The influence of Bel Canto on the 19th-century guitar repertoire.
(2025)
author(s): Nacho Cuadrado
published in: KC Research Portal
This research explores the influence of bel canto, a distinguished Italian vocal style, on 19th-century guitar compositions, with a particular focus on the works of Luigi Legnani. Through detailed analysis, the study identifies key bel canto characteristics, such as expressive phrasing, melodic ornamentation, and dynamic contrasts, as integral elements in Legnani's guitar music. These findings highlight Legnani's skill in adapting the vocal nuances of bel canto to instrumental performance, creating a bridge between vocal and instrumental traditions.
The research enhances the understanding of cross-genre influences in 19th-century music and showcases the artistic versatility of composers like Legnani. To present these findings, the format will include recorded video demonstrations, where specific characteristics of bel canto will be illustrated through selected musical excerpts. These videos will provide a visual and auditory exploration of Legnani’s compositions, allowing audiences to observe the practical application of the research insights.
The combination of spoken analysis and video demonstrations offers an engaging and comprehensive understanding of the influence of bel canto on Legnani's works, enriching the overall appreciation of this unique musical intersection.
Eiras kiosk: Skattejakt-edition. ARW 2024
(2025)
author(s): Eira Bjørnstad Foss
published in: Norwegian University of Science and Technology
(English below)
Eiras kiosk er ein serie med mindre konsertar, lydinstallasjonar og hendingar som blir annonsert kort tid i forvegen og dukkar opp på stadig ulike stader. Kioskserien er utvikla av Eira Bjørnstad Foss og utgjør ein viktig del av det pågåande kunstnarlege forskingsprosjektet "Performer-Curator" ved NTNU, Institutt for musikk.
Eiras kiosk: Skattejakt-edition blei spesiallaga til NTNU Artistic Research Week 2024. Saman med publikum utforska kiosken ulike krinkelkrokar i kulturhuset Olavshallen. Skattejakta tok utgangspunkt i, og er nesten ei realisering av, verket "Ear Piece" av den amerikanske komponisten og utøvaren Pauline Oliveros.
Eira’s Kiosk is a series of small concerts, sound installations, and events that are announced shortly before they happen, and pop up in various locations. The kiosk series is developed by Eira Bjørnstad Foss, and forms an important part of the ongoing artistic research project, "Performer-Curator," at NTNU, Department of Music. Eira’s Kiosk: Treasure Hunt Edition was specially created for NTNU Artistic Research Week 2024.
Together with the audience, the kiosk explored possibilities for experiences in various nooks and crannies of the cultural venue Olavshallen. The Treasure Hunt was based on, and is almost a realization of, the piece "Ear Piece" by the American composer and performer Pauline Oliveros.
Sculpting Music Performances: About Choreomania and the Process of Shaping a Performance
(2025)
author(s): Silvia De Teresa Navarro
published in: KC Research Portal
This research explores how choreomania - the historical phenomenon of uncontrollable, communal dance “plagues” that emerged in the Middle Ages - can inform and shape my artistic practice. Central to this inquiry is the question: how does choreomania influence my creative process and the way I shape my performance practice as a classically trained pianist? The study unfolds three main blocks. First, an essay examines the conceptual formation of choreomania, its contemporary relevance, and its impact on my artistic work. Simultaneously, I observe and document the creative processes of artists-in-residence during my internship at the residency programme "Choreomania - Bodily Excess, Collective Unrest". The thrid block involves an experimental playground consisting of several performance try-outs, each rigorously documented, analysed, and reflected upon. Adopting a rhizomatic approach, I explore performance-making as a fluid, irregular process. The resulting performances weave together classical piano, improvisation, movement, voice, collaboration, live-electronics, audience engagement, and the submerged elements of choreomania. The research culminates in a synthesis and reflection of the entire process, offering new insights into performance-making.
The Birth of Cello Virtuosity
(2025)
author(s): Antonio Pellegrino
published in: KC Research Portal
At the turn of the nineteenth century, cellists were trained to provide chordal continuo realisation for recitativi in various parts of Europe. In other words, when they accompanied an upper voice, players would create a harmonically rich texture to better support the line above them, filling in chords rather than playing single bass notes. My research aims to trace the origins of this practice, examining pedagogical materials from the Neapolitan conservatories at the end of the 1600s. First, we investigate sections of the Montecassino Manuscript MS 2-D-13 (1699), analysing cases when Neapolitan-trained cellists needed to conjure up music beyond the written bass line. Selected works by prominent cello virtuosi and pedagogues of the time (Rocco Greco, Gaetano Francone, and Francesco Supriani) help us grasp how the violoncello gained the possibility of playing sophisticated improvised lines upon a bass and even (dare we say) partimenti. The second part of my research takes us forward in time to the second half of the eighteenth century. We discover how Salvatore Lanzetti and Antonio Guida continued the pedagogical traditions established by the preceding generations of Maestri, crafting methods that trained cellists to employ the rule of the octave in order to get comfortable with chordal improvisation. Ultimately, these explorations aim to suggest how the ground may have been fertilized for the growth of the aforementioned recitativo practices in the late 1700s, treating chordal continuo realisation as a result of a dynamic process across generations rather than an isolated phenomenon.
o fazedor de imagens
(2025)
author(s): ska Batista
published in: Research Catalogue
Este ensaio visual parte da figura do fazedor de imagens, onde articula experiências
pessoais, memórias, imagens apropriadas e práticas performativas para evidenciar
que toda memória é, em essência, partilhada e continuamente reencenada. A
pergunta-afeto que orienta o percurso é: e se eu fosse imagem? Um convite à
reinvenção coletiva dos modos de existir, fazer e imaginar. tal como os vaga-lumes de Didi-Huberman que persistem e
brilham mesmo em meio à noite iluminada pelos holofotes… Dessa forma, convida-se a
imaginar… imaginar apesar de tudo.
Maisterin opinnäyte / taiteellinen osio
(2025)
author(s): Pia Korhonen
published in: University of the Arts Helsinki
Taideyliopiston Teatterikorkeakoulu / Kirjoittamisen maisteriohjelma / opinnäytteen taiteellinen osio.
Esittelen kenttälaboratoriossa kenttäkirjoittamisen menetelmiäni tekstien, kuvien, videoklippien ja ääninäytteiden avulla. Näytteenotto, näytteiden esikäsittely ja esikäsiteltyjen näytteiden jatkokäsittely ovat keskeisiä poeettisen kenttälaboratorioni toimenpiteitä ja asettuvat vuoropuheluun luonnontieteellisen kenttätyöskentelyn proseduurien kanssa.
