"Avec Picasso, ce matin..."
(2022)
author(s): Inês Lopes, Heloisa Amaral
published in: KC Research Portal
The current music scene is manifold in its means of expression. As music becomes more diverse and embraces other art forms it makes room for a new type of performers to flourish. My academic path, comprising jazz theory lessons and an uncomplete bachelor’s in composition beyond my classical piano studies, gave me the opportunity to develop a set of artistic skills that go beyond the standard performer curriculum. I saw in this artistic research the perfect chance to apply this knowledge.
In my work I explore three distinct approaches to a specific piece of music: Constança Capdeville’s Avec Picasso, ce matin… (1984), starting from a more traditional analysis and progressively diverging from this path towards a subversive approach inspired by the concept of anamorphosis. Capdeville’s score is essentially an open work with a set of guiding instructions. However, the lack of documentation, clear instructions and reliable sources concerning the piece made the notated score more ambiguous than expected. This possible setback in its reconstruction turned out to be the perfect context to put my expertise to the test. While dabbling with Capedeville’s score I resorted to experimental processes, to my experience with composition, my transcription and editing skills, archive work and the use of different media in contemporary performance practice.
I approached the score as a “script” rather than a “text” (Cook, Nicholas). In this research the score is no longer an end in itself, but rather an excuse towards the development of a musical project larger than it.
Choreo-graphic Figures: Scoring Aesthetic Encounters
(2019)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch
published in: Journal for Artistic Research
We have developed this exposition for ‘scoring an aesthetic encounter’ with the multimodal (visual, textual, sonic, performative) findings from Choreo-graphic Figures: Deviations from the Line, an artistic research project by Emma Cocker, Nikolaus Gansterer and Mariella Greil. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. Within this exposition, our aim is not to present an exhaustive account of the Choreo-graphic Figures project. Rather, we seek to test the specificity of this online context for extending our investigation through the following questions: how can we create a digital archive capable of reflecting the durational and relational aspects of the research process, a mode of online dissemination that enacts something of the liveness or vitality — the energies and intensities — within collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event?
We have modelled the exposition on the experimental score system developed within our research project, for organising our process of aesthetic enquiry through the bringing-into-relation of different practices and figures. The score is approached as a ‘research tool’ for testing how different practices (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences, and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which the experience of ‘something happening’ [i.e. figuring] coalesces into recognisable form).
Within this exposition, our research can be encountered experientially through → Playing the Score, whilst the → Find Out More section contains contextual framing alongside conceptual-theoretical reflections on the function of our score and its ecology of practices and figures.
Reseach: Caprice Basque, P. Sarasate
(2016)
author(s): Mikel Ibanez
published in: KC Research Portal
Name: Mikel Ibañez Santervas
Main subject: Violin
Main Subject teacher: Peter Brunt
Research supervisor: Herman Jeurissen.
Title of the research: Caprice Basque op.24 by Pablo Sarasate. Way of being interpreted.
Research question: Why did Pablo Sarasate compose the first dance of the Caprice Basque in 3/4 bar?
Summary of results:
The first dance of the "Caprice Basque" op. 24 by Pablo Sarasate is composed in 3/4 although it is a traditional dance from Basque Country which is usually played in 5/8. The piece was composed in 1880 when the quintuple bars were not still common at the classical occidental musical language but they were beginning to be spread little by little. After having analyzed all the documentation about it, my conclusion is that in the folkloric music often the musicians do not play what is written in the score really precisely. Sometimes what is written in the score is just an approximation of what it sounds. Is at the second half of the XIX, when, the folkloric music gets analyzed by expert musicians, that we start to see the relation between what we listen and what we read in the scores. This is exactly the case of Pablo Sarasate. He knew about the 5/8 bar when he composed the Caprice Basque ( because of the geographical closeness of Pamplona (his hometown) and the Basque Country, and because there were in the Basque tradition some written 5/8 “Zortziko” examples as the one we have seen of 1813 by Antonia de Mazarredo or her sister Juana de Mazarredo) but despite he wrote it in 3/4, it is completely sure that he would interpret it in the traditional way. Attached we can see a transcription of the piece in 5/8 which shows how the "Caprice Basque" op. 24 should sound.
Biography:
Mikel Ibañez, violinist. Born in Vitoria-Gasteiz (Spain) in 1989. He began his violin studies at de age of 6 at his hometown’s conservatory with the teacher Agustí Coma Alabert. Throughout his ten first years of studies, he complemented the violin lessons with his main teacher having some master classes with other teachers like: Víctor Parra, Christiam Ifrim, Joaquín Palomares and Keiko Wataya. Once he was graduated in 2006, Mikel was accepted in MUSIKENE to study bachelor with the prestigious Japanese teacher Keiko Wataya. He obtained the bachelor degree with distinction in 2012. Then, searching for a technical and musical development, Mikel moved to The Hague after being accepted at the Royal Conservatorium of the same city to study with Peter Brunt, and got the bachelor degree in 2014. Currently, he studies second year Master at the Royal Conservatorium of The Hague with Peter Brunt.
How Can A Contemporary Violinist Approach Performing In Different Styles?
(last edited: 2023)
author(s): David Pablo Bellido Herrero
archived in: KC Research Portal
Name: DAVID PABLO BELLIDO HERRERO
Main Subject: VIOLIN
Research supervisor: GERARD BOUWHUIS
Tittle: HOW CAN A CONTEMPORARY VIOLINIST APPROACH PERFOMRING IN DIFFERENT STYLES?
Research Question: what is the better way to approach performing different styles to be respectful with the composer and, at the same time, apply interesting ideas to our performance?
Summary of Results: we can still find great performances and performers that don't take care enough of basic elements of the score, over all in classical and baroque music and in contemporary music. In one hand, we should go more often to the sources, because as I explain in the research, it is the better way to have a good approach. The sources could come from books (classical, baroque and romantic music), or in the case of contemporary music by the composer itself, interviews or videos. At the same time, it will show that we have the responsability of being strict enough to don't make the same mistakes that we are use to listen to.
Laborinth II : denken als experiment : 472 'meditaties' over de noodzaak van het creatief denken en experimenteren in het uitvoeren van complexe muziek van 1962 tot heden
(last edited: 2023)
author(s): Arne Deforce
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Arne Deforce is only available in Dutch.
Boek I : Het hier voorliggende proefschrift Laborinth Π Boek II : De ‘Laborinth-art-box’, een speciaal op 15 exemplaren gemaakt collectors item, met daarin de boeken 1 en 3, de originele partituren van Brian Ferneyhoughs Time and Motion Study II, John Cages Etudes Boreales met begeleidende vingervellen met de publicatie van de vingerzettingen, werkverslagen, het citaten boek ‘De partituur van het denken’, drie cd’s met de integrale opname van de cellowerken van Giacinto Scelsi, Morton Feldman en Iannis Xenakis verschenen bij het label Aeon, een Laborinth Π-affiche, het programmaboekje van de Laborinth Π-cellomarathon. De ‘laborinth-art-box’ werd gemaakt naar een ontwerp van Arne Deforce in gepolierd plexiglas, 34 x 47, 6,5 cm. Boek III : De partituur met alle vingerzettingen en annotaties van het nieuwe werk Life-form voor cello en elektronica van Richard Barrett dat speciaal werd gecomponeerd voor de artistieke presentatie van het proefschrift. De artistieke presentatie bestaat uit: (1) de creatie van het nieuwe cellowerk Life-from van Richard Barrett in opdracht van het Concertgebouw Brugge, Centre Pousseur Liège, November Music s’Hertogenbosch, Akademie de Kunsten Universiteit Leiden. Première 10 november 2012, Festival November Music, Hervomde Kerk te s’Hertogenbosh, en 11 november Festival Surround, Concertgebouw Brugge. (2) een cello marathon van drie concerten op één dag met werken van James Dillon, John Cage, Jonathan Harvey, Raphael Cendo, Iannis Xenakis, Helmut Lachenmann, Iannis Xenakis, Richard Barrett. 12 november Kees Vanbaarenzaal, Conservatorium Den Haag.