Research Catalogue

an international database for artistic research

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  5. Staff Publications 2024 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2024. Each project reflects the rigorous process of inquiry and creative exploration that defines our institution's commitment to advancing the field of artistic research. While some of our research is featured elsewhere in journals such as VIS or JAR, this collection highlights the significant contributions that remain within our own portal, underscoring the diversity and richness of the work conducted by our researchers.
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  4. Staff Publications 2023 This issue presents the finalized and peer-reviewed artistic research projects completed during 2023. These works exemplify our institution's dedication to pushing the boundaries of artistic inquiry and practice. Although certain projects may be published elsewhere in journals such as VIS or JAR, the research featured in this collection remains integral to our portal, highlighting the breadth and impact of our researchers' creative endeavors. Each project here stands as a testament to the successful and innovative research conducted within our community.
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  3. Staff Publications 2022 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2022.
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  2. Staff Publications 2021 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2021.
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  1. Staff Publications 2020 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2020.
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  0. Published Research by Advanced Postgraduate Diploma students Select final projects of our Advanced Postgraduate Diploma Students
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  0. Ongoing research by staff A look into ongoing projects

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  On Sworld: Report and reflections on an artistic research into how audio can evoke human experiences of absence, ghosts and lost memories, explored through performance and composed walks (2025) author(s): Alexander Holm published in: Rhythmic Music Conservatory, Copenhagen
  Alexander Holm have been developing the artistic research project 'Sworld' on the APD program at RMC in Copenhagen 2021-2024. The project seeks to explore how simultaneous experience of sounds with- and without a visible cause can evoke human experiences of ghosts, absence and lost memories. The project researches and expands on composer and theorist Michel Chion's audio visual concept of Synch Points, examined through a versatile compositional praxis including choreography, text, voice, walks and live performance.
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  Gravity and Breathing as an Integrated Musical Frame (2025) author(s): Halym Kim published in: Rhythmic Music Conservatory, Copenhagen
  This artistic research explores a performance practice that integrates the phenomena of gravity and breathing as extensions of musical expression in improvisation. The aim is to develop a musical language that translates the qualities and characteristics of gravity and breath into sonic gestures, examining how they generate tension and release through both musical actions and silences. The project draws inspiration from traditional Korean music and dance, in which an embodied awareness of gravity and breathing constitutes a foundational approach to performance and interpretation. These cultural references serve as a framework for rethinking musical practice and transcultural awareness. As part of the research process, I undertook studies in traditional Korean dance, the vocal tradition of Pansori, and the percussion instrument Soribuk to understand how gravity and breathing are communicated artistically, verbally, and methodologically across these three disciplines. Insights from this embodied practice were then translated into the context of Western contemporary improvisation. The resulting concept is designed to enhance the performer’s awareness and is specifically conceived for a solo drum set context.
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• Reaching for the utmost limits – Making a process visible with The Hands, the Bow, and the Bass (2025) author(s): Johannes Nästesjö published in: Rhythmic Music Conservatory, Copenhagen
  Can I, by reaching for the utmost limits on my instrument, in dynamically, technically and pitch related ways both find, for me, new contemporary techniques and expand the ways on how to play and perform them on the double bass? Can I, by illuminating, documenting, studying, organizing and re-documenting my musical process, design a toolkit for improvising bassists with contemporary techniques?  Can I, in my musical process both act as the first person, i.e. the subjective musician and as the third person, i.e. the objective observer?
 If so, can I, as the observer objectively observe and organize the ”discoveries” that I am doing in my daily work as first person.   Can I create this tool kit through the limitations that my instrument offers acoustically (the hand, the bow and the bass). And can I through this immerse and widen my musical expressions? - A richer language - more elastic - with more colors.
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  Unburying, from Liminals, Emerging: Three Contexts for a Microtonal Prepared Piano (2025) author(s): Matt Choboter published in: Rhythmic Music Conservatory, Copenhagen
  Can an acoustic grand piano be sonically and conceptually reimagined so as to re-negotiate its foundational assumptions around tuning and timbre? Why should the piano continue to be so accustomed to only one tuning system? In contrast, how can “pure sounds” (ratios found in the harmonic series) co-exist with ethnically diverse microtonal tunings? Spanning a period from 2020-2022, “Unburying, from Liminals, Emerging” explores a microtonal prepared piano in three artistic contexts. These include: a solo project called “Postcards of Nostalgia; a chamber ensemble consisting of saxophone trio, percussion and piano; and a “percussion ensemble with soprano saxophone called Juniper Fuse. Dialoging with a newly invented tuning system, what emergent properties might we find when magnetic piano preparations are used to evoke specific timbral effects from Balinese Gamelan and Indian Karnatik music? Collectively, how can this expanded notion of “piano” merge with spatialization to facilitate interactive experiences for audiences? How might a process-oriented Jungian-inspired dream work communicate itself so as to distill and coalesce a fertile musical landscape?
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  Spatiality and the Tactile Experience (2025) author(s): Anders Holst published in: Rhythmic Music Conservatory, Copenhagen
  This artistic research project reflects a deeply personal exploration of the ritualistic and symbolic aspects of music, from the perspective of my own practice a soloist. It touches on the idea that the act of creating sound is not merely a technical or performative endeavor, but a sacred, energetic exchange. The fingertips, as the primary point of contact between the musician and their instrument, are seen as a portal—an interface between the inner world of the musician and the outer world of sound, music, and the present moment.
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  The Ever Changing Instrument (2024) author(s): Anders P. Jensen published in: Rhythmic Music Conservatory, Copenhagen
  The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.
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