Research Catalogue

an international database for artistic research

• From Interpretation to Collaborative Creation - Reframing the Performer’s Autonomy in Mixed Music for Cello and Live-Electronics (2026) author(s): Pedro do Carmo published in: Codarts
  This research investigates the performer’s role and autonomy in the interpretation and creation of mixed music with live electronics. The project begins with a multi-layered study of the interpretive process of Près (1992) by Kaija Saariaho — from the technical and expressive demands of the cello part, to the development of sensitivity toward the electronic transformations, and the testing of different performative configurations — and evolves toward the co-creation of a new work, Wolves and Wires (2025), in collaboration with composer Marta Domingues. In this later phase, the performer actively experiments with the relationship between gesture, sound, and the expressive and technical requirements of the electronic system. This artistic trajectory, developed across three research cycles, moves from interpretative inquiry to creative authorship. The first two cycles focus on the cellist’s practice strategies and technical awareness of real-time electronics, while the third introduces a collaborative process in which the performer contributes to the design of the electronic material, spatial configurations, and control systems. A defining outcome of this process is the physical repositioning of the performer within the quadraphonic field. In contrast to Près, where the performer remains outside the spatial projection, this immersive setup enables full auditory feedback and real-time interaction with the electronics. Spatial integration becomes a condition for performative autonomy, dissolving the separation between acoustic gesture and electronic transformation and allowing the performer to act as a unified sonic agent. The research reveals that autonomy in mixed music does not arise solely from technological control, but from a situated, embodied relationship with space, instrument, and system. These outcomes contribute to broader reflections on performer agency and offer concrete insights for practice, suggesting new models for collaborative and transdisciplinary creation in mixed music contexts.
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• Being Free, Together: Instant Composition in a Contemporary Multi-Instrumentalist Context (2026) author(s): Koen Joseph Gijsman published in: Codarts
  This research investigates strategies for free improvisation, or “instant composition,” from the 1960s onwards. Instant composition is defined in this research as “working with concepts, structures, and limitations that stimulate interplay, coherence, and creativity in free improvisational contexts.” The research aim is to reemploy these strategies and find how they need to be adjusted to fit the contemporary jazz practice I share with Epoxy Quartet. Based on interviews, literature review, and practice-based experimentation, this research aims to develop exercises, instructions, or methods to co-create and co-evaluate expressive improvised performances. Although the strategies our quartet employs are rooted in an existing tradition of free improvisation – often atonal and cerebral music – we hold the artistic ambition to develop a musical idiom that is more lyrical and accessible. Therefore, the intended outcome of this research is a unique performance practice situated in the interstices between improvisation and composition, supported by well-developed methods to co-create and co-evaluate expressive improvised performances.
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• Cecilia Arizti, an inspiration to grow (2025) author(s): Lisa Maria Blanco published in: Codarts
  This research focuses on the analysis of three piano works by Cecilia Arizti, a pioneering Cuban composer and pianist from the 19th century: Vals Lento Op. 8, Barcarola Op. 6, and Reverie Op. 16. Arizti, a highly respected musician of her era, demonstrated profound technical mastery and musical depth in her compositions. This study aims to explore the structural and harmonic intricacies of her music, with the goal of applying these insights to the development of my own compositions. The investigation involves a detailed analysis of the melodies and harmonies present in the selected pieces, alongside an exploration of Arizti's compositional style. To deepen the understanding of her work, the research integrates information from multiple sources, including historical recordings, expert interviews, and scholarly literature. These materials provide essential context and support for the musical analysis, offering a comprehensive view of Arizti's artistic contributions. The findings of this research culminated in the creation of three original compositions: Vals Cubano, Punto de Barcarola, and Habanera para Cecilia. These pieces, inspired by the case studies and musical experiments conducted throughout the project, reflect the stylistic elements of Arizti’s work while incorporating contemporary elements of my own compositional voice. Ultimately, this study highlights the enduring relevance of Cecilia Arizti's music and demonstrates how historical analysis can inform and inspire modern creative processes.
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• This is not my U******E: The use of film and A/V elements as a pivot role in contemporary opera. (2025) author(s): Massimiliano Vizzini published in: Codarts
  This research explores the integration of film as a dramaturgical element within contemporary opera, with a specific focus on its role in shaping narrative, character development, and audience perception. Over the course of two years, I have investigated the compositional and theatrical possibilities that emerge when opera, A/V elements and film interact, aiming to expand the expressive potential of these mediums. Structured in three different cycles, this paper examines the evolving relationship between live musical performance, electronic music composition, and visual storytelling. Through a combination of desk research, artistic experimentation, and practical composition—drawing insights from the creative processes of composers such as Michel van der Aa, Richard Ayres, Sivan Eldar, and others—this research highlights the challenges and opportunities of hybrid opera-film formats. The findings demonstrate that film can serve not only as an aesthetic addition but as a fundamental component of dramaturgy, capable of deepening character psychology and reinforcing musical structures. Additionally, the research reveals the complexities of balancing digital and organic elements in opera, contributing to a broader understanding of contemporary music-theater composition. Through this process, I gave myself the freedom to experiment as much as possible and learn by observing from composers and artists who stimulated and inspired my creativity. As a result, this paper has culminated in the development of This is not my U******E (2024-2025), a new opera production for soprano, baritone, sinfonietta and A/V elements.
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• Composing with samples (2025) author(s): Agnese Valmaggia published in: Codarts
  In this research I investigated the process of composing music starting from pre-recorded samples as a source of inspiration. I explored different approaches and consulted several experts, among which JacobTV, Vaague and Chassol. The whole work can be divided into three steps: In the first cycle I started trying to translate into pitches the samples I had: the result is a very rhythmic musical idea, quite connected and ‘locked’ with the sample but lacking some freedom. In the second cycle I explored the completely opposite direction: I used the pre-recorded audio material in the background of the piece, creating a sort of soundscape, a ‘cloud of sounds’, less central for the audience but still essential in the composition process. I also experimented with ‘floating pulse’ and isorhythm technique. In the last cycle I tried to blend the two previous approaches, searching for a balance in between the two. In general, apart from the artistic exploration and outcomes, I also experimented a lot with technical tools and programming techniques I didn’t know or didn’t have before, like Max patches, Ableton midi mapping, drums triggers, multipad. I came up with three different outcomes, each one focused on one of the three main approaches (rhythmical, ‘floating’ and a mix of the two), involving different kinds of samples and different line-ups (from the drums solo to the quintet). In addition to that, a lot of small experiments have been carried out.
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• Trombone Compositions Written by Modern Day Female Composers, Inspired by Amy Riebs Mills (2025) author(s): K L Blackburn published in: Codarts
  This research paper belongs to the Performance Practice area of study. It is to give more insight into a not so well known female composer, Amy Riebs Mills. It’s also to understand why there is not so much brass music written by women. As well as finding new ways to compose and create unique pieces to add into the trombone repertoire whilst working with a female composer. Using research methods such as literature, interviews, reenactments, experiments, analysis of scores and recordings. I wanted to take time to explore an area that I'm passionate about and give another example to the future generation of female brass players, as nothing should change because of our gender. I looked to find approaches that suited my playing when it came to the parameters of articulation, dynamics and glissando; as well as exploring the attributes it takes to compose a challenging but enjoyable piece influenced by the works of Amy Riebs Mills. Examples include: Red Dragonfly, Golden, Catharsis, One More Mountain and Journey One: Hints of the Middle East. Additionally, I worked alongside a talented female composer, creating a personal piece of music that explores interesting parts of the trombone. I reached an artistic result of two new pieces for the trombone. Approaches to the parameters were explored, achieved and an analysis of Mills’ works were organised and utilized. I used this creatively in pieces that show not only my intended outcome, but also a part of myself. I hope that this research now provides information in an area that was not so commonly known and can also show that women can be powerful.
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