Research Catalogue

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• Multi-layeredness in Solo Performance (last edited: 2019) author(s): Søren Kjærgaard, Gianluca Elia connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  Multi-layeredness in Solo Performance A B S T R A C T What potential lies in the interferences between dissemination and performance, between retrospection and improvisation, between re-play and play? And how can these seemingly disparate fields be converged into a multi-layered, immersive experience where insights are not presented but played out, performed live, in sound, on video? These are some of the core issues at work in the research practice of solo pianist, Søren Kjærgaard. who seeks to reposition the pianist in multiple locations: physically, sonically, visually, virtually. In this regard, interference is to be understood as an impulse, a wave, a signal of disturbance that fluctuates in-between formats, clouding clarity, obscuring the message, yet allowing for an altogether different approach of the artist as a messenger, a mediator who transmits information while being at the same time in immediate interplay with his or her own material. The purpose here is also to contribute to how practitioners, especially solo artists, can work across formats more dynamically and with greater flexibility in the interaction between the various conditions of their work, and to contribute with methods of documenting and disseminating these processes in more hybrid and non-textual forms of communication. In Kjærgaard’s own work, this has included experimenting with different methods of observation, of how to listen and look (back) into the documented process, which leads to the question of how one can re-contextualize the process documents in a performative setting. This has resulted in the development of the video keyboard, an audio-visual sampler that resembles the 88 keys of the piano, but in altogether different instrument. Now, each key represents a sample of a previously documented event, which can be dialled up and played out in an instant. These events, documented in formats such sound, video, photo and text, thus become a virtual memory map that await new circuitry. As the physical limitations of the relation player-piano are massively expanded, a new set of problems arise: How to navigate this ‘time machine’? How to travel across and re-actualize this virtual map of information as an improviser?
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  Music for the inner ear (last edited: 2019) author(s): Niels Lyhne Løkkegaard connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  Music for the inner ear is an exploration of sonic potentiality unfolded within different domains. The project looks into the utopian space of imaginary music raising the questions; Is it possible to create imaginary music only hearable for the inner ear of the listener - who then becomes the composer? Can the story about a piece of art, become the piece of art? & when does something actually exist?
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• THE POETICS OF A MULTIPHONIC LANDSCAPE (last edited: 2019) author(s): Niclas Hundahl, Torben Snekkestad, Torben Snekkestad connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  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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  Habitable Exomusics (last edited: 2019) author(s): Jacob Anderskov connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  PROJECT DESCRIPTION: “The project examines post tonal material structuring principles in improvised music.
 It deals with (searches for) unexploited opportunities or new forms of expressions within improvised music through studies of possible ways to organize the musical material - and with relevant practical and creative ways to find room for them in improvised music.” Original RESEARCH QUESTION: Through my own artistic practice, I will examine -  To which extent it is possible for me to use definable post tonal structuring principles in my improvisations, and 
-  Which of these principles can best be used in my improvisational universe. 

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  Action vs. Reaction (last edited: 2018) author(s): Jacob Anderskov connected to: Rhythmic Music Conservatory Copenhagen This exposition is in progress.
  "Action versus Reaction - Artistic encounters with an aesthetic otherness", was a research project undertaken at the Rhythmic Music Conservatory in Copenhagen in 2015-2016. The primary artistic output of the project is the album ”Resonance”, released on Sundance Music in September 2016. My ensemble Resonance (previously known as ” Strings, Percussion & Piano”) consists of 3 string players as well as Peter Bruun on drums and myself on piano. The string players all have a background in European classical music and (composed) new music, whereas Peter and I originally came out of improvised music, jazz and its neighbouring regions. In this ensemble, we have been dealing with artistic encounters between our different aesthetics backgrounds for several years. I have realized that my primary curiosity orbits around the questions: 1) How can all members of a cross-genre ensemble stay true to their own musical intuition, developed through decades of full immersion? 2) How can these confident artists then transcend their notion of themselves and meet anew in an aesthetic field different from their respective origins? In 2018, Jacob Anderskov was nominated for the Nordic Council Music Price for the album Resonance.
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• My first exposition (last edited: 2018) author(s): Casper Schipper This exposition is in review.
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