COMPOSING NON-LINEARITY IN MIXED MEDIA PERFORMANCES
(2024)
author(s): Sofia Bardoutsou
published in: Codarts
This paper aims to explore the potential of merging acoustic music with digital media and other art forms to create non-linear compositional forms. Often, it’s difficult to get away from traditional composition processes, make a piece adaptive in form and not strictly bound to time. Through case studies on works by Walter Giers, Michel van der Aa, Yannis Kyriakides and more, I focused on the elements of integration, interaction and nonlinear composition of different media. Looking at their work and through self- experimentation, I noticed that the different media can get dramaturgical meaning and interact live with every element of the performance. Digital media can specifically function as tools for interaction between the performers and the audience. By incorporating playful ideas in the compositions, derived from the world of games and indeterminacy, we can end up in nonlinear processes of performing notated music and allow for interpretation by other artforms. As a result, I composed the pieces In Medias Res for musicians, circus artists and interactive media, Dots for Pierrot ensemble and visuals, the 15’ opera Aer and the interactive music game A poppy blooms. Through this process, I tried to free myself, as a composer, from specific writing habits and approaches. A new field of possibilities opened up on how to develop music material, notate it and perform it.
ARTISTIC RESEARCH REPORT GAMPSISS
(2024)
author(s): Micha Hamel
published in: Codarts
GAMPSISS was a comprehensive, 4-year collaborative, transdisciplinary project executed by Erasmus University (EUR), University for Techonolgy Delft (TUD), Willem de Kooning Art Academy Rotterdam, and the conservatoire of Rotterdam: Codarts.
In Year 1 we each conducted research in our own discipline, namely: on listening (Codarts), on persuasive games (TUD) and aligned these with the cultural sociological perspective (EUR) on concert audiences and concert experience. In Year 2, based on the knowledge gained, we jointly built a prototype of a game called 'Listening Space'. A game for the smartphone, to be played prior to a (classical music) concert to train listening skills, through awareness and playful practice of different listening modes. In Year 3, again with the entire team, we designed an interdisciplinary gamified performance called “Listening Mutant 2021” during which the audience worked through a wide range of listening games and training. This time the games were not only about music listening but also about social listening (listening to other people). The performance was played for a specially recruited diverse audience, and included orchestral music, theatrical scenes, audience participation, a quiz, a debate, a (new) smartphone game, an audio (headphones) story, all integrated into a total experience with a festival atmosphere. Due to COVID-19, it was not produced (in a modified version) until Year 4, and for a smaller audience than we originally envisioned. Year 4 we then finished analyzing, writing and reflecting. 'Listening Space' produced modest positive effects, and 'Listening Mutant' a major positive effect.
At the Willem de Kooning Academy in Years 2 and 3, we set up a GAMPSISS course in which all researchers taught. Students were asked to design listening games. Some of these served as inspiration for the games in “Listening Mutant 2021.
Two sub-studies were also conducted under the accolade of GAMPSISS, namely a study on what happens when people listen to a piece of music repeatedly (listening diaries, EUR, yet to be published) and a combination of empirical research and extensive desk research (Codarts) on listening from a predominantly philosophical perspective, resulting in a paper titled 'A concise theory of listening' that can be used in conservatories and music practices. The PHD candidate also conducted several more studies on other persuasive games (yet to be published).
The new stage of bass trombone: study on the music of Daniel Schnyder
(2024)
author(s): Hongyi Gu
published in: Codarts
Many of the top musicians in the world have performed and recorded Daniel Schnyder's music, a Swiss-American composer and saxophonist.His compositions often combine elements of jazz, classical music, and world music. In this research, the focus is on his piece Subzero, which was composed for bass trombone and orchestra. The aim of this research is to gain a deeper understanding of Schnyder's musical approach, with a particular focus on the extended techniques used in the piece.
One of the key areas of investigation is the use of extended techniques such as multiple tongues, varied vibratos, and glissandos with growling. These techniques are not typically associated with the bass trombone, and their use in Subzero is part of what makes the piece so unique. Through a thorough analysis of these techniques and their use in composition, this research aims to shed new light on Schnyder's creative process.
Another important aspect of the research is an in-depth analysis of the musicality of each movement, with a particular focus on the second movement, Samai Thaquil. This movement is based on a rhythmic groove from Turkey that has been adapted by Arabs and is often used for belly dancing and celebration. The research explores the ways in which Schnyder incorporates this groove into the piece and the various possibilities it offers for exploring the timbre of the bass trombone with different mutes.
To achieve these aims, the research employs a range of methods, including the collection of literature and media, interviews with several experts, the study of recordings from different artists, various experiments, and structural analysis of the movements. By using these methods, the research aims to provide new insights into Schnyder's work and its impact on the bass trombone repertoire.
In conclusion, this research aims to contribute to the understanding of Daniel Schnyder's musical approach and the ways in which he incorporates extended techniques and world music influences into his compositions for the bass trombone. Through a range of methods and a detailed analysis of the composition, the research aims to provide new insights into Schnyder's creative process and shed new light on the possibilities for the bass trombone as a solo instrument in contemporary music.
The voice with the cello: Siete canciones populares españolas.
(2024)
author(s): Paloma Garrote Vélez
published in: Codarts
With this research, I intended to make a journey through Siete Canciones Populares Españolas (1914) by Manuel de Falla (1876-1946), in its arrangement for cello and piano by Maurice Maréchal (1892-1964), exploring the impact of the most common techniques in singing, such as phrasing, prosody, accentuation or diction among others, on the cello. My main goal was being aware of the potential contact points between both instruments to improve my interpretation.
Besides the exploration of the vocal technique, in each part of the research the most characteristic aspects of each song were analyzed. In the first cycle, I focused on longer phrasing and breathing in accordance with the text to generate pauses in the melody, using El paño moruno, Nana and Asturiana. In the second cycle, I focused on the diction and articulation, and also on the techniques of flamenco playing in Cancion and Polo. Finally, the third cycle explores the use of vibrato and projection using the Jota.
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.
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.