preparation, readiness for learning, repetition, routine, challenge and independent learning are discussed.
Through a comparison of methods for children and adult beginners, I aim to explain some of the problems that are encountered in the solfège pedagogy.
PSi Performance and Pedagogy Working Group 2021
(last edited: 2024)
author(s): Adelheid Mers, Rumen Rachev
This exposition is in progress and its share status is: visible to all.
This site will support the working group's online workshops, in June and July 2021.
The new Performance Studies international (PSi) working group Performance & Pedagogy (P&P) offers a forum for sharpening questions and workshopping models that arise from the PSi membership. P&P opens conversations spanning embodied being, doing and knowing across multiple dimensions of pedagogy, such as learning, teaching, and institutional contexts of delivery. Our goal is to discover and expand on urgent topics in dialogue with PSi membership across positionalities. This working group can serve as one support system through which to assess existing and imagine new topologies of P&P practices and methods.
Classic Express Research project
(last edited: 2023)
author(s): Ilona Sie Dhian Ho, Joram van Ketel, Vivian de Graaff, Ilja Venema, Camilla Genee
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
In a combined qualitative and quantitative research the influence of storytelling in concerts for children is analyzed. In a controlled setting, The Classic Express (mobile concert hall), groups of schoolchildren attend either a concert with or a concert without storytelling. The groups, similar in socio- economic background and age, are compared.
In a quantitative research the involved listening, the felt emotional intensity, the interest in classical music and the interest in actively playing an instrument, will be measured. For quantification new grading systems are developed by scientists and musicians in a collaborative process.
In a qualitative research on the influence of storytelling the focus is on children with severe learning disorders. The emotional responses of these children in concerts with and without storyelling, and in combination with participatory elements (moving, gestures) are observed by teachers and caretakers, They compare their observations in the concert to the normal behaviour of their pupils. Both Interviews with the teachers and their grading of arousal, attention and emotional levels in the concert will provide data that will be analyzed by the reserachers.
This research is the first study of The Classic Expression Research Group, a group of researchers from the Royal Conservatoire and Leiden University, collaborating to provide new insights on the impact of presentation techniques in classical concerts.
Formless beginnings
(last edited: 2023)
author(s): Sjoerd Westbroek
This exposition is in progress and its share status is: visible to all.
What does it mean to begin something as an artist, to embark on a new project? How does a beginning materialise your beliefs, intentions, hopes for the future, as well as your indebtedness to what is there and what has happened before? What rituals do you design to prepare beginning? As an educator, to what extent can each class be seen as a new beginning, in a sense that the outcome can never be predicted? And, how do you support others in beginning?
These are some of the questions that guide me while exploring the practices at WdKA and PZI that I am involved in. Working for the Teacher Training Programme and the Master Education in Arts, I am interested in the question if there are specific pedagogical practices that prepare working artistically.
The complexity of beginning serves as a focal point that allows me to map how a nexus of art and pedagogy could materialise. An understanding of beginning as something that needs a preparation already shows its paradoxical nature, as beginning is also always continuing what is already there. My work on the topic involves theoretical study and writing, as well as developing a more practical approach, collecting stories and creating exercises around pedagogy and art as beginning.
VISMA SKUA
(last edited: 2022)
author(s): Linda Bruhn
This exposition is in progress and its share status is: visible to all.
Ett projekt kopplat till kursen Visma på Konstfack ht21/vt22
Zona de Creación Accesible 2020
(last edited: 2021)
author(s): Laisvie Andrea Ochoa Gaevska
This exposition is in progress and its share status is: visible to all.
Documentación del proceso de investigación pedagógica en danza inclusiva llamado Zona de Creación Accesible
Para el 2020 ConCuerpos ha estructurado una investigación pedagógica a profundidad sobre el desarrollo de técnicas en un contexto inclusivo. Realizaremos 4 laboratorios y 4 periodos de asimilación en donde los miembros de la compañía tendrán el tiempo de estructurar entrenamientos que respondan a sus necesidades y deseos específicos.
Partimos de la pregunta ¿Qué es ser un/a bailarín/a de nivel profesional en la danza inclusiva? Esta pregunta se aborda de manera subjetiva, concretando competencias específicas que se desean alcanzar. Estudiando técnicas como Piso Móvil, Danza Moderna, Danza Contacto y Pilates, cada quien desarrollará su propio lenguaje, principios y ejercicios para originar una técnica propia.
Esta investigación pretende aportar a la profundización de nuestro campo, abriendo posibilidades concretas para la profesionalización de bailarines diversos
KuvA Research Days 2020
(last edited: 2021)
author(s): KuvA Research Days
This exposition is in progress and its share status is: visible to all.
Taideyliopiston Kuvataideakatemian Tutkimuspäivillä 7.-9.12.2020 kokoonnutiin keskustelemaan taiteellisen tutkimuksen ajankohtaisista kysymyksistä. Tähän expositioon kootaan kolmipäiväisen tapahtuman dokumentaatiot.
At KuvA Research Days 7-9 Dec 2020 at the Academy of Fine Arts Helsinki we incited discussions concerning topical issues of artistic research. In this exposition we will collect the documentations of the three-day event.
Case study - AI Week at Robert Gordon University, Aberdeen. Staff share their experience of running RGU’s first AI week, which was held in October 2024 at Gray’s School of Art in collaboration with School of Computing. This online case study provides insights from workshops and discussions covering Gen AI, its ethics, its implications as/within art, and its role within learning/production processes.open exposition comments (0)
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds. The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions. FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021. Image copyright: Christina Hillheimopen exposition comments (0)
Since Ruukku 8 has asked us to consider “conditions of sharing”, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!open exposition comments (0)
This site will support the working group's online workshops, in June and July 2021. The new Performance Studies international (PSi) working group Performance & Pedagogy (P&P) offers a forum for sharpening questions and workshopping models that arise from the PSi membership. P&P opens conversations spanning embodied being, doing and knowing across multiple dimensions of pedagogy, such as learning, teaching, and institutional contexts of delivery. Our goal is to discover and expand on urgent topics in dialogue with PSi membership across positionalities. This working group can serve as one support system through which to assess existing and imagine new topologies of P&P practices and methods.open exposition comments (0)
Taideyliopiston Kuvataideakatemian Tutkimuspäivillä 7.-9.12.2020 kokoonnutiin keskustelemaan taiteellisen tutkimuksen ajankohtaisista kysymyksistä. Tähän expositioon kootaan kolmipäiväisen tapahtuman dokumentaatiot. At KuvA Research Days 7-9 Dec 2020 at the Academy of Fine Arts Helsinki we incited discussions concerning topical issues of artistic research. In this exposition we will collect the documentations of the three-day event.open exposition comments (0)