Research Catalogue

an international database for artistic research

• 2024. ACPA ACPA 2024

• Vestito a ponti d'oro e a cento corde in seno - 'History, repertoire and playing-techniques of the Italian salterio in the eighteenth century' (last edited: 2023) author(s): Franziska Fleischanderl connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The present study of Franziska Fleischanderl is the first comprehensive and fundamental compendium on the Italian salterio of the eighteenth century. It sheds light on its genesis in the ecclesiastical environment, its dissemination and use in all regions of Italy, its social rise to the highest circles of the aristocracy, its virtuoso professionals and noble amateurs, and last but not least, its original genre-spanning repertoire. It is a great peculiarity of the Italian salterio that it was played with three completely different playing techniques in equal measure. Either the strings were struck with two small hammers (battuto), plucked with the fingernails and fingertips (finger-pizz) or plucked it with plectra, that were fixed in metal finger rings and placed at the fingertips (plectra-pizz). The search for and reproduction of original playing utensils such as hammers and finger rings, as well as instructions for assigning the appropriate playing technique to the original salterio repertoire and mastering all three techniques, constitute the artistic research part of this study, which was conducted on an exceptionally well-preserved, beautifully decorated, original salterio made by Michele Barbi in Rome in 1725.
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• In search of a politesse du chant - Rediscovering salon vocal performance practice through the lens of the airs sérieux in the Recueils d’airs serieux et à boire de differents autheurs, 1695-1699 (last edited: 2023) author(s): Elizabeth Dobbin connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The dissertation of Elizabeth Dobbin examines the airs sérieux contained within the Recueils d’airs serieux et à boire de differents autheurs published by the Ballard printing house in Paris between 1695 and 1699 inclusive. Inspired by the performer’s desire to uncover and to sing this previously neglected yet rich and diverse repertoire, the present study was equally propelled by the researcher’s instinct to investigate the vocal performance practice associated with it. Previous academic writings in this field showed that the airs sérieux of the type published in the Recueils were sung in a variety of fora, notably the seventeenth-century Parisian salon. The vocal practice associated with this sociable institution and its polite modes of conversation and interaction therefore represent the principal focus of this study. In its examination of the nuanced style of singing that was unique to these worldly gatherings, the present study seeks to unveil a politesse du chant. Alongside this focus, however, considerable attention is also accorded to the different modes of performance of this repertoire, and to an evaluation of the extent to which current conventions of French Baroque performance-practice are in harmony with, or divergent from, the historical vocal and aesthetic sources.
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• Phónè and the political potential of metal music : a scholarly intervention (last edited: 2023) author(s): Kai-wen Chiu connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The thesis of Kai-wen Chiu studies the political potential of metal music from the perspective of phónè in metal,with phónè referring to both voice and sound. I propose that metal, with its loud,distorted phónè, has the potential to challenge the politically charged separation of the meaningful collective voice of a people from the production of sheer sound. Throughout the thesis, I investigate this potential at four levels. The first chapter examines the connection between metal and scholarly subcultural politics. In the second chapter, I study how metal can inform us about power relations running through everyday life, especially with regard to issues of race and gender. The third chapter tackles aspects of power relations that are enacted at the site of phónè, and that draw attention to metal’s loud and distorted phónè. In the final chapter, I examine political activism in Taiwanese metal, demonstrate its relevance, and reflect on its shortcoming. The trajectory of this thesis marks a form of political engagement through phónè in metal, from the perspective of a scholar and a Taiwanese. Phónè, Voice and sound, Biopolitics, Giorgio Agamben, Taiwanese metal music, Metal music studies
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• Territoriality and choreography in site-situated performance (last edited: 2023) author(s): K.G. Guttman connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  The PhD project of K.G. Guttman 'Territoriality and Choreography in Site-Situated Performance' is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of residential sites in Canada and the Netherlands. Site-situated performance refers to an artistic process that begins and ends on-site, working within the specific conditions of a location. The key terms territoriality and choreography here represent concepts and practices that express and navigate space-time(s). The project animates qualities of territoriality through a choreographed encounter between host-dancer, guest-audience and site-performance. Written and explored from the perspective of a Canadian settler scholar and artist, the project attunes to the material and discursive agency of the guest, host and site within colonial and settler colonial conditions. The project develops a critical and creative mode of engagement with the social, material and political characteristics of a site and with the world-building potential of performance.
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• Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation (last edited: 2023) author(s): Ilya Ziblat Shay connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Between Freedom and Fixity: Artistic Reflections on Composition and Improvisation is a practice-based research project that aims to highlight the role of freedom and fixity in music and to develop a discourse based on these two concepts. This research of Ilya Ziblat Shay suggests a creative approach based on the interrelationship between freedom and fixity, for example their combination, juxtaposition, and tension, and describes them as abstractions or placeholders for musical agents such as rhythm, notes, structure, timeline, and interactive computer systems. Another important notion is the inherent coexistence of the two concepts, and proposing the constant oscillating between them as a creative musical approach. Furthermore, the research aims to establish the use of freedom and fixity as a productive paths for extra-musical disciplines. Four works by the author are used as case studies to examine the integration of the research concepts as tangible musical forms. In each of the case studies the concepts are embodied differently, thus different relationships develop between them in each piece. This study relies on the author's experience and experimentation as a composer, performer, improviser, and electronic-music practitioner, and draws inspiration from works by other musicians and scholars.
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• In Search of A Lost Language: Performing in Early-Recorded Style in Viola and String Quartet Repertoires (October 2019) (last edited: 2023) author(s): Emlyn Stam connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Early recordings made between the 1880s and mid-1930s reveal a wide gap between the performance practices of a century ago and those of today. Though many contemporary musicians often claim fidelity to composers’ intentions, they clearly prefer to avoid the risks associated with playing in ways familiar to the very composers to whom they pledge fidelity. Given this state of affairs, I, Emlyn Stam, suggest a re-thinking of the concept of Werktreue, predicated upon the notion that 19th-century performers enacted their fidelity to works and composers by creating altered and highly personalized versions of the detail, structure and time of composers’ works. My own performances aim to enact this performer-centred Werktreue in order circumvent the frequently restrictive nature of modern performance practices while closing the gap between these practices and those heard on early recordings of viola solo, viola/piano and string quartet repertoires. The question my work engages with is: how might viola and string quartet playing in the performer-centered, moment-to-moment and communicative style heard on early recordings be brought about today? In order to achieve this aim, the study of relevant literatures on early-recorded style is combined with historical research and the detailed analysis and ‘all-in’ copying of early recordings.
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