Research Catalogue

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  Orchestrating timbre - unfolding processes of timbre and memory in improvisational piano performance (2019) author(s): Magda Mayas published in: Research Catalogue
  The doctoral research investigates the orchestration of timbre from a performer’s perspective. Through the dissertation, I explore orchestration as means to “unfold” improvisational processes. The foundation of the work lies in my practice as a pianist in the realm of improvised music, in which I often use preparations and objects as extensions of the instrument. Whilst timbre is often understood as a purely sonic perceptual phenomenon, this view of timbre does not accord with its use within con- temporary site-specific improvisational practice. This research grew out of the need to explore the potentiality of timbre, and to renew and situate it within my own practice. Through the research, I argue that a range of aspects that exceed the purely sonic—for instance, changing spatial circumstances, the affordances and agency of instruments and objects, and the performer’s movements and gestures— all impact upon a performance and the listening experience. All of these aspects need to be taken into account in understanding and working with timbre. In this dissertation, I introduce and argue for an extended and situated understanding of timbre in relation to material, space, and body that recognizes timbre’s complexity and embraces its potential to contribute to an ethical engagement with the contextual environment. I understand these material, spatial, and embodied relations to be non-hierarchical, inseparable, and in constant flux, and to require continuously re-configuration without being reduced or simplified. This timbral approach, which navigates multiple media beyond the sonic, radiates throughout my research. From a performer’s perspective, I define “orchestrating” timbre as the attentive re-organization of these active agents and the creation of musical structures on micro and macro levels through the sculpting and transitioning of timbre— spatially, temporally, physically, and mentally—within a variety of com- positional frameworks. Understanding timbre in this way requires that we recognize the multiple and complex roles that memory plays in contemporary improvisational practice. I therefore introduce the term timbral memory in order to describe how I use memory strategically as means to gain knowledge about improvisational processes undertaken in line with an extended understanding of timbre. In the course of the research, I conducted four investigative projects that were integrated into my practice, which were further extended through collaborations with sound engineers, an instrument builder, and a choreographer. The resulting practice-based research explores multiple, combined, artistic, and analytical approaches to timbre: I use systematic mappings to detail vocabulary and technique, explore amplification and recording in the creation of spatial compositions, em- ploy a custom-built device for live spatialization as a means to expand and deepen spatiotimbral relationships, adopt gestural approaches in composing timbre choreographies, and articulate a range of diverse perspectives through dialogues and interviews with other practitioners. Taken together, these diverse studies constitute an exploration of both timbral memory as a structural, reflective, and performative tool, and the creation of performing and listening modes as integrated parts of timbre orchestration. The thesis opposes the notion of generalizable, reproducible, and transferable techniques and instead offers detailed and intimate approaches to technique and material, describing object timbre, action timbre, and gesture timbre as active agents in sound-producing processes. Orchestrating timbre forms a hybrid compositional approach, which can be applied to various improvisational contexts and which, by engaging with dynamic relationships, reconfigures them; in this, it offers a way of understanding and using the potentials that instrument-body-space interactions afford. By reaching beyond the sonic, my research makes a contribution to the field of critical improvisation studies. It addresses practitioners and audiences in music and sound art alike, attempting to constitute a bridge from artistic research in music—which is often viewed and treated as a self-contained discipline—into multiple artistic fields, in order to inspire discussions, creation and education in broader audiences.
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• THE POETICS OF A MULTIPHONIC LANDSCAPE (2019) author(s): Torben Snekkestad connected to: Rhythmic Music Conservatory Copenhagen published in: Research Catalogue
  The project is an artistic research project focusing on the saxophone􏰁s ability to produce multiphonics (multiple sounds on an instrument considered monophonic). It is a personal artistic exploration into the process of unfolding the poetics of these complex sonics and a reflection over the process, methods and the creation of an album trilogy, consisting of acoustic solo music recorded during the research period. The main question I have been asking myself during this project has been: What happens if the raw musical material, in the creation of a set of solo saxophone works, is based on the multiphonics only and what this material in itself suggest – possibly independent of any stylistic affiliation? 
My main objective was to examine why the saxophone’s multiphonics have such a captivating effect on me. How could I possibly explore their intrinsic qualities and unfold the poetic potential in them? By the same token, my ambition was to find a suitable artistic context for this enamored relationship that so heavily has stirred the waves of my imagination. In the reflection text on the project, I disclose how some unexpected paths during this pursuit revealed themselves. From sprouting interest toward underwater soundscapes, to the making of a hybrid instrument called reed-trumpet; and how my personal catalog of multiple sounds found its place, not in a public pdf-document or book release, but in a German wooden archive box. I relay in what way I began to take on the intrinsic qualities of the multiphonics and the reason why an oscillation between artistic intention and action is so pivotal for an improviser. To make sure that the project had this focus at all time I sat up a dogma that contains a list of eight fundamental criteria that manifest the intentions and structure as well as sharpen the working methods.
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  Swarming Event (2019) author(s): Christina Stadlbauer published in: Research Catalogue
  Witnessing a swarm of honeybees flying out of their hive is rare – especially in the urban environments. Because beekeepers manage their bees and take measures to prevent swarming from happening, the emergence of a swarm is regarded as bad beekeeping management. However, this event is a honeybee colony's birth and is an impressive show of nature's excellency.
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  Kin Tsugi Transformations (2019) author(s): Christina Stadlbauer published in: Research Catalogue
  Christina'S practice “Kin Tsugi Transformations”, pivots around Kin Tsugi – the ancient Japanese craft and art of repairing broken ceramics by using silver or gold. Christina is intrigued by both the hands on work and the thinking behind this form of repair. She applies the principle to many materials and also more conceptually. In Kin Tsugi Transformations, utmost attention is given to the process rather than the outcome. The ritual character of this work takes shape as participatory interventions and in group practice. A more daring strand takes the concept into the microbiology lab where healing with the help of bacteria is introduced.
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  Narratives of Imperfection (2019) author(s): Christina Stadlbauer published in: Research Catalogue
  Narratives of Imperfection is a series of explorations on repair, healing and transformation. The exhibition shows selected works that are part of a long term research with Kin Tsugi. This technique is a 16th century Japanese craft of visually mending broken ceramics where the crack or fault is emphasized and embellished rather than hidden. Kin Tsugi follows the philosophy of Wabi-sabi – a world view centered around the acceptance of transience and imperfection; beauty is “imperfect, impermanent, and incomplete.” Traditionally, Kin Tsugi shines beautifully gold or silver; underneath it uses urushi, a plant-based adhesive. Narratives of Imperfection expands the concept and practice of Kin Tsugi with different materials.
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  Kin Tsugi Gestures (2019) author(s): Christina Stadlbauer published in: Research Catalogue
  This durational performance is part of Narratives of Imperfection and was taking place at the exhibition space SOLU, in Helsinki in November 2019.
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