Research Catalogue

an international database for artistic research

• Karaoke and Queering Capitalism (2025) author(s): Eygló Höskuldsdóttir Viborg published in: Research Catalogue
  This is the final reflection paper of Eygló Höskuldsdóttir Viborg from the MA program in Performing Arts at Iceland University of the arts. It is hard to live as a living artist these days. Here are some of my findings on how I can use the art of karaoke to make ends meet.
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• Vermehrstimmigen als kontemplative Praxis - Dokumentationsteil (2025) author(s): Jakob Stillmark published in: Research Catalogue
  Abbildungen und Medien zur Dissertation
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• Radiohead: Daydreaming (Piano Phase Remix) (2025) author(s): Charles White published in: Research Catalogue
  This artistic research project introduces a 14-minute album, Radiohead Daydreaming (Piano Phase Remix), a remix of an excerpt from Radiohead’s introspective track “Daydreaming.” Employing the minimalist technique of piano phase music—pioneered by composers like Steve Reich—the remix overlays two identical musical lines that gradually shift out of sync, generating intricate rhythmic and harmonic textures. This experimental approach reimagines Radiohead’s atmospheric soundscape, questioning the boundaries of remixing as a creative practice and questioning the integration of avant-garde methods into popular music genres. The work situates itself at the intersection of contemporary music and popular culture, challenging conventional notions of authorship, perception, and musical temporality. By applying phase music to a widely recognized song, the remix fosters a dialogue between experimental composition and mainstream accessibility, inviting listeners to engage with familiar material in a novel context. This process not only recontextualizes the original but also explores the potential of remix culture as a site for innovation and critical inquiry. As a case study in artistic research, Radiohead Daydreaming (Piano Phase Remix) underscores the artist’s role as a researcher, pushing the limits of genre fluidity and creative transformation. The project contributes to broader discussions on the democratization of experimental music and the capacity of remixing to bridge diverse musical traditions, offering new perspectives on the interplay between art, sound, and society.
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  IMPRINT (2025) author(s): PP, TC, CAW, BC published in: Research Catalogue
  In once-uniform, traces of life emerge a neighbourhood, built for order now breathes individuality over time, structure makes expression a slow transformation shaped not by plans, but by presence tiles, shadows, colors quiet gestures speak of daily routines people who made this place their own imprints, not imposed but lived together, form the memory of space a home grown into differencs
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  ÖR - AS ongoing loop (2025) author(s): Aðalheiður Sigursveinsdóttir published in: Research Catalogue, Iceland University of the Arts
  AS this is my final project about my final project at the University of the Arts in Iceland, it serves as a reflection on my own artistic process. AS I am completing my MA in Performing Arts, this moment signifies an ending, yet I feel I am still in the midst of processing it. AS I set out to create a documentary play rooted in personal experience, aiming to bring realism to the stage. AS I allowed myself throughout the process to repeatedly ask: what am I truly confronting? AS I came to realize that, in the beginning, I was not being honest with myself. AS I tended to lean toward abstraction, to fix things, to escape into dreams rather than meet myself with clarity. AS I was not truthful to my own state of being. AS a way to hold myself accountable, ÖR ultimately became a kind of encounter, with a meeting within a Program of Honesty. AS if ÖR blends inner and outer realities, flowing in a hybrid form of lived and performed experience. AS are my initials, it echos in my writings. AS an ongoing loop.
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• Swinging On The Shoulders Of Giants (2025) author(s): Jacob J Johnson published in: Research Catalogue
  This work is intended for those who want to learn more about the methods and arranging techniques that can be used to play the same composition in different ways and how to arrange one's drumming within jazz music. This work is not only aimed at drummers. All the concepts, methods, and analyses I present in this work are also applicable to other instruments. The aim of this study is to explore the relationship between transcription and creative improvisation in jazz drumming. In order to fulfill this aim the following research questions where formulated: In what ways does transcribing and analyzing my favorite drummers' playing enhance my musicality and personal musical voice? What characterizes the idiolect of these four drummers? How does an established jazz drummer accompany a soloist, and is it possible to hear a clear interaction in their playing with each other? How does my comping and solo playing develop through the process of transcribing and emulating the performance of these iconic drummers? In this master's thesis, I have chosen to analyze how four different jazz drummers play the same composition. The song I have selected is one of my favorite jazz standards, titled You & The Night & The Music. This is a fairly well-played jazz standard with several different versions and arrangements. The drummers I have chosen for this thesis are Gary Novak, Niclas Campagnol, Philly Joe Jones, and Jukkis Uotila, who, in my opinion, are some of the best drummers in the world. I have transcribed these drummers’ comping and solo playing, and I have also learned to play the transcriptions myself. I have done this to analyze what I can learn from it and to absorb the knowledge and skills of these drummers so that I can apply them to my own playing. I have also recorded myself imitating and replicating my transcriptions. This was done to observe what I can come up with spontaneously when improvising and how I interpret and perform the same composition and arrangement as they do. In this work, I have also analyzed the equipment that drummers use. I have done this to understand what equipment I need to achieve a certain sound or feel in a song. As a final step, I have recorded my own version of this song together with a jazzband to demonstrate my hopefully newly acquired knowledge and interpretation. This work has developed my musicianship and has also expanded my personal musical toolbox, enhancing and improving my bag of licks. I have also gained a deeper understanding of how interaction works between different instruments in a jazz band, as well as how improvisation and interplay function between a soloist and accompaniment. The transcriptions have also improved my technical ability in both my hands and feet, and I have had to practice intensely to be able to play some of the drum grooves and solo phrases that they are playing. My sight-reading ability has also improved, and I have become much faster at reading advanced drum notation. The work has also given me an expanded knowledge of the equipment drummers use and why they choose their drums, cymbals, drumheads, and drumsticks.
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