Research Catalogue

an international database for artistic research

• From the pit to the stage: a comparative approach to solo bass playing (2021) author(s): Felipe Devincenzi published in: Codarts
  This research attempts to translate technical skills and notions from lyrical singing to double bass playing. Based on the Donizetti-Bottesini partnership, the idea was highly influenced by translation concepts developed by theorists Ricardo Piglia and Walter Benjamin. Research strategies include expert feedback, side by side work with tenors, experimental practice and extensive recording analysis on selected repertoire. Together, they outline a basic strategy that enriches solo performance. Conclusions could be applied to any similar repertoire by any other performer who reads this report.
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• The art of chopping (2021) author(s): Pablo Rodriguez Gonzalez published in: Codarts
  Traditionally, the violin is seen as a melodic solo instrument and on rare occasions it assumes rhythm and harmony as a principal function, as in the case of, for example, a second violin in a string quartet or an orchestra. When I started to play the guitar eight years ago, it fuelled my interest into how I could possibly translate the feeling of being a guitarist or percussionist into that of a fiddle player. Immediately after this I discovered Turtle Island String Quartet, a classical string ensemble specializing in modern styles such as jazz, rock and funk. In their performances they made use of advanced percussive bow techniques, commonly called “chopping” or “chop”. Upon starting my master studies, my main teacher, Christiaan Van Hemert advised me to check fiddler Casey Driessen (1978, Owatonna, Minnesota, United States). He is an American bluegrass fiddler and singer who has performed with many well-known artists such as Béla Fleck, Abigail Washburn, Steve Earle, Tim O'Brien and Darol Anger. His use of advanced percussive bow techniques (chop) was outstanding. It made me realize that it was possible to use the violin as a groove-rhythm instrument. ARTISTIC RESEARCH QUESTION How could I expand my knowledge and use of percussive-bowing techniques used by fiddler Casey Driessen through the analysis of his music, and the translation of vocabulary from the flamenco cajón, so that I could incorporate them into my solo compositions and rhythmical improvisations?
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• Learning from a vocal approach on music (2020) author(s): Sophie Elisabeth Ehling published in: Codarts
  When we speak, there is rhythm, intonation and expression in the words that we choose. When we sing, a melody is added, the story surrounded by musical context. When I play the cello, I can express feelings, thoughts and stories without using any words. I based my research on the relation between language and music, because I wanted to know how to be more expressive in my cello playing. Singers have the text to guide them into making clear what the story is about. As instrumentalists, we might not use words during a performance, but we can definitely learn from involving vocal elements into our approach to music. That is why I consulted experts in the German, French and English language, as well as singers and cellists, to guide me in my process of making an ‘instrumental translation’ of vocal repertoire, in order to broaden my spectrum of possibilities to be expressive. Based on the results of desk research, text and score analysis, interviews and work sessions with the experts and experimentation on the cello, I made a comparison that led me towards the final result, recording the third movement of César Franck’s sonata, a piece in which I could put a lot of the new things that I had learned. I hope that this research can assist anyone who is looking for a way to become more ‘outspoken’ in their instrumental playing, and to stimulate instrumentalists to always stay open for new ways to interpret a piece.
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• Improvisation, Musical Analysis and Fretless Guitar: investigating the taksim practice within Ottoman Classical Music (2020) author(s): Juliano Abramovay published in: Codarts
  This research has developed tools and identified a series of procedures through an analytical investigation of how improvisation functions within the context of the taksim, a solo improvisational style found within the Ottoman Classical Music tradition. By transcribing and analyzing improvisations from masters on the style, it was possible to catalogue different types of musical structures, from ornaments and small phrases to the overall scheme of improvisations and strategies employed by the musician while performing it. The elements observed within master's improvisations were adapted to the technique of the fretless guitar, the instrument in which the research has been developed. With the aid of specialized software, a series of videos were produced where structures observed through analyses of improvisations are presented in a didactical manner. Practical examples introducing ways of employing these structures on the fretless guitar are also a part of the research output. The final goal of this research was to create my personal identity on the fretless guitar by using the tools developed here.
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• Developing new sonic landscapes for improvisation and composition by extended techniques for saxophone such as overtones, timbral fingerings and multiphonics (2020) author(s): Albert Kerekeš published in: Codarts
  The initial plan for my research was to analyze Pat Metheny’s concepts of improvisation over blues forms and incorporating his concepts into my improvisation. During my first year I thought this research would be a good idea until I had a major discussion about it with Paul van Brugge. The discussions conclusion was that this research wouldn’t add a significant value to my artistry and that this analysis of Pat Metheny’s concepts can be done, out of my own curiosity, in my free time and during my main subject lessons, if I really wanted to do it so badly. Since Paul is both jazz and classical composer in the 21st century and he have seen and experienced the development of music, he suggested me to get into extended techniques for saxophone which would give me a significantly bigger value as a performing artist, saxophonist and composer, in this ‘modern’ world. At first, I was hesitant towards extended techniques for saxophone because I heard they were extremely hard, but after I came to peace with the idea I was able to start seeing some of the benefits extended techniques could provide me. The question that I formulated and led me to find answers and start my journey was the following: How can I develop new sonic landscapes for improvisation and composition by extended techniques for saxophone such as overtones, timbral fingerings and multiphonics?
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• The search for passion: Arpeggione sonata analysis through vocal, modern cello and arpeggione influence (2020) author(s): Virginia del Cura Miranda published in: Codarts
  How can I develop a personal interpretation of the Arpeggione Sonata for cello and piano by F. Schubert, making a performer’s analysis in the first and second movement? *The performer’s analysis will include the following factors: a historical approach to the Sonata, Schubert’s compositional style, a form analysis of the final version, a study of the original notes written by the composer on the manuscript, the influence of the arpeggione (instrument) has on Arpeggione’s composing and the influence of vocal technique.
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