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• Body movement awareness as a path to expression in violin playing (2017) author(s): Sara Balasch Lozano published in: Research Catalogue
  When playing the violin my goal has always been to communicate and emotionally move my audience. I saw this as an important role as a musician in general, but it was also important for me as a human being. From the first moment I began thinking about my Masters research, I was aware that I would spend hours of practise on the violin and likely read many books. I really wanted to work on something that I was passionate about. I have always been interested in body movement. I love violinists who move easily on stage and I have always been curious about how they connect so well between their body and the instrument. I wished to have the same freedom in my own movement when playing. Violinists such as Janine Jansen and Pinchas Zuckermann were always a great inspiration for me. They were so full of power and emotion in both their musical and physical expression while playing. I felt that this kind of physical expression wasn’t my strongest point as a violinist when I started my research process. Sometimes I felt stiffness in my muscles while playing. On other occasions I had the feeling of not being able to transmit the emotions of the piece to the audience in its totality because I was having blocked or stiff movements. I also felt that my sound was affected by this stiffness. For these reasons I wished to examine the effect that body movement has on my playing. I also wished to explore how I could help my violin sound and musical phrasing through awareness of my motion. I wanted to connect more with my audience as a musician and as a person and I wished to do it through movement, but how could I connect these two subjects? Further, how could movement and physical awareness affect my violin playing? I started asking others such as teachers and musical peers about methods and ways to expand my range of movement and how to connect it with expressivity. It was a complicated topic and difficult to define what I needed. My research coach, Nicole Jordan suggested that I contact some experts in movement analysis such Annemieke Wijers from the dance and health department of Codarts. I needed a place to begin research into movement and expression. During the talk with Annemieke I was told about Laban Movement Analysis and it became the starting point of my research.
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• Johan Jutterström - Etyder (2017) author(s): Johan Jutterström published in: Research Catalogue
  Recorded live at Klubb Entra, Göteborg 2014.
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• Studio Activity Sheets SASs (Watts 2010); a method for recording artistic processes. A case study trialling the SASs in the processing of the art/ performance/ video of the exhibition I am not a decorator…..(2016-17) and exhibition Skittish (2013-4). (2016) author(s): lisa watts published in: Research Catalogue
  This case study trials a method of recording artistic processes titled, Studio Activity Sheets, SASs (Watts 2010). The SASs are tested on the making of performance and video art for an exhibition titled, I am not a decorator… (2017/8). This exposition examines one tenth of the making processes of the exhibition, documented by the SASs and this tenth is titled, Holey Bridge. Therefore, this exposition maps the artistic processes of Holey Bridge using the SASs. Many artistic processes are recorded via an interviewee and an interview about the artist’s general approach to their practice. Whereas, the SASs clock specific, chronological moments in the journey of the making of a certain piece or exhibition. Therefore, the significant moments in the messiness of devising, making can be plotted on a chart/ map.
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