Research Catalogue

an international database for artistic research

• 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.
  open exposition comments (0)
• 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.
  open exposition comments (0)
• 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.
  open exposition comments (0)
• 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.
  open exposition comments (0)
• The percussive world of the saxophone (2025) author(s): Sean Thompson published in: Codarts
  This research investigates the acoustic potential of key clicks and key slaps on the saxophone, exploring their role in shaping texture, rhythmic drive, and overall musical expression. While these extended techniques are often used sparingly or as novelty effects, this study proposes a more integrated approach by treating them as core musical elements within a compositional framework. By combining key clicks with slap tongue and multiphonics, I explore how these sounds can function not merely as special effects, but as primary tools in my music. Drawing on both analytical and compositional processes, this project includes the development of an original solo saxophone work that blends these techniques in ways that are musically coherent and performatively engaging. A detailed analysis of how key clicks function acoustically serves as the basis for their structured use within the piece. This categorisation helps clarify the contexts in which these sounds are most effective, offering a practical framework for other performers and composers interested in incorporating the use of this technique. The outcomes of this research also provide a springboard for further exploration, especially in contexts that involve electronics and real-time sound manipulation. By grounding the study in acoustic experimentation and performative application, this research contributes to the broader discourse on extended techniques for saxophone and contemporary performance practice.
  open exposition comments (0)
• Mother of the unlikely: the unifying nature of the milonga (2025) author(s): Julián Muro published in: Codarts
  Throughout my career, my work has been dedicated to incorporating aspects of Argentine traditional and popular music along with those of Western Classical Music, Jazz, Northern and Sub-Saharan African music, Argentine Rock, and Pop. In the case of this research, I continued and deepened the work I started more than ten years ago with my project Dingungu, which focused on highlighting the African presence within Argentine music. Although the album had a great component of historical research, I did not have the tools to articulate it into academic writing, which was added to the fact that Afro-Argentine history was and still is a difficult area of study, facing backlash and ideology-related omission throughout Argentine academic and political history. This project of artistic research has allowed me to conduct a thorough exploration of this aspect of the cultural and historical identity of the country while providing inspiration to compose, arrange, and record six new pieces of music.
  open exposition comments (0)