The TIME, SPACE, and GESTURE in a crossdisciplinary context
(2024)
author(s): Elina Akselrud
published in: RUUKKU - Studies in Artistic Research
In any performance genre, the use of time is a fundamental element that shapes the artistic experience. When artists from different disciplines come together to collaborate on the same material, the perception and utilization of time as an artistic device can undergo significant transformations. This exposition delves into the intricate realm of non-verbal artistic communication between performers from diverse disciplines, with a specific focus on how the actions of one artist can profoundly influence and shape the decisions of another.
To explore this dynamic interplay, a compelling case study is presented, examining the enchanting character miniatures for solo piano composed by Alexander Scriabin during the middle and late periods of his life. These exquisite musical pieces are interwoven with the fluidity and spontaneity of contemporary dance improvisation, creating a rich tapestry of artistic expression.
Within this crossdisciplinary collaboration, the exposition sheds light on the ephemeral layers of communication that exist between performers. It delves into thought-provoking topics such as the sense of flow, movement, and structure within the work, the role of physical distance between performers and its intricate relationship with the passage of time, the density of content (i.e., musical material) in the context of crossdisciplinary exploration, and the profound significance of gestural communication between artists.
Through this crosspollination of ideas and artistic exchange, the potential for profound and transformative artistic impact emerges. In essence, this exposition offers a thought-provoking exploration of the transcendent power of artistic communication between performers from different disciplines.
Etableringen av en norsk klavertradisjon: Interpretative trekk ved Edvard Griegs Ballade op. 24, Geirr Tveitts Sonate nr. 29 op. 129 og Fartein Valens Sonate nr. 2 op. 38.
(2024)
author(s): Einar Røttingen
published in: Research Catalogue
The theme of this dissertation is three important Norwegian piano works. The dissertation includes a main text, a recording and a critical/practical edition of Valen’s Sonata no.2 op.38. By using a musicological/analytical and artistic approach, this dissertation aims to create a greater understanding for these three works as a part of a Norwegian and continental European piano tradition. The main text investigates the contents of the music and how the works are built. It looks at the performance indications in the score and performance practice traditions (historical recordings). References and allusions to other works in the same genres and to similar piano styles are discussed. By looking at possible autobiographical and metaphorical allusions, the dissertation aims at finding an understanding for the works’ origin and meaning. The critical and practical edition contributes for the first time to correct errors and unclear readings of the existing edition and presents a possible realization of Valen’s incomplete score. The main text also includes general criteria for the interpretative choices on the CD. (Norwegian version only, some parts are translated to English as articles)
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TRAVERSING SONIC TERRITORIES (TST)
(2023)
author(s): Søren Kjærgaard, Torben Snekkestad
published in: VIS - Nordic Journal for Artistic Research, Rhythmic Music Conservatory, Copenhagen
What happens when musicians improvising on acoustic instruments sample and exchange their sound libraries? How can such a transgression of sonic territories contribute to an expanded understanding of one’s own sonic identity? And could this b/lending of identities point to a more ambiguous yet vibrant field of intra-play? Departing from these questions, this project intends to challenge our idea of sonic identity as a personal subject-oriented entity, and consequently investigate how a collaborative sharing of sampled sounds, can contribute to an expanded understanding of the sounds we play and are played by. Individual idiomatic approaches to one’s own instrument are thus interfered as we transgress habitual boundaries for action possibilities and musical imagination. The practice circulates from the duo of Torben Snekkestad and Søren Kjærgaard toward external collaborators, where the sharing process involves different approaches to audio sampling and mapping, embedding and embodying, listening and playing with each other’s sonic material to a point where authorship, origin, instrument and sonic identity is diffracted.