Research Catalogue

an international database for artistic research

• Create the Present, Recreate the Past (2024) author(s): DAVID VAAMONDE LÓPEZ published in: Codarts
  The following report documents a research project that aims to incorporate improvisation in classical piano recitals in an effective way, as a manner of refreshing such an old-fashioned format. In order to make it possible, the process started by mapping the field, developing basic skills in improvising interludes between written pieces and reading literature on improvisation as a concept. Regarding the need for a larger amount of technical and artistic resources, a more intensive study on piano extended techniques applied to improvisation and free improvisation was carried out, finishing the project with a focus on analysing the own aesthetics and working on proportion (time management). The artistic results are satisfactory, fulfilling the initial goals. Thus, the improvised interludes work sufficiently on their own and in relation to the written pieces surrounding them, thanks to the development of an efficient system that allows the improviser to adapt them to various contexts, according to their artistic needs. As a result, they are capable of adding artistic value to the content of a regular programme, potentially changing the perception of the listener and enhancing their engagement to the musical act. Such outcomes can serve as an inspiration to other musicians in order to start their own process, getting as close and incorporating as many elements of this one as they wish, with the intention of achieving a similar artistic development as the one derived from this research project.
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• Polyrhythms in Prog Music (2024) author(s): Erik Stein published in: Codarts
  My research takes place in the domain of drumming focusing on the world of polyrhythms; looking at how to integrate them in my own compositions but also how to use them in any kind of genre or situation. As for my experience, polyrhythms and groupings are extremely effective tools to sound more musical and more interesting; expanding the realm of popular patterns without losing the essence of the role of a drummer in today's western music. Motivated by curiosity, this research covers a 360 angle view of how to use them, focusing on grooves & rhythms - fills & Improvisation - multilayering rhythms and phrasing. Documentation and annotation will serve AV demonstrations for practical use and the involvement of carefully selected experts and peers will provide necessary feedback to stay on track. On a broader spectrum my findings can be translated to other players, inspire band members and open up doors for an alternative approach. Polyrhythms infused with dynamics and the right amount of dosing can sound easy and complex at the same time. This is what makes this subject not only part of a niche but can also be introduced to a wider audience. Researching mainly in the progressive rock domain, analyzing players such as Danny Carey, Gavin Harrison and Thomas Haake, my conclusions will be AV recordings and can be summarized in a ‘methodical’ overview.
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• Implementing Modern Production Techniques in a Live Music Context (2023) author(s): Cristian-Stefan Prajescu published in: Codarts
  My motivation to start this research began with the following question I’ve asked myself: “When producing and performing my own music, will applying modern production techniques consciously influence my production skills and help me at the same time in a live performance situation?” Given the advance of modern music production technology, the modern music producer can now use virtual instruments and automate audio effects such as delay or reverb to affect a sound at different stages throughout the arrangement, in order to achieve the desired musical expression. When we look at a live performance, we see one or more musicians playing and manipulating the sounds in real time, in order to deliver an inspiring and entertaining act. Another question I’ve asked myself: “Is it possible to apply automation in a live context to enhance my performance and manipulate sounds heavily with audio effects in the arranging phase in order to create interesting sonic textures, from which the track and my live performance would become more entertaining?” At the beginning of my master studies my performances were flat and not entertaining, as they were featuring me as a performer struggling to switch between instruments during the performance. Throughout this research I have analysed in depth both conventional and non-conventional uses of these techniques, how other artists are implementing them into their music and live performances, and experimented with them in my own music, by using appropriate research strategies such as literature desk research, case studies and self critical practice. This methodology led me to find creative ways to enhance my production skills and make my performances more engaging and entertaining, and can also serve as inspiration for music producers and artists that would like to implement these modern production techniques into their own workflow and take advantage of them in their live performances.
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  UNVEILING THE FOLK DANCE IDENTITY OF CARL NIELSEN'S CLARINET CONCERTO OPUS 57: A FYNSKE MODERNIST STORYTELLING (2022) author(s): Ettore Cauvin published in: Codarts
  Carl Nielsen's Clarinet Concerto Opus 57 is a work of a problematic nature for both performers and audiences, who always find it difficult to understand its rich yet intricate content. Despite copious written material, many interpretations are unfortunately significantly misleading because of the extreme technical difficulty of the music and the lack of information about the composer’s identity, especially concerning his production for clarinet and the distinct role of the instrument in Nielsen's life. My research shows that the composer's roots, the development of his production and the uniqueness of Danish folklore and related dances uncover narrative levels which are fundamental to a correct reading, not only of this work but of Nielsen's music in general. This study aims to create a multidisciplinary performance that combines the original score with dance and storytelling to enhance its peculiar characteristics, such as the bipolarity of characters and the intrinsic reminiscence of elements of Danish folklore within specific sections. Based on an extensive critical literature review and a fruitful expert consultation, I made analyses, charts and transcriptions, attaching explanatory video recordings as the basis of my work. Thanks to my field research trip to Denmark, I started designing a new performance combining the folk-related investigation and the extra-musical elements linked to Nielsen’s identity, to both the musical interpretation and imaginative dance performance to show the bipolarity of characters as well as portray the inner storytelling. The goal of my research here is not to demonstrate Carl Nielsen’s compositional willingness but to establish relations which can help the performer and the audience to connect the music to its vital folk heritage, extraordinary customised spirit and distinctiveness in both dance and storytelling. The artistic result is, in fact, a new hybrid performance of the work which portrays the complex music more consciously and innovatively, combining an informed musical approach with an imaginative choreography and active interplay between the contrasting manic episodes and the homeward feeling of the heartening sections, letting the audience partake in the musical narration. Despite the complex construction and demanding realisation of this kind of creative approach, I firmly believe that the result of this research makes an essential contribution to the understanding and interpretation not only of this work but of the music and identity of Carl Nielsen and the Danish musical tradition for the world of classical music and beyond. Further research is needed to shed light on the relations between classical and folk music, within performing arts in general, to strengthen their essential role in today's society to make what is usually considered a niche more accessible to the public by exploiting its unique characteristics for a more sustainable artistic and social usefulness.
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• The music of speech: exploring the spoken voice as an artistic tool for composition and improvisation (2022) author(s): Beatrice Milanese published in: Codarts
  The purpose of this research is to extend my performance as a jazz vocalist by including a previously unexplored element in my practice as a composer and vocalist: the spoken voice. After listening, transcribing and analyzing examples of spoken voice as they already existed in composed and improvised music, I undertook a vast series of quasi experiments and evaluated those in connection to the continuous feedback by my experts. By doing so, I got deeply informed about the consequences of including spoken voice techniques in my compositions and improvisations. This Master Research project brought me to two main conclusions. The first conclusion is that implementing my speaking voice in my improvisations in a jazz context required the development of my own method, where the action of speaking is harmonically and rhythmically supported and enhanced by the action of extemporaneously playing the piano. The second conclusion I draw is that including the spoken voice in my compositions and improvisations required theatrical training in order to perform them convincingly. A vast number of video files is added to this report to show the steps I took to result in my final outcome. This final artistic result is documented in the recorded video of my original composition “The Tell-Tale Heart” for voice, piano and contrabass clarinet. In this composition, my ultimate and highly individual application of the spoken voice both influenced the process of creation and shaped my way of performing the piece. This research is supposed to resonate between singers, composers and musicians and encourage them to widen their compositional palette through including new unexplored elements, stretch the boundaries of their interpretational skills, experiment with crossovers between artforms in their music, develop their own improvisation methods. Finally, I would like to encourage jazz singers to go beyond the role that is unconsciously being given to them.
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• Mastering the art of taqsim solo improvisation on quarter tone and fretless guitar in the maqam tradition. (2022) author(s): Jan Wouter Oostenrijk published in: Codarts
  As a young guitarist invited to join a Moroccan band, I discovered there are notes between the notes which weren’t playable on my instrument. That's how I developed an interest in North Africa and the Middle East. This also led me to Codarts 20 years later to study taqsim performances, which are considered the highest form of modal melodic improvisational art in the Arab culture. The research allowed me to explore the beauty and richness of this music, and look beyond the equally tempered Western tonal system into the world of Maqam playing. I transcribed and analysed taqsim recordings of the masters, studied maqam literature and scores of traditional compositions based on maqam repertoire. I used the Arabic 24-tone system and the Turkish comma system (Pythagorean tuning) as theoretical references. By taking ud classes I practiced intonation, phrasing and ornaments that I applied on fretless guitar and quarter tone guitar. Outcome: In addition to my educational background in classical and jazz music where improvisation is often more vertically related to harmonic progressions, the maqam system provides a tool for horizontal modal melodic developments. A way to shape coherent storylines (sayr) with the use of authentic microtonal tetra-chords such as rast, bayat and hijaz, tonicization of scale degrees, sequences and movable pitches that build tension and change modal gravity. The musical embodiment hereof is found in taqsim solo improvisation performances.
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