Research Catalogue

an international database for artistic research

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  Quartertone marimba (2024) author(s): Kjell Tore Innervik published in: Norwegian Academy of Music
  A PhD-level project in the Fellowship program for artistic research and development ("Stipendprogrammet for kunstnerisk utviklingsarbeid") at the Norwegian Academy of Music in Oslo, by Kjell Tore Innervik.
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• The Prolonged Touch: Finger Pedaling and Legatissimo in Classical and Early Romantic Piano Music (2020) author(s): Blake Proehl published in: KC Research Portal
  The term prolonged touch comes from Carl Czerny and is synonymous with finger pedaling, legatissimo, overlegato, and, in some cases, legato. This was a common technique used by the early pianists who took it out of the practices of harpsichord, clavichord, and organ playing. Its use in piano music declined during the Romantic period and beyond, due to the development of the piano and its sound, the advancement of damper pedal technique, and a more "literal” reading of notation. My research aims to understand how and where in music the prolonged touch was used in Classical and early Romantic piano music. Passages describing this technique were found in treatises and works by C. P. E. Bach, Türk, Milchmeyer, Adam, Hummel, Moscheles, Czerny, and more. From these passages, I examined the ways the aforementioned composers notated or indicated the use of this technique in their compositions. Next, based on what the treatises tell, I organized categories of musical applications of the prolonged touch. And then I gave examples from piano literature to further illustrate their use within each category. Finally, I demonstrated my artistic use of the prolonged touch in Mozart’s Sonata in F major, K. 332.
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  Divergent voices – Different dialogues in the artistic research project Wikiphonium (2015) author(s): Hilde Blix, Geir Davidsen published in: Journal for Artistic Research
  In this exposition we present the outlines of the artistic research project Wikiphonium, and discuss how the Bakhtinian concept of dialogue can function as a theoretical, practical and methodological approach in artistic research projects. The Wikiphonium project was an investigation into new ways of playing the euphonium and creating new music for the instrument, in close dialogue with various composers and musicians. The work contributed to the expansion of the sonic possibilities, expressions, and repertoire for brass instruments in general. Three interrelated parts together constituted the practice as artistic research: thirteen concerts and performances consisting of new works for euphonium based on experimental collaborations with composers and musicians, experimentation with the instrument's possibilities, and development of different tools enabling these developments, including a wiki with a library of sounds and notations. The exposition contributes to the general methodological discussion in the field of artistic research, illustrated through examples and experiences from the dialogic approach in the Wikiphonium project. A genuine dialogic attitude in artistic research processes enriches critical reflections embedded in the practice. Documentations of process and results together with the multimedia tool wikiphonium.org constitute a transparent and open communication of artistic practice as research.
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• Vestito a ponti d'oro e a cento corde in seno - 'History, repertoire and playing-techniques of the Italian salterio in the eighteenth century' (last edited: 2023) author(s): Franziska Fleischanderl connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The present study of Franziska Fleischanderl is the first comprehensive and fundamental compendium on the Italian salterio of the eighteenth century. It sheds light on its genesis in the ecclesiastical environment, its dissemination and use in all regions of Italy, its social rise to the highest circles of the aristocracy, its virtuoso professionals and noble amateurs, and last but not least, its original genre-spanning repertoire. It is a great peculiarity of the Italian salterio that it was played with three completely different playing techniques in equal measure. Either the strings were struck with two small hammers (battuto), plucked with the fingernails and fingertips (finger-pizz) or plucked it with plectra, that were fixed in metal finger rings and placed at the fingertips (plectra-pizz). The search for and reproduction of original playing utensils such as hammers and finger rings, as well as instructions for assigning the appropriate playing technique to the original salterio repertoire and mastering all three techniques, constitute the artistic research part of this study, which was conducted on an exceptionally well-preserved, beautifully decorated, original salterio made by Michele Barbi in Rome in 1725.
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