Research Catalogue

an international database for artistic research

• 4. Published research by Staff 2023 Published research, 2023
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  3. Published research by Staff 2022 Published research by staff 2022
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  2. Published research by Staff 2021 Peer rewieved research published in 2021
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  1. Published research by Staff 2020 Peer reviewed research published in 2020-21
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  0. Published research by Advanced Postgraduate Diploma students Select final projects of our Advanced Postgraduate Diploma Students
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  0. Ongoing research by staff A look into ongoing projects

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  SCULPTING AIR IN THE SUB HABITAT (2023) author(s): Lotte Anker published in: Rhythmic Music Conservatory Copenhagen
  Sculpting Air in The Sub Habitat (subtitle: Texture and Form in Composition for Larger Ensemble of Improvisers) is an exploration and unfolding of creative processes in composing for a larger ensemble (6+ musicians) of improvisers as well as the processes in the ensemble rehearsals and concerts. In Sculpting Air, I am both composer and performer. I work with an ensemble created for this project: Sub Habitat. Sub Habitat members are: Lotte Anker (DK), Mazen Kerbaj (GER/LBN), Katt Hernandez (S/USA), Nina de Heney (S), Sten Sandell (S), Andrea Neumann (GER), Burkhard Beins (GER) Sculpting Air grew out of a need to deepen, (re)examine and challenge my compositional practice (including aesthetic preferences and inclinations) within a larger ensemble of improvisers, and I went into the project looking for something: more or less vague, fragmented notions of particular sonic and textural qualities and structural concepts. Notions of a higher degree of connectedness between predetermined and undetermined elements in composition etc. The project is based on my own compositional work and 4 ensemble Sessions and Session concerts during 2020-22. It includes examples and reflections from these processes, and through them I try to articulate answers to the following research questions: Based on the concepts of texture, MODE and LIBRARY, how can I develop new compositional tools for a larger ensemble of improvisers in a music that reflects the sonic palette and expression of the individual musician, the expression and identity of the ensemble as an entity, and my artistic intention?  Including: How can these tools be deployed as sculpting materials in a large form piece, where the predetermined and indeterminate elements mutually reinforce each other and thus help to extend the musical space? How can I explore the sonic potential of the ensemble in dialogue with the musicians? How does the ensemble's overall expression inform my compositional work and vice versa? In score form, how can I develop a specific vocabulary, concepts and notational forms that clarify my artistic intention and convey the balance between the predetermined and indeterminate elements of the composition? 
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  Sonic Complexion (2022) author(s): Jacob Anderskov, Niclas Hundahl published in: Rhythmic Music Conservatory Copenhagen
  The Sonic Complexion project has investigated from an artistic perspective the musical dimensions texture and ‘klang’ (harmony), with the aim of creating new music and new perspectives. The outcomes of the project are a number of new albums, methodologies and perspectives, coming from quite different starting point in terms of how to systematically-artistically investigate texture and harmony.
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  Rooms of Resonance, (2022) author(s): Lars Greve published in: Rhythmic Music Conservatory Copenhagen
  This is the final exposition for Lars Greves artistic research project "Rooms of Resonance" (2019-21), undertaken at the Rhythmic Conservatory in Copenhagen. The project seeks to investigate the artistic potentials in Greves acoustic solo improvisations, the concert room's acoustics and selected objects, which are brought into vibration. Through experiments and procedural concerts, the research has hoisted artistic, technological and methodological experiences which will be unfolded in this exposition.
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  Multilayeredness in Solo Performance (2021) author(s): Søren Kjærgaard published in: Rhythmic Music Conservatory Copenhagen
  This project investigates the multilayered potentials of solo performance with the intention of opening up the single player limitations often experienced during the creative process of play and practice. In performance contexts ranging from acoustic solo piano to a digital code-based video keyboard, concepts of multilayeredness are explored through compositional and improvisational strategies, that include instrument topography, extended piano techniques, audio-visual sampling and digital keyboard mapping. The purpose is also to create results that will contribute to how solo artists across formats can express themselves more dynamically and with greater flexibility in the interaction between their various materials and artistic ideas. A contribution also in terms of expanding methodological approaches to how solo performers and research practitioners can work iteratively and interactively in their reflective processes, inviting both a more verbalised and dialogic form, and to explore ways of documenting and communicating these processes in hybrids between text, sound and image.
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  Composition of graphic and sonic works through the improvisers' co-creation (2021) author(s): Laura Toxvaerd published in: Rhythmic Music Conservatory Copenhagen
  Taking my compositions as a point of departure, the project investigates the improvisers’ co-creation in the compositional process. The composer (in this case, me) explores how improvisers’ ideas can be integrated into the development of the compositions, and explores what impact the integration has on the works of art. In the project, graphic scores are being designed, through the means of which I am seeking to bring forth new aesthetic forms of expressions. Along the way in this project, I have created new compositions that came to be drawn out as scores, which were continually adapted and re-arranged on the basis of the improvising musicians’ concert performances of the existing compositions. The working method could be characterized as an iterative artistic developmental process, which shuttled back and forth between my own compositional work, together with the design and elaboration of the graphic scores, and videotaped rehearsals and performances of my compositions with the collaborating musicians.
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  Charon as Muse - The Ferrying of Voices in Evan Parker’s Solo Saxophone Music to the Double-Bass as Creative Authorship (2020) author(s): Tom Blancarte published in: Rhythmic Music Conservatory Copenhagen
  The transmission and communication of musical concepts and the ways in which they influence or interact with creativity are central to the ontology of music, but this aspect is rarely tackled head-on by musicians themselves. In language, the typical realm of semiotics and semantics, translation theory serves as an interesting and rich field for investigations into the nature of meaning and communication of meanings. In my research, I propose that the application of various translation theories to the field of music opens up new ways of exploring the “meanings” of music, as well as new methodologies for creating musical novelties. To demonstrate this theory in practice, I have chosen to develop and apply translation theories to Evan Parker’s solo soprano saxophone music and translate this music to my own solo double-bass playing, creating new and original solo music on the double-bass.
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