Research Catalogue

an international database for artistic research

• Keys and Cords: A Comparison of Piano and Vocal Teaching Strategies (2024) author(s): Renske Luijten published in: KC Research Portal
  The profession of a music teacher has developed over the past years in a way where teachers are required to be more versitale and not focussed on one specific element. A lot of collegues of mine, including myself, work at a music school where they teach children not only their main instrument, but also a secondary instrument, in my case piano. This brings up interesting challanges as a lot of teaching strategies overlap, but there might also be approaches that differ between various instruments. In this research, we explore how private vocal lessons compare to private piano lessons and what the specific teaching strategies are of these instruments. Following up on this, we analyze how these finding inspire my own teaching practice and how one instrument might benefit from the teaching strategies of the other instrument. This research includes a dive into already existing literature, interviews with Conservatory teachers who specify in vocal and piano pedagogy and interviews with private school teachers. Additionally, observations were made of multiple vocal and piano lessons given by myself as well as the other teachers mentioned above.
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  (2019) The Singing Violin: Portamento use in Franz Schubert’s violin music (2023) author(s): Emma WIlliams published in: KC Research Portal
  (this research was submitted March 2019) How can late-18th- and early-19th-century vocal techniques influence our way of experimenting with portamento use in Schubert’s violin music and how can we reinstate the practice in ways that are relevant for current listeners and players? The voice and violin have always shared an intimate connection. Violin treatises from the late-18th and early-19th centuries consistently encourage violinists to imitate vocal techniques. My thesis explores this relationship via the music of Franz Schubert (1797-1828), who revolutionised Lieder and used vocal techniques in his instrumental writing. Many fundamental vocal expressive devices, including portamento, have been lost in “modern” and “historically-informed” (HIP) singing and violin playing. My thesis aims to (1) understand the historical appropriateness of portamento in Schubert’s violin music and how different types of portamento work, (2) examine why the technique was lost, and (3) explore ways of reigniting it in today's musical aesthetic. I first analysed relevant written sources and early vocal and violin recordings, finding clear evidence of frequent and varied vocal and violin portamento use, clear links in portamento use between early-recorded singing and violin playing, and consistency between early-recorded portamenti and written sources from Schubert’s time. To understand why portamento was lost, I examined the wider phenomenon of style change in the 20th century and found that both recording technology and general 20th-century aesthetic changes encouraged “cleanness” and “repeatability” in music, thereby eradicating spontaneous and unique expressive devices like portamento. Finally, I researched innate emotional responses to music and portamento’s importance as an engaging communicative tool, and undertook my own artistic experimentation in early-19th-century music, collaborating with and surveying leading vocal and string 19th-century HIP practitioners to explore ways of making portamento expressive and relevant to modern musical practice and appreciation.
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• Migration and Listening: Political Life in Motion (2023) author(s): Ximena Alarcón and Ed McKeon published in: Journal of Sonic Studies
  Boundaries, thresholds, and limits characterise both political geography and the politics of voice and listening. The effect of hearing yourself speak, as Derrida noted, is foundational for sovereignty, self-identity, and relations to others. In this conversation, we explore experiences of border crossings and passing across limits through migration and movement alongside corresponding encounters with Deep Listening. Alarcón reflects on her experience of migration from Colombia to the UK and how this also involves ‘speaking and travelling in-between different languages’. McKeon draws on experience of ‘losing’ his accent, the voice’s marker of political identity. For both of us, Deep Listening has become an essential resource to forgo the desires of returning ‘home’ or arrival with their visa privileges and passports of legitimised status. Migration and movement are instead embraced for their potential to constitute another practice of centring and of balance without fixed and immovable boundaries. We aim to articulate this politics of listening and voice not through conventions of debate and polemics, defending ideological territories, but through exchange in dialogue, in what passes in the movement between us.
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  Searching for the Siren | Exploring contemporary vocal aesthetics (2022) author(s): Kristia Michael published in: KC Research Portal
  “Searching for the Siren” explores contemporary vocal approaches that mirror the aesthetics and the contemporary perception of defining the elements of Beauty. Specifically, three main thematics are researched: 1) The Folk Voice, which explores how folk elements and timbres enter in classical and popular music, 2) The Extended Voice, which describes the use of extended vocal techniques with reference to technical and physical aspects of timbral contrasts, vocal fry, scream and inhalation phonation, 3) The Absent, Transformed and Replaced Voice which occurred with the technological development. Ends with conclusions around the definition of the mythical creature of the Siren and its relation to the human voice. Every aspect includes personal views, works, performances and syllogisms.
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  OBOETRY – French poetry played in melody: a poetical & vocal approach to French 'mélodie' on oboe (2022) author(s): Anna Marieke Zijlstra published in: KC Research Portal
  This interdisciplinary research presents a contextualisation and musico-literary analysis on the French poem and art song “Colloque sentimental” from Paul Verlaine and Claude Debussy, followed by a full-fledged transcription of this ‘mélodie’ for English horn, expanding the existing oboe repertoire. In the annotation and interpretation of “Colloque sentimental”, a poetical and vocal approach has been applied, aiming to communicate a deeper understanding of the ‘poésie’ and ‘mélodie’ for performance practices. The studying and singing of the song resulted in an experimentation and reflection of playing the ‘mélodie’ on English horn, a process of musically translating the poetry into an instrumental transcription that takes into account the particularities and possibilities of the language and voice as well as these of the instrument in question, with the aim of providing useful material for fellow oboists and those who are interested. For example, it was demonstrated during the research process how the understanding of literary and vocal phrases enhances horizontal and legato phrasing on English horn. Consequently, an important challenge in this case consisted of writing the transcription in a feasible notation that would be playable for any oboist, even without prior knowledge of the French language and poetry, hopefully leading to a poetical and purposeful performance of the piece.
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  Studies on Fantasmical Anatomies (2021) author(s): Anne Juren published in: Stockholm University of the Arts (SKH)
  Studies on Fantasmical Anatomies is an ongoing transdisciplinary artistic research, which encompasses the spectrum of experiences and practices that I have developed as a choreographer, dancer and Feldenkrais practitioner. By drawing on various fields of knowledge – anatomy, psychoanalysis, feminist and queer theories, poetry and somatic practices – the research expands choreography towards disparate discourses, practices and treatments of the body. Based on Feldenkrais’ speculative use of language, imagination and touch, I have developed several body-orientated practices situated at the intersection of the therapeutic and the choreographic, the somatic and the poetic. The research is articulated through three transversal movements. The first movement is the expansion and distortion of the Feldenkrais Method® from its initial somato-therapeutic goals into a poetic and speculative way of addressing the body. Secondly, I propose experiences of diffraction, "blind gaze" and dissociation as a strategy for troubling the dominant regime of vision. The third movement consists of the co-regulation of bodies and dynamic relationships between the individual and the collective. Combining fantasy, the fantasme and phantasmagoria, I invented the word “fantasmical” to emphasize how the ability to imagine may create phantom limbs that are as concrete as pieces of bone. Studies of Fantasmical Anatomies are simultaneously a set of practices, methods and places where the corps fantasmé is tangible.
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  Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet (2021) author(s): Hannah Clarkson published in: Journal for Artistic Research
  This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple. In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas: • The flat sheet and the fold as sites for storytelling • Multiplicities inherent to storytelling • Architecturality and the space between bodies and buildings • Words, text and the voice, and their relationship to sculpture I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.
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  Voicelanding - Exploring the scenographic potential of acoustic sound in site-sensitive performance (2021) author(s): Mareike Nele Dobewall published in: Stockholm University of the Arts (SKH)
  This practical artistic research project explores how the performance of acoustic sound in dialogue with site can create a sonic scenography, experienced by an audience from within the sonic structures. Six art projects were carried out in the context of this research. Their form varies due to the site-sensitive approach that is employed: the space and the participating musicians are both the source and the frame for the resulting spatial sound performances. During workshops the collaborating musicians are introduced to site-sensitive methods. They learn full-body listening, spatial sounding, and space-care. The musicians learn to co-create with the space. In a collaborative process, spatial sound compositions are created using the site-specific sonic material that is elicited from the dialogue between the performers and the space. The relation to the audience plays an important role in the sharing of the performance space and the experience of the sonic scenographies. Therefore, active audience encounter is considered during the creative process towards the performance and it is further explored during each performance. As sound is invisible and ephemeral it is a vulnerable material to engage with when creating scenographies. In this research its instability has revealed itself as an indispensable quality of a scenography that aims to connect the elements of a shared space and make their relations perceivable. There is a tendency to make ‘reliable’ material scenographies and to sustain spatial sound through audio systems while attempting to overcome the challenges a site brings to performance. This approach to performance, scenography, and spatial sound composition, however, limits the relation between acoustic sound and site. In my sonic scenographies the performers are dependent on the dialogue with the space in order to create sonic structures that can be experienced by an audience. The attention needed for this collaboration is space-care. It includes care for all entities in the space, and especially the audience. The ephemeral quality of acoustic sound creates an active sonic scenography that performs together with the musicians, and engages multimodal listening. The resulting spatial sound performance includes the placement and movement of sonic expressions that are specific for each instrument-site relation. In the created performance, as the audience can ‘roam through’ it, they can experience a sonic scenography that unfolds around them. In the interaction of performers and audience in these shared spaces (architectural space and sonic space) a social space can develop that allows for an ephemeral community to emerge.
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  (Un-) settling Sites and Styles (2021) author(s): Einar Røttingen, Bente Elisabeth Finseraas published in: Faculty of Fine Art, Music and Design, University of Bergen
  (Un-)settling sites and styles: In search of new expressive means. Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances. How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation? The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.
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  Material Words for Voicing Dancers (Appendix VII) (2021) author(s): Robert Vesty published in: Research Catalogue
  This is the seventh appendix to my doctoral thesis: Material Words for Voicing Dancers. The thesis stems from practice-led research that has investigated the role of voicing (both linguistic and non-linguistic sound) in improvisatory dance-based performance practices. My research is rooted in the pedagogies of three independent practitioners — Ruth Zaporah (US), Julyen Hamilton (UK/ES) and Billie Hanne (BE) — which took place intermittently between 2012 and 2017 in Spain, Belgium and the UK. Reference is made to pedagogical processes and Instant Composition performance practice, as well as the my own artistic performance experiments and outcomes, to draw out the figure of a voicing dancer. The analysis considers: 1) how a dancer might ‘access’ feeling for voicing, taking a somatically-oriented approach that also utilises my experience as a practitioner of the Feldenkrais Method; 2) how voicing can be ‘arranged’ in a compositional environment with objects; 3) how voicing is amplified for performance in an enlivened acoustic space drawing on theatre aurality. Working through these stages (‘accessing’, ‘arranging’ and ‘amplifying’) aims to discern and differentiate the way voicing and dancing can be considered a potentially unified but situated act, as well as offer an analytical model for researching such practices. I argue that to describe such practice in terms of ‘embodied voice’ is limited and I use Tim Ingold’s relational ontology, and particularly his notion of ‘ensoundedness’, as a foundation for expanding the terms of engagement. I suggest that ‘voicing-and-listening’ can more fully account for how voicing(s) are produced by dancers in a studio and performance environment. Reference is made to my own artistic performance experiments and outcomes that have attempted to extend the research. The performance documents that stem from this are housed in this digital appendix.
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  Impulsive Incantations - Voicing Migraine (2020) author(s): Mariske Broeckmeyer published in: Journal for Artistic Research
  When migraine arrives, not only the body suffers. The voice too is impacted by a condition that introduces itself with such great force. As a migraine-suffering singer I notice these changes and become fascinated by the aesthetics of a failing voice in a failing body. This exposition reflects upon the relevancy of Migraine Music as an aesthetic phenomenon and by focusing on the specific area of the vocal and the sonant, I project the issue into a broader context of language, speech and communication. First, I find the migraineur’s voice to be missing as it is silenced by society. Then, I study the failing of the voice when constricted by intense physical pain and I turn to the voice as it is transformed by migraine-specific symptoms. I study these deficiencies of the voice on a theoretical level in order to approach them through my artistic practice as a migraining singer. The artistic work accompanying this research is entitled Impulsive Incantations, and aims at voicing the migraine body through evocative text, vocal improvisations and a migrainous singing technique.
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  Composition as Commentary: Voice and Poetry in Electroacoustic Music (2020) author(s): Edmund Hunt published in: Journal for Artistic Research, Birmingham City University: Faculty of Arts, Design and Media
  What is the role of a spoken or sung text in an electroacoustic composition? Does it represent anachronism, assigning the role of communication to the voice and thereby depriving more abstract electroacoustic material of its rhetorical force? Does the disembodied, electroacoustic voice distance the audience from the communicative power of the words that are heard? Although Simon Emmerson argued that the disembodied human voice in acousmatic music can often seem frustrating, this sense of disembodiment might be turned to the composer’s advantage, as the basis of a methodology for creative practice. In the process of developing a methodology to address questions of text, language, voice, and electroacoustic technology, I created two musical compositions. Both works used the untranslated words of an enigmatic Old English poem, ‘Wulf and Eadwacer’. At first glance, the idea of using a text in an obscure or ancient language that carries little or no semantic meaning for the listeners might raise further questions. Is this a deliberate attempt at obfuscation, hiding the paucity of the composer’s ideas behind a veneer of archaism or even naive exoticism? As my investigation progressed, I began to envisage the process of electroacoustic composition as a type of non-linguistic commentary on a text. Rather than hindering the listener’s understanding of a composition inspired by literature, the electroacoustic voice might help to reveal different interpretations of a text, allowing multiple ideas and identities to be heard.
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  Demmin – letting a city sound (2020) author(s): Mareike Nele Dobewall published in: VIS - Nordic Journal for Artistic Research
  The project ’Demmin – eine Stadt zum Klingen bringen’ (’Demmin – letting a city sound’) explores the history and stories of the German city of Demmin in a dialogue between the local choir, Peenechor, and the site of Haus Demmin. During a two-week workshop the choir and Mareike Dobewall explored how to vocalise other stories, of the inhabitants of Demmin and the two decaying buildings known collectively as Haus Demmin (the ruins of an 11th century fortress and a former mansion). In a sonic dialogue between ageing voices and decaying architecture a vocal performance in the open air was created. Stories, history and fairy tales took new shape through vocal music, and un-listened sound was given presence. The site-determined performance allowed for the memory and the imagination of the visitors and the participants to rise up and become a part of a holistic experience.
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  Masterprosjekt - monodrama (2019) author(s): Ragnhild Thu Austnaberg published in: NMH Student Portal
  Dokumentasjon av mitt masterprosjekt i klassisk sang ved Norges Musikkhøgskole.
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  Vocal Nest – non-verbal atmospheres that matter (2018) author(s): Heidi Marika Fast published in: Journal for Artistic Research
  In my artistic doctoral research project “Vocal Nest”, I worked with the potentialities of non-verbal vocal art in the conditions of psychical suffering. The situation-sensitive human sound installation was actualized at the central corridor of Helsinki University Central Hospital´s Psychiatrycenter in Finland. I used the compositional practice of vocal affective attunement as a research medium, to catalyze groups of people, who were as inpatients in the hospital, to create a collective resonance sphere by vocalizing and listening. How did embodied encountering with the human atmospheres create differentiated patterns of meaning making in this material-discursive environment? This exposition, made up of vocal, visual, and textual aspects, proposes that the artistic transmission from the registers of silence toward vocal utterances, as well as from the linguistic reality toward non-verbal vocal expression attuned an archaic mode of connection to the strictly regulated hospital space. It offers alternative and more holistic understanding of the assumedly clear boundaries between subject and object, and healthy and sick, by expanding the expressive scale of what is typically considered as communicative and reasonable. This exposition may be of interest to those interested in the sensate forms of knowledge production and affective potentialities of the human voice, not from the perspective of health benefits, but from the viewpoint of rendering heard the vulnerable, and peripheral attributes of being a human. The blurred atmospheres invite the reader to slightly let go of oneself and attune to a dwelling mode of (reading as) listening. “Vocal Nest” was first of a three-part series entitled ”Hospital Symphonies”, an artistic modulation of the mutually transformative relations between art and psychiatry.
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  An Obstract for Midpointness (2018) author(s): Andrew Bracey, Steve Dutton published in: RUUKKU - Studies in Artistic Research
  Our aim here is to both provide a response to the Conference ‘Please Specify!’ and to find an alternate way of ensuring that the intrinsic generative nature of research and art is kept active, akin to the mobius strip-like path of both conclusions, and openings. “Midpointness” is a generative project. It is dismantled and reconstructed through the gradual accretion of surrounding connections, associations and influences of the curators, artists, students and other audiences who contribute to it. These are in the form of artworks, public events, texts, artefacts, performances or other interventions. 'An Obstract for Midpointness' (Obstract)is a piece of artistic research constructed before, during and after, "PLEASE SPECIFY!", The SAR Annual Conference 2017. 'Obstract' is as an element of the ongoing project “Midpointness” that seeks to invite us to consider the ‘work’ of art as art’s labour or task. We seek to explore the dynamics of inner/outer dialogues of the process of artistic work, opening up other potentials that an artist researcher might hope for when he/she explores the generative potential of the work of artistic research directly within and in response to a conference about artistic research. At the centre is spoken text that is a play on the tradition of the conference ‘abstract.’ The abstract is the site of an outline of intention, yet here we couple it with an ‘obstruction’ as a means of aggravating and diverting the attempt at a conclusion towards which an abstract, and indeed a formal presentation, might be aimed. “Obstract” suggests, by a process of intervention that the ‘centre’ (the work and/or the text) and its surrounding universe are completely indivisible. As such the principle of ‘footnotes’ filter through to the whole spoken text; the footnotes being analogous to the surrounding constellations within which the ‘centre’ of the work sits, swapping footnotes for centre and vice versa. The footnotes refer to points both real and imagined in the past, present and future.
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  Ornamenting Vocality. Intra-active methodology for Vocal Meaning-Making. (2018) author(s): Elisabeth Laasonen Belgrano published in: RUUKKU - Studies in Artistic Research
  This exposition departs from the silence of a non-existing voice. A voice about to touch the ears and eyes of both author and readers/listeners. A voice already sounding in the head of the author - sounding as thoughts, words, letters and sentences. A non/voice being part of a never ending development of new materialities. An onto-epistemological voice diffracted through a singer's process of making sense of a lesson from a 17th century vocal manuscript. A voice as a mattering method for the art of singing through new materialist theories, vocal and discursive narratives and somatic awareness.
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  The Relationality of the Adhaan: A Reading of the Islamic Call to Prayer Through Adriana Cavarero’s Philosophy of Vocal Expression (2017) author(s): Lutfi Othman published in: Journal of Sonic Studies
  The Call to Prayer, the Adhaan, is one of the most instantly recognizable Islamic sounds that we might hear in our soundscape today. For Muslims, the Adhaan is a specific call to notify the Islamic community that the time for prayer has arrived. For those who are not trained to respond to it religiously, the experience of listening to the Adhaan can trigger the formation of different interpretations, sometimes in hostile ways, from its original intent. This paper looks at the Adhaan from the perspective of sound and suggests that the voice of the Mu’adhin, who calls for prayer, carries with it the possibility to be perceived in manifold ways. Through the sound of the human voice and its pervasive nature, the Adhaan carries its original message, fusing it with new meanings, and announces it in a way unique to the voice. Guided by philosopher Ariana Cavarero’s conception of the voice and referencing situations in The United States of America where the Adhaan was at the center of controversy, this paper approaches the Adhaan with a focus on the sound of the voice and the relations that it fosters both intentionally and unintentionally.
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  An archive of consolation (2017) author(s): Elina Saloranta published in: Research Catalogue
  This exposition consists of my videowork Voices of Consolation (2014), which is an attempt to console the black-clad woman seen in Vilhelm Hammershøi's (1864–1916) interior paintings, and an experimental essay in which I ask: Could a research text be constructed in the same way as a picture? This was previously published in Finnish with the title “Lohdutusten arkisto” (Ruukku 4, 2015) and is part of my article-based doctoral thesis Laatukuvia ja kirjallisia kokeiluja/ Genre pictures and experiments in writing (University of the Arts Helsinki, Academy of Fine Arts 2017).
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  Archive, Collection, Museum: On the History of the Archiving of Voices at the Sound Archive of the Humboldt University (2017) author(s): Britta Lange published in: Journal of Sonic Studies
  Available today under the name of the Berlin Sound Archive (Berliner Lautarchiv) or the Sound Archive of the Humboldt University (Lautarchiv der Humboldt-Universität zu Berlin) is a collection of now largely digitalized sound storage media begun in 1915 (https://www.lautarchiv.hu-berlin.de/, all internet references retrieved 24th June 2016). The collection includes shellac records with recordings of prisoners of war (1915-1918), sound recordings of the voices of so-called famous personalities (1917-1939), speech samples of German dialects (1921-1943), and recitations of poetry and literature in German (1930s and 1940s) as well as magnetic tapes from the 1960s that have not yet been transferred to a digital format. While, since its inception, the collection has repeatedly been referred to as a sound archive, prior to the digitalization of the shellac holdings in the 1990s this term never found its way into any of its official names. Against this background, this article traces both the Sound Archive’s early institutional history (1915-1947) as well as the use of the term “sound archive.” By considering the archiving of voices in the framework of an emerging history of knowledge, it explores the disciplinary contexts (the academic sciences) and configurations of conservation, research, and presentation (collection, archive, laboratory, library, and museum) in which the preserved human voice operates as an epistemic object. On the basis of a renewed examination of a number of sound recordings of prisoners of war, it should be shown how this historical material can be made productive for current research horizons.
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• Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire (2016) author(s): Cody Takacs published in: KC Research Portal
  Name: Cody Takacs Main Subject: Classical Double Bass Research Supervisor: Maggie Urquhart Title of Research: Developing Vocal Techniques in Contemporary Solo Double Bass Repertoire: A pedagogical approach to developing vocal techniques and coordination in Western classical-contemporary solo double bass repertoire Research Question: How can double bassists efficiently learn contemporary solo double bass repertoire requiring the simultaneous use of their voice and playing their instrument? Summary of Results: Due to an exponentially growing number of compositions and a complete lack of pedagogical material regarding simultaneously using the voice and playing the double bass, I have written a method book titled The Double Bass-Voice: A How-To Guide. For this book I have collected, adapted, and organized information from double bass pedagogical resources, vocal pedagogical resources, musical scores, and reflections on past experiences with this repertoire. The book is intended to develop the technique and coordination necessary to effectively prepare solo double bass-voice repertoire. The book is divided into four main sections: “Using the Voice as a Practice Aid,” “Vocal Tools and Techniques,” “Etudes and Exercises,” and “Notation Examples” as well as a database of the solo double bass-voice repertoire. By incorporating the voice as a tool into individual practice, understanding an efficient practice process and fundamental vocal technique, having access to simple etudes to develop double bass-voice technique and coordination in musical contexts, and knowing what to expect in notation, double bassists will be better prepared in learning works for double bass-voice more efficiently. These results will be presented via PowerPoint presentation with musical examples from the method book and select double bass-voice works. Biography: Cody Takacs is a classically trained American double bassist currently residing in The Hague. An avid performer of new music, he has performed with Ensemble Klang, De Nieuwe European Ensemble, Het Metropole Orkest, and the Lucerne Festival Academy Orchestra and has appeared in the Gaudeamus Muziekweek, Venice Biennale, and Bang on a Can Summer Music Festival. He has given contemporary solo performances at the Rotterdam Contemporary Art Fair, Carnegie Hall, several universities and conservatories across the U.S. and Europe, and a lecture/performance on Iannis Xenakis at the International Society of Bassists convention.
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• Reflex voice: a tool to enhance my vocal expression in singing through embodied emotion and automatic vocalisation (last edited: 2023) author(s): Irene Sorozábal Moreno This exposition is in progress and its share status is: visible to all.
  I am in the process of designing a tool I named “reflex voice”. It combines previous research on automatic, emotionally triggered vocalisation –see the notion of primal sound in the work of J. Chapman and O. Brown– with theatre techniques which predicate embodied emotion –see the Sanskrit performance treatise Natyasastra. The goal of reflex voice is to enhance my vocal expression in singing. During my artistic research as a master student in the Conservatorium van Amsterdam, I started developing the tool and applying it to my own practice as a singer. In this article, I discuss my first experiment concerning the application of reflex voice to a 17th century piece by Nicholas Lanier. I introduce briefly the central concepts concerning the new tool, I describe the experiment and provide a first analyses of how this tool influenced my performance.
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  Muestra de obra tesis doctoral (last edited: 2023) author(s): Federico Eisner Sagüés This exposition is in progress and its share status is: visible to all.
  La muestra despliega los resultados de la colaboración sonora con los poetas sonoros Luis Bravo y Pía Sommer durante el transcurso de mi investigación doctoral. La muestra se estructura según los modos de colaboración, y los audios y videos se consideran los registros de una constelación de colaboraciones en torno a la las prácticas vocales, que excede a nuestras agencias humanas, incorporando también la agencia material de la tecnología y de nuestros círculos artísticos. En las intervenciones electroacústicas se trabajó a distancia sobre poemas sonoros previamente fijados por los poetas. Para las colaboraciones performáticas se incorporó el uso de instrumentos y efectos en vivo, y el trabajo a dos voces. Se trató de dos encuentros con cada poeta entre diciembre de 2019 y agosto de 2021 en Chile, Uruguay y España. La muestra incluye también las entrevistas realizadas a ambos poetas y las bitácoras de trabajo durante los encuentros. Por último, también se incluye una sección de archivo de la circulación artística y académica que ha tenido este trabajo.
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• Pauline Viardot (last edited: 2023) author(s): Laetitia Sprij This exposition is in progress and its share status is: visible to all.
  Pauline Viardot (1821 – 1910), was a famous French mezzosoprano, vocal teacher and composer. She is considered one of the most influential opera singers of the 19th century.
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  // F- E - G // (last edited: 2023) author(s): SBK This exposition is in progress and its share status is: visible to all.
  under construction
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  Espelho meu | Performance/installation for voice, body and image (last edited: 2023) author(s): Bruno Pereira, Pedro Santos connected to: i2ADS - Research Institute in Art, Design and Society This exposition is in progress and its share status is: visible to all.
  This exposition presents and explores all the creative process related to the performance Espelho meu, premiered in March 2017, in Porto, Portugal. From its assumptions and creative contextualization, we deepen our reflection and explore a possible outcome materialized in this work. It's the materialization of a creative thought, a creative process, into the artistic gesture of the performer. We believe that the creation of new performances is the only effective way to develop the contemporary performative scene. New performances that raise questions and multiple layers of understanding promoting new visions of the world and new possibilities. In this paper, we will briefly discuss the role of improvisation in the process of creating a vocal gesture that externalizes an inner thought, the role of the body and the energy of the performance, the non-imposed but important interaction with the audience, the relevance of the text as semantical and sound object, the choice of the concept mirror and its symbolical impact, the cross paths between artistic practice and technology and the artistic exploration of the performance after its physical existence in time, consolidated in the performative resonance as a creative tool to stretch time and to provocate the ephemerality of performance.
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  Leçons de Ténèbres (last edited: 2023) author(s): Elisabeth Laasonen Belgrano This exposition is in progress and its share status is: visible to all.
  The aim of this project is to investigate vocal ornamentations in French baroque composer Michel Lambert's (1610-1696)'Leçons de Ténèbres. It is an artistic research project where vocal performance practice is diffracted through Karen Barad's theory on agential realism and Japanese philosopher Kitarō Nishida's concepts of Action-Intuition and Basho.
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• Finding one's own voice as an indigenous filmmaker (last edited: 2023) author(s): Itandehui Jansen connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  In this dissertation of Itandehui Jansen, the ‘Voice’ of the filmmaker from a political and aesthetic perspective is examined. Within film practice the own ‘Voice’ refers mainly to the aesthetic style of a filmmaker. Within the field of postcolonial studies 'Voice' is related to the access that postcolonial subjects have to the production of discourse. Movies and other media can be seen in this context as a form of discourse. For Indigenous filmmakers both approaches to ‘Voice’ and having a ‘Voice’ are important. This study explores the way in which Indigenous filmmakers, particularly from Latin America, express their 'Voice' both politically and aesthetically in their films.
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• Grenzen van het hoorbare: over de meerstemmigheid van het lichaam (last edited: 2023) author(s): Mark van Tongeren  connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  In our culture, vocal harmonics fuction as independent musical elements since only a few decades. Thresholds of the audible explores the changing relationship between singers, listeners and harmonics. As a research method a series of compositions (Nulpunten/’Zeropoints’) has been developed, which attempt to make a fresh approach to overtone singing and to the sonic source material of the human body. They spark off further investigations of reality and illusion of our auditory world. Using his experiences with Tibetan monks and Sardinian brotherhoods and the ‘transverbal’ oeuvre of Michael Vetter, Mark van Tongeren develops his notion ‘multiphony of the body’. The last word, according to him, must be given to readers/listeners, who are challenged to shift their thresholds of the audible with the cd It starts here and the performance Incognito ergo sum.
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• Phónè and the political potential of metal music : a scholarly intervention (last edited: 2023) author(s): Kai-wen Chiu connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The thesis of Kai-wen Chiu studies the political potential of metal music from the perspective of phónè in metal,with phónè referring to both voice and sound. I propose that metal, with its loud,distorted phónè, has the potential to challenge the politically charged separation of the meaningful collective voice of a people from the production of sheer sound. Throughout the thesis, I investigate this potential at four levels. The first chapter examines the connection between metal and scholarly subcultural politics. In the second chapter, I study how metal can inform us about power relations running through everyday life, especially with regard to issues of race and gender. The third chapter tackles aspects of power relations that are enacted at the site of phónè, and that draw attention to metal’s loud and distorted phónè. In the final chapter, I examine political activism in Taiwanese metal, demonstrate its relevance, and reflect on its shortcoming. The trajectory of this thesis marks a form of political engagement through phónè in metal, from the perspective of a scholar and a Taiwanese. Phónè, Voice and sound, Biopolitics, Giorgio Agamben, Taiwanese metal music, Metal music studies
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• VOICE-ART-ABLE (last edited: 2022) author(s): Yvon Bonenfant This exposition is in progress and its share status is: visible to all.
  In 2019 an artistic team visited people who use a range of facilities operated by the Cope Foundation, in Cork, Ireland. Our intention was to explore what these people, a range of adults with mild to moderate learning disAbilities, enjoyed doing with their voices, when freed from the constraints of having to 'sing well' or 'speak well', and then to invite these voicings inside a co-creative art process. Our ultimate goal was to create concepts and designs for a voice-art interface that would best facilitate this demographic of users to make their own vocal art, and in celebrating their vocal uniqueness.
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  [Improvisations] Innere gesang / Inutil (last edited: 2022) author(s): RC i2ADS, Bruno Pereira connected to: i2ADS - Research Institute in Art, Design and Society This exposition is in progress and its share status is: visible to all.
  Innere gesang manifests the deep connection of the thought-voice-body system and discusses the singularity of the voice as voice, leading us to an expressiveness closer to the inner song that wishes to be shared. Here, the voice appears as an expressive device for the aesthetic interaction of this internal sound, this internal song. Inútil [Useless] is a sound/performative speculation about the uselessness of performance. Part of the desire to excavate a useless, non-current, inoperative, unclassifiable, intrusive, inexhaustible, insatiable, independent, intentional, intense, inner, interactive, indomitable, restless, inefficient performance.
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• VOICE: An Imaginary Ir/Rational Figure of Any Thing (last edited: 2022) author(s): Elisabeth Laasonen Belgrano This exposition is in progress and its share status is: visible to all.
  The voice presented in this NO PAPER PRESENTATION cannot be imagined as separated from any bodily act or matter. It intoxicates all along without an end. This voice emerges out of No Thing (Calcagno 2003). It would not claim to be in a specific relation to gender, class, ethnicity or other classification, yet this voice can be identified as "an imaginary figure of any thing"; a paradoxical voice performed and presented out of unexpected encounters with whatever meaning there might be. This voice can be traced to 17th century Venetian music drama stages - considered to be a symbol for Nothingness as specifically performed in operatic mad scenes. This NO PAPER presents a development of an artistic doctoral project on 'how to perform vocal nothingness' (Belgrano 2011). In the current study a Baradian (feminist) diffractive methodology is applied (Barad 2007, 2012), allowing vocal practice to intra-act continuously with any matter or meaning encountered along the road, by "re-diffracting, diffracting anew, in the making of new temporalities (spacetimematterings)" (Barad 2014). Through this performative approach VOICE argues that vocal identity can be viewed as an entangled dance - where sound, thoughts, judgements, senses, madness, matter, chaos, vibrations and so on cannot be separated from one another - "endlessly opening itself up to a variety of possible and impossible reconfigurings" (Hinton 2013). The result that emerges from this trans-spatiotemporal study is a sensuous queering of operatic vocality that allows individuals to experience a monstrous voice as Any Thing or No Thing, following a discourse on Nothingness that had a fundamental impact on 17th century operatic vocality and on the birth of music drama.
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  “Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes. (last edited: 2021) author(s): Elisabeth Laasonen Belgrano This exposition is in progress and its share status is: visible to all.
  This music research drama thesis explores and presents a singer’s artistic research process from the first meeting with a musical score until the first steps of the performance on stage. The aim has been to define and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of 17th century vocal music from a 21st century singer’s practice-based perspective with reference to theories on nothingness, the role of the 17th century female singer, ornamentation (over-vocalization) and the singing of the nightingale. The music selected for this project is a series of lamentations and mad scenes from Italian and French 17th century music dramas and operas allowing for deeper investigation of differences and similarities in vocal expression between these two cultural styles. The thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the Singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, as presented in the performance on the DVD. In the Cannocchiale, the inner images of the Singer’s encounter with the score have been observed, explored, questioned, highlighted and viewed in and from different perspectives. The process of the Singer is embodied throughout the thesis by Mind, Voice and Body, merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two 17th century singers. As a result of this study, textual reflections parallel to vocal experimentation have led to a deeper understanding of the importance of considering the concept of nothingness in relation to Italian 17th century vocal music practice, as suggested in musicology. The concept of je-ne-sais-quoi in relation to the interpretation of French 17th century vocal music, approached from the same performance methodology and perspective as has been done with the Italian vocal music, may provide a novel approach for exploring the complexity involved in the creative process of a performing artist. Thesis for the degree of Doctor of Philosophy in Performance in Theatre and Music Drama at the Academy of Music and Drama, Faculty of Fine, Applied, and Performing Arts, University of Gothenburg ArtMonitor dissertation No 25 ArtMonitor is a publication series from the Board for Artistic Research (NKU), Faculty of Fine, Applied, and Performing Arts, University of Gothenburg A list of publications is added at the end of the book. ArtMonitor University of Gothenburg Faculty Office of Fine, Applied, and Performing Arts Storgatan 43 PO Box 141 SE 405 30 Gothenburg Sweden www.konst.gu.se ISBN: 978-91-978477-4-2
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  Technology-assisted close listening of vocal practices for creative musical collaboration with sound poetry (last edited: 2021) author(s): Federico Eisner Sagüés This exposition is in progress and its share status is: visible to all.
  Figures and audios
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• Entangled Fibres (last edited: 2021) author(s): Bilge Merve Aktaş This exposition is in progress and its share status is: visible to all.
  an examination of human-material interaction
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  Fashioning the Voice (last edited: 2020) author(s): Jennifer Anyan, Yvon Bonenfant, Katie Daley-Yates This exposition is in progress and its share status is: visible to all.
  Fashioning the Voice is an interdisciplinary research project that brings together the expertise of Yvon Bonenfant an artist-academic who extends voice across media to explore innovative ways of creating (University College, Cork); Dr. Tychonas Michailidis, who’s work focuses on sensor technology and interactions (Research Fellow at Solent University) and myself.]
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  GLORIES TO NOTHINGNESS: A Music Research Seminar honouring Accademia degli Incogniti and Claudio Monteverdi (last edited: 2020) author(s): Elisabeth Laasonen Belgrano, Päivi Järviö, Johannes Boer, Dinko Fabris, Mauro Calcagno, Björn Ross, Charulatha Mani, Elisabeth Holmertz This exposition is in progress and its share status is: visible to all.
  A Music Research Seminar honouring Accademia degli Incogniti and Claudio Monteverdi Palazzo Grimani, Venice 15 June 2017 Nordic Network for Early Opera and Nordic Network for Vocal Performance Research, in collaboration with Scuola di Music Antica Venezia, are delighted to invite you for a performance seminar in Venice 15 June around the theme of vocality, music drama and the vibrant intellectual / artistic scene in Venice around Monteverdi and Accademia degli Incogniti. The idea comes from a desire to offer a fringe-event / sub-encounter / prologue for (among others) participants of the two symposia co-happening in Venice 16-17 June: The Foundazione Cini conference on Monteverdi (16-17 June) and the symposia "Encounters, Discussions, Experimentations: Art, Research and Artistic Research in Music”, the Research Pavilion of the University of the Arts Helsinki, Venice Biennale 2017 (16-17 June) We are also hoping to meet anyone interested to explore the fairly new academic field of Artistic Research. Time: 15 June 2017 15:00-18:30 Venue: Palazzo Grimani, Ruga Giuffa off Campo Santa Maria Formosa, Venezia,
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  ORNAMENTING-as-a-METHOD: exploring a poetical onto-ethico-epistemology (last edited: 2020) author(s): Elisabeth Laasonen Belgrano This exposition is in progress and its share status is: visible to all.
  The aim of this presentation is to perform an insight into the process of developing a research method, based on a practice-led/diffractive/artistic research methodology. The result includes a true story about a woman’s vocal awakening through the concept of NOTHINGNESS; about seventeenth century voices and musical manuscripts; about voicing experiences in Venice, Kyoto, & Jerusalem; about a collection of poems dedicated to one of the first opera singers – Anna Renz romana - who became NOTHINGNESS on stage; touching on Italian Nothingness and French Je-ne-sais-qua. What will become - as for the end of this story – is an attempt to articulate a process of ornamenting-as-a-method allowing for the emergence of a poetic-onto-ethico-epistemology.
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• VOICE and the UNKNOWN (last edited: 2019) author(s): Nordic Network for Vocal Performance Research This exposition is in progress and its share status is: visible to all.
  The aim of this artistic research symposium is to allow for VOICE to act as a guide into the UKNOWN. Through an entangled mish-mash of intra-active events (performances, installations, workshop and seminars) participants will be invited to explore the potential power of VOICE and its impact on the UNKNOWN or ’that-which-is-yet-to-be-known’. In 17th century Venetian academic circles VOICE was considered to be a symbol of NOTHINGNESS (Calcagno 2003). VOICE was also the primary tool in the creation of the opera genre (Belgrano 2011). Questions driving the event include: how can we understand VOICE in contemporary every day performances, based on both sensuous and intellectual knowledge? What specific vocal features will emerge if we allow VOICE to be the guide into the UNKNOWN aspects of life and living? The symposium will be staged as the first one out of three events, allowing for the project to eventually grow into an international platform for Vocal Performance Philosophy, based at IAC. This first event is a seed highlighting the significance of the theme; the second event will be presented as an intra-active performance-workshop; the final event will be organised as an international symposia. The symposium is curated by Nordic Network for Vocal Performance Research (https://www.researchcatalogue.net/view/399282/399283), Nordic Network for Early Opera (http://www.earlyopera.org), and Network for Performance Philosophy (https://performancephilosophy.ning.com/about).
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• NORDIC NETWORK for VOCAL PERFORMANCE RESEARCH (last edited: 2018) author(s): Elisabeth Laasonen Belgrano, Päivi Järviö, Susanne Rosenberg, Milla Kristina Tiainen This exposition is in progress and its share status is: visible to all.
  NNVPR seeks to promote innovative (cross-disciplinary) research and teaching relevant to the Vocal Performance Studies. The network will strive to inspire, exchange and debate on issues relevant to vocal performance research among scholars, graduate students, postdoctoral fellows, staff, and other interested members of the research community.
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  From Singer to Reflective Practitioner: Performing and Composing in a Multimedia Environment (last edited: 2016) author(s): Aleksandra Popovska This exposition is in progress and its share status is: visible to all.
  This exegesis comes as result of performing, composing and researching in a multimedia environment over the past few years. I started working on my projects with the following question in my mind: how can I improve my own practice? Asking this led to identification of the problems related to making a live media performance, as well as prompting discussions about the types of knowledge necessary for producing a work of art that includes more than one medium. Rather than attempting to draw definitive conclusions regarding topics as broad as live media performance, I summarize and reflect upon the creation process as I experienced it, elucidating my personal contemplations regarding my experience and practice in multimedia environment. I will present three projects: ’Bukefalus’, ’Tribute to Morty’, and ’Every. When’, all designed as electroacoustic pieces with video displays. I shall take a closer look at how the pieces were developed, discuss their cross-disciplinary character, and good and bad practices involved in them. Finally, I shall focus my attention on how things go in practice when one is composing and designing an interactive piece using improvisation and different media. In all three projects I have been involved in different roles, as a performer, composer or designer, and in all of them collaboration played important role. I made particular choices, sometimes blending my roles and the roles of the participants. I hope that my experience as a musician, having passed through both classical and technology-based educational systems and participating in them in different roles – as performer, concept designer, composer, producer and teacher – will be useful for all creative people coming from the conservatory and wanting towork in the field of multimedia performance. With this exegesis I would also like to make my own contribution to reflective practice and living theory (Whitehead, 1998), by exploring improvisation and experimenting in my projects. I will write about how it has enhanced my own identity as performer, composer and designer, and why and how I have been committed to sharing its transformational potential with people I collaborate with. Its claim to originality is that it arrives at a living concept of knowledge transformation through multidimensional reflection; as a singer who is a composer, as a composer who is a researcher, as a student who has been a teacher, as an artist who has lived in an imaginative world creating her works, and as a researcher dealing with institutional policy and educational change. “I am my own informant into different perspectives, and will try through these personae to have a dialogue between several positions and arrive at a concept that is tested and lived from several perspectives.” (Spiro, 2008, p. 29)
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