Reiterate, rerun, repeat
(2021)
author(s): Michael Duch, Jeremy Welsh
published in: VIS - Nordic Journal for Artistic Research
Repetition plays a central role in many musical styles and genres. Repetition, rhythm and patterns also play an important part in the visual arts. Here we will show, examine and discuss repetition as a method and main musical element, as well as their correlation with moving images, in a series of audio-visual works we have been working on together since 2016.
Accumulator is one such project and will be the main focus here, where not only repetition, rhythm and patterns appear as musical and visual elements, but is used as an artistic method in itself when repeating performances of a similar material, documenting each one of them and adding the individual performances as layers creating a dense audio-visual orchestral solo performance.
As well as temporal repetition, Accumulator repeats in the spatial dimension, where the staging of a performance features the live performer multiplied, as he is accompanied by pre-recorded video images of himself. According to the spatial characteristics of the given performance space, this repetition of the performer may be frontal / two dimensional, or may extend across several surfaces, creating a surround projection in which the live performer is contained.
Action vs. Reaction
(2020)
author(s): Jacob Anderskov
published in: Rhythmic Music Conservatory, Copenhagen
"Action versus Reaction - Artistic encounters with an aesthetic otherness", was a research project undertaken at the Rhythmic Music Conservatory in Copenhagen in 2015-2016. The primary artistic output of the project is the album ”Resonance”, released on Sundance Music in September 2016.
My ensemble Resonance (previously known as ” Strings, Percussion & Piano”) consists of 3 string players as well as Peter Bruun on drums and myself on piano. The string players all have a background in European classical music and (composed) new music, whereas Peter and I originally came out of improvised music, jazz and its neighbouring regions. In this ensemble, we have been dealing with artistic encounters between our different aesthetics backgrounds for several years. I have realized that my primary curiosity orbits around the questions:
1) How can all members of a cross-genre ensemble stay true to their own musical intuition, developed through decades of full immersion?
2) How can these confident artists then transcend their notion of themselves and meet anew in an aesthetic field different from their respective origins?
In 2018, Jacob Anderskov was nominated for the Nordic Council Music Price for the album Resonance.
Habitable Exomusics
(2020)
author(s): Jacob Anderskov
published in: Rhythmic Music Conservatory, Copenhagen
PROJECT DESCRIPTION:
“The project examines post tonal material structuring principles in improvised music.
It deals with (searches for) unexploited opportunities or new forms of expressions within improvised music through studies of possible ways to organize the musical material - and with relevant practical and creative ways to find room for them in improvised music.”
Original RESEARCH QUESTION:
Through my own artistic practice, I will examine
- To which extent it is possible for me to use definable post tonal structuring principles in my improvisations, and
- Which of these principles can best be used in my improvisational universe.
Songs We Sing
(last edited: 2024)
author(s): Hans Knut Sveen, Alwynne Pritchard
This exposition is in progress and its share status is: visible to all.
This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.
PROJECT DESCRIPTION: “The project examines post tonal material structuring principles in improvised music. It deals with (searches for) unexploited opportunities or new forms of expressions within improvised music through studies of possible ways to organize the musical material - and with relevant practical and creative ways to find room for them in improvised music.” Original RESEARCH QUESTION: Through my own artistic practice, I will examine - To which extent it is possible for me to use definable post tonal structuring principles in my improvisations, and - Which of these principles can best be used in my improvisational universe.open exposition comments (0)
This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.open exposition comments (0)