Moving through Choreography – Curating Choreography as an Artistic Practice
(2021)
author(s): Marie Fahlin
published in: Stockholm University of the Arts (SKH)
The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.
Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’
Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.
The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.
The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
Towards an integrated method for practicing: internalizing the composer’s language.
(2019)
author(s): Pim Witvrouw
published in: KC Research Portal
Name
Pim Witvrouw
Main Subject
Music Theory
Supervisors
Paul Scheepers / David Kuijken
Title of Research
Towards an integrated method for practicing: internalizing the composer’s language
Research Question
In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes?
Summary of Results
Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together.
Biography
Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.
Vladislav Solotarjow and the Russian way of playing the accordion: a case study
(2016)
author(s): Elisa van Kesteren
published in: KC Research Portal
Abstract
Name: Elisa van Kesteren
Research supervisor: Stefan Petrovic
Title of the Research: The Russian way of playing the accordion: a case study related to the Chambersuite of Vladislav Solotarjow
Research question: Does the Russian way of playing the bayan exist and if so, how can I achive this in my own artistic practice?
Summary of the results:
Russian music is very particular. Through the centuries of this huge country’s history, art has always been of great importance, no matter what the political situation was. The world still honors their cultural heritage, their literature, dance and music. Russian music has always touched and inspired me so it was obvious to specialize during my master in this subject.
Becoming myself a performing musician I wanted to investigate what this Russian music is about. What are the characteristics and how do Russian performers play? I wanted to get as close as possible to the ‘Russian way of playing’. Focusing on Vladislav Solotarjow’s ‘Chambersuite’ or ‘Sentimental pieces to Alexander Blok’, made me develop my Russian way of playing. I have done this through listening, analyzing and comparing recordings, from Mika Vayrynen a Scandinavian bayanist and one of Russia’s most important bayanists Friedrich Lips and making my own recordings. This research has proved to me that the Russians play very expressive, with a lot of passion and freedom. Both their music and their instrument are very colorful. I have achieved many of these characteristics in my own playing, even adding my own personal style to it in the end. Only the colorfulness of sound was still missing sometimes. Wondering about my technique and musical decisions, I took the chance to compare the two instruments with each other. My accordion built in Western Europe (Castelfidardo, Italy) versus the Russian-built Bayan (Moscow). It was really helpful to investigate the history of the instrument, the history of Russia and their music in order to get as close as possible to the Russian way of playing. Furthermore, reading about Solotarjow’s life, analysing his composition and listening to different recordings, greatly improved my understanding of this music. These things have helped me to develop my artistic practice. The part of the research that directly involved my artistic practice has been of great value for me. It has enriched my expressive pallet by including more freedom in my playing in many different aspects. I have concluded that it is possible to achieve the Russian way of playing. I have also found that besides having background information about the history of the country, knowledge about the composer and the composition, it is important to have or to imagine the Russian soul. Next to this, it is also important to be open to a different way of playing. A way of playing that might be unfamiliar to a performer.
Biography:
My name is Elisa van Kesteren and was born in Leeuwarden, The Netherlands. I started playing the accordion at the age of eight. After graduating for the Bachelor Degree here at the Royal Conservatory in 2014, I continued studying with An Raskin and will graduate for the Master degree this year. I am a member of the very recently founded accordion ensemble “The Blackboxes”, have a great interest for Russian but also contemporary music and teach at the moment in various music schools.
A Musicians’ View on Cooperating with Composers: The influence of composers on the performance practice
(2014)
author(s): Martin van Hees
published in: KC Research Portal
Name: Martin van Hees
Main Subject: Guitar
Research Coach: Patrick van Deurzen
Title of Research: A Musicians’ view on cooperating with composers
Research Question: What is the influence of a composer on the performance practice of a performer when playing the composers’ composition?
Research Process:
An introduction and short analysis of five compositions will be presented in the research process. A meeting with the composer will take place and issues regarding musical ideas and technical difficulties will be discussed.
Before meeting the composer a thorough analysis regarding the way of performing the composition will be made. All the important decisions, musically and technically will be mentioned. A sound recording of the composition will be made in this stage.
During the meeting with the composer the composition will be played, recorded and reviewed. There will be an interview held with questions regarding the composition and with questions regarding the opinion of the composer concerning the performance practice. After meeting the composer, an analysis of the interview will be made. A reconsideration of the interpretation of the composition will be made. The composition will be recorded again. A comprehensive analysis of the cooperation will be made and a conclusion will be drawn.
Summary of Results: Throughout the research I discovered that it is helpful to play the composers composition in advance to them, before actually performing it. When a performer has sincere affection with a certain composition it is worth to share this affection with its creator. A performer has to be aware that a composition is a changeable piece of art, so a composer can always change the performer his opinion on the piece, even if the performer disagrees, both parties should come to a common solution.
As regarding the changes that are made before and after the meeting with the composer, they are audible on the sound recordings at https://soundcloud.com/martinvanhees
Gestaltande...
(last edited: 2022)
author(s): Elisabeth Laasonen Belgrano, Liv Kristin Holmberg, Mark Douglas Edmund Price, Cha Blasco, K Benedikte L Esperi
This exposition is in progress and its share status is: visible to all.
Vad innebär det att gestalta Guds kärlek?
Denna inledande fråga upplöses i nya riktningar och förståelser: 'Gestalta är att leva'. 'Gestaltande är en människas idé om Guds kärlek'. 'Gestalta är att skapa skönhet' och ’fördjupad medvetenhet om små rörelser'. 'Gestalta innebär att inkludera'. 'Gestalta är att vara Kristi tjänare'. 'Gestalta är ett tillblivande'.
Ord har under våren 2020 'tagit gestalt' genom existentiella samtal mellan anställda och ideella i Carl Johans pastorat i Göteborg. Dessa ord och tankar formar grunden till en serie konstnärligt gestaltande (existentiella) laboratorier, som i sin tur får resultera i en performance installation med premiär under 'diakonins månad', september 2021.
Vad innebär det att gestalta Guds kärlek? Denna inledande fråga upplöses i nya riktningar och förståelser: 'Gestalta är att leva'. 'Gestaltande är en människas idé om Guds kärlek'. 'Gestalta är att skapa skönhet' och ’fördjupad medvetenhet om små rörelser'. 'Gestalta innebär att inkludera'. 'Gestalta är att vara Kristi tjänare'. 'Gestalta är ett tillblivande'. Ord har under våren 2020 'tagit gestalt' genom existentiella samtal mellan anställda och ideella i Carl Johans pastorat i Göteborg. Dessa ord och tankar formar grunden till en serie konstnärligt gestaltande (existentiella) laboratorier, som i sin tur får resultera i en performance installation med premiär under 'diakonins månad', september 2021.open exposition comments (0)