A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings
(2024)
author(s): Eduardo Gaspar Polo Baader
published in: KC Research Portal
During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience.
This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner.
Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
Sonic Placemaking: (Re)Creating Place as a Comprehensive Compositional Practice
(2023)
author(s): Isaac Barzso
published in: KC Research Portal
This paper is focused on the development of a large-scale personal compositional practice centered around the concept of placemaking. Its content is focused on the relationship between data analysis, data sonification, and musical structure in the development of art which engages in a practice which I refer to as ‘sonic placemaking.’ In the end, this research intends to put this artistic practice in a space to interrogate the relationship between art and social change, both on small and large scales. The different sections of the paper will provide context and support for my practice's conceptual and philosophical background, drawing on related theoretical writings in geography, sociology, fine art, and composition while guiding the reader through my process in executing these concepts through works of multimedia art and acoustic composition — and, at the same time, actively questioning the ability of this process to influence social change and worldmaking.
***CLICK FOR MORE INFORMATION*** reading as performance / reading as composition
(2020)
author(s): Paul Norman
published in: Journal for Artistic Research
At the end of ‘Sentences on Conceptual Art’ (1969), Sol LeWitt states: “these sentences comment on art but are not art.” In the same work he also remarks, “If words are used and they proceed from ideas about art, then they are art and not literature, numbers are not mathematics,” thus creating a paradigm. Is writing or talking about artistic ideas art or not?
… Let’s say for now that it could be.
John Cage famously defined music as the “organisation of sound” perhaps though, reflecting on the origin of the word composition as coming from the Latin componere meaning to “put together”, the ‘organisation of things’, may be a more suitable definition. Not only sound, but all elements of a performance could or perhaps should be organised, put together or composed.
Consider the situation where your (yes, you the readers) organisational decisions matter. Maybe it’s as simple as ‘do I read the text or look at the given example first?’ These decisions matter, they effect what is communicated and when, what knowledge or assumptions are carried and for how long. These decisions are thus meaningful and potentially compositional in nature, establishing a new question. Is all reading compositional?…
…Let’s say for now that it could be.
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.
Turkish Makam Influences in Jazz Improvisation
(2020)
author(s): Meriç Çalışan
published in: Codarts
Improvisation, the art of creating at the moment, is the main reason that I started singing jazz. It allows me to express my musical thoughts, while being the biggest struggle in my musicality. I was suggested by many of my mentors and colleagues that my ideas were nice but needed to be connected. These artistic needs introduced me to taksims, improvisations based on melodic development.
In this research, I demonstrate how elements such as phrasing and melodic development can be integrated into vocal improvisation of jazz and arranged folk songs by analysing selected pieces in hicaz and huseyni makams. In this context, the recordings from Refik Fersan, Salim Bey, Andon Efendi, Cemil Bey and Tanrıkorur analysed and the stylistic elements implied into my daily practice with exercises.
These exercises made my improvisations more solid and consistent by prioritizing melodic development.
My findings, i.e. exercises and technical explanation, will help musicians, particularly vocalists who would like to apply the makam practice into their improvisation skills. By application of this process their musicianship will profit from the linear melodic approach, odd meters and the technique.
From Phrase to Phrasing - a Classical Perspective
(2017)
author(s): Jan Willem Nelleke
published in: KC Research Portal
This paper explores the structure and performance of musical phrases according to sources from the second half of the eigtheenth century.
As phrasing is such an essential part of music making it seems curious that there is not much written about it and its application usually taken for granted. This paper wants to address this from the assumption that a better understanding of structure (phrases) will enrich delivery in performance (phrasing). It is written from the viewpoint of a performer with a focus on the practical application of theory.
Subjects include repose-moments, cadences, phrase-rhythm, punctuation, notation, skills in phrasing, breathing, and observations on Classical phrase structures and proportions in general.
Case studies are provided to demonstrate and test the theory on practical use and extend into less obvious areas like writing song intro's and cadenzas.
Poly-rhythmic structures as frameworks for improvisation.
(2015)
author(s): Giovanni Bermudez Cardenas
published in: KC Research Portal
Name: Giovanni Bermudez
Main Subject: Jazz Double Bass
Research Coach: Jarmo Hoogendijk
Title of Research: Poly-rhythmic Structures as Frameworks for Improvisation
Research Question:
How can poly-rhythmic structures be used as generators of form when composing for
improvisation?
Summary of Results:
When thinking about the relationship between composition and improvisation, a
composition can be seen as a set of predetermined musical structures that function as a
sort of "map" for the improvisers to navigate, while at the same time providing a cohesive
character or "vibe" for the musical performance. The improvisation then occurs in
relation to these structures.
I want to know how can rhythm be used as the guiding element in the construction of
these structures. Particularly how poly-rhythms can provide structures that have a clear
contour, alternating between moments of tension and release.
For that, I have defined the following research question:
How can poly-rhythmic structures be used as generators of form when composing for
improvisation?
In order to answer that question I have looked into the musical traditions of West Africa
and Cuba, as well as the work of the saxophonist Steve Coleman.
The final product of this research is a series of four compositions for small jazz ensemble
in which I try to apply, in my own way, the ideas and concepts compiled during this
process.
Biography:
Giovanni Bermudez is a jazz bass player born and raised in Quito, Ecuador.
Initially a self-taught rock musician, he eventually became attracted to the possibilities of
improvisation and the rich tradition of Jazz. While studying in Quito, he worked as an
independent bass player performing with numerous bands and soloists in jazz, Latin, and
pop/rock music.
In 2009, looking to develop further skills on the double bass and to challenge himself in a
more competitive musical environment, he moved to the Netherlands to pursue studies at
the Royal Conservatory of The Hague. The international environment of the Netherlands
gave him the opportunity to perform all over Europe.
Project Description Artistic Research Project n°2 (HALLO, MARSCH!, (Sept. 2017)
(last edited: 2019)
author(s): Liz Rech
This exposition is in progress and its share status is: visible to all.
This is the project description of my second artistic research project within the frame of the graduate school "Performing Citizenship" (HCU/Hamburg).
Title of the project:
"Hallo, Marsch! Kollektive Walkingperformance für Mit-Läufer und Schritt-Macher."
It was a participatory performance which was presented at the Hallo Festspiele on the 09.09.2017 as a walking performance from the Berliner Tor to the old Kraftwerk Bille at Hammerbrook / Hamburg, Germany. It startet at 3pm in the afternoon and took one hour.
After the performance the audience filled out a questionary.
Research & Performance: Liz Rech
Objects: Kathrin Affentranger
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 is the project description of my second artistic research project within the frame of the graduate school "Performing Citizenship" (HCU/Hamburg). Title of the project: "Hallo, Marsch! Kollektive Walkingperformance für Mit-Läufer und Schritt-Macher." It was a participatory performance which was presented at the Hallo Festspiele on the 09.09.2017 as a walking performance from the Berliner Tor to the old Kraftwerk Bille at Hammerbrook / Hamburg, Germany. It startet at 3pm in the afternoon and took one hour. After the performance the audience filled out a questionary. Research & Performance: Liz Rech Objects: Kathrin Affentrangeropen exposition comments (0)