Research Catalogue

an international database for artistic research

• 6. Utvalgte Masterarbeider 2024 Utøvende Masterarbeid, UTMASTER70B og UTMASTER73B
• 5. Utvalgte masterarbeider - NMH, 2023 Godkjente masterarbeider 2023
• 3. Utvalgte Masterarbeider 2021 Innleverte Masterprosjekter Master i Utøvende
• 2. Utvalgte Masterarbeider 2020 - NMH Innleverte Masterprosjekter for Master i utøving,
• 1. Utvalgte masterarbeider - NMH, 2019 En samling masterarbeider fra studenter som har gjennomført studiene på en særlig god måte.

• SamSlag (2023) author(s): Håkon Skjæret Limited publication. Only visible to members of the portal : NMH Student Portal
  Et masterarbeid om kunstnerisk utvikling gjennom relasjonelle musikkopplevelser av Håkon Skjæret. Norges musikkhøgskole 2020-2022
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• Torfinn Lysne - FRIMA, Refleksjonsnotat (2023) author(s): Torfinn Sommerfeldt Lysne Limited publication. Only visible to members of the portal : NMH Student Portal
  Gjennom de siste to studieårene på NMH har jeg gjennomført et masterprosjekt sammen med bandkollega Oskar Johnsen Rydh som i stor grad har dreiet seg om kompositoriske og performative eksperimenter med vårt band Yawn. Dette har innebært å skrive musikk med bruk av poly-tempo, mikrotonalitet, algoritmisk improvisasjon og utvidede komposisjonsteknikker som å ta i bruk lys som et aktivt visuelt uttrykk i kombinasjon med musikken. Arbeidet har vært planlagt, gjennomført og dokumentert gjennom tre internasjonale turnéer og én albumutgivelse i perioden 2021 - 2023.
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  I lydarlæte (2023) author(s): Sivert Holmen Limited publication. Only visible to members of the portal : NMH Student Portal
  The master’s thesis "I lydarlæte" is an artistic exploration of lydarlæte. Lydarlæte is a music tradition with roots dating back to the beginning of the 1800s and is music that was meant for listening – at a time when Hardanger fiddle music was otherwise associated with dance or ceremony. Through an exploration of musical details and characteristics in traditional lydarlæte, the goal of the research is to create new music that has both a distinctive character and a connection with traditional repertoire. The work draws inspiration from different musical traditions, including traditional and experimental folk music, spectral music, and contemporary music. The investigation is presented and exemplified through reworkings of the three lydarlæte tunes Smedalslåtten, Guro, and Lydarlått etter Ola Okshovd, which are based on recordings of Ola Nilsson Lie (1898-1957) and Andris A. Dahle (1925-1995). The first part of the thesis sheds light on traditional lydarlæte from Valdres, addressing their emergence, central performers of the first era, and the repertoire. The various aspects of the investigation are then presented; these include musical parameters such as combination tones, tonality, and fiddle tunings, as well as time understood through Henri Bergson and musical time. The main approach used in the reworkings of lydarlæte has been termed “zooming in – unfolding” and is inspired by Gerard Grisey’s work on Les Espaces acoustiques. Finally, the three reworkings are presented. The work is hermeneutically rooted and draws on theoretical perspectives from Hans-Georg Gadamer.
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• level soil (2023) author(s): Haley Perkins Limited publication. Only visible to members of the portal : NMH Student Portal
  The following is a three-pronged alternative master thesis based on the core research inquiry “What is musical-cultural appropriation and how do we, as musicians and artists, tackle it in practice?”. One part of the thesis is a case study of Paul Simon’s seminal album Graceland (1986) as a key example of musical-cultural appropriation in practice and how one’s habitus plays a role in their approach to a select culture(s). The next part of the thesis provides a brief overview of autoethnography as a research method and how it instrumentalizes this researcher’s own diametrically opposed personal-cultural positionalities (as both appropriator and appropriated, minority and majority) as a part of the answer to the question of musical-cultural appropriation. The final part of the thesis is a songwriting log that utilizes autoethnographic techniques in order to demonstrate and interrogate real-time musical-cultural appropriation in practice.
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  Klassisk møter folkemusikk (2019) author(s): Marin Augusta Stallemo Bakke published in: NMH Student Portal
  Nokre døme på kva eg har arbeida med i mitt masterprosjekt
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  Electronics as a percussionist. (2019) author(s): KA published in: NMH Student Portal
  About this publication In my project I've taken what has become one of the next steps in the evolution of the percussionists world. Percussion has no standardized setup, and because of this everything from playing the snare drum to making sounds on a cello can be a percussion piece, as long as it's performed by a percussionist.Being a percussionist is about finding the best possible solution to any musical task. And also accepting these task as they span from choosing mallets for the marimba or learning to program a synth for the desired sound. The percussion and the voice has already been merged together in pieces like Touchér, The Wonderful Widow of 18 Springs, Corporelle, A flower etc. What I wanted to do in my project was to see how the voice, electronics and percussion would merge from a completely different starting point than these other pieces. Merging these factors from the light/pop music side was something that hadn't been done in this format before. In the same way as I practiced any other setup piece I had to find the right sounds. And instead of drums this would be programing the synths. Also making sounds for the drum pads, or distorting sounds of the actual drums. The multitasking bit is no doubt the percussionist in me that had to solve. All this became easier as I got to know the setup. Before any of the practicing could start I had to learn two extremely vital things in this project. I had to learn how to write songs, all alone. I've earlier made songs together with friends, but mostly just adding some drums. So in this process I've written 114 song, more or less finished, over the span of a year. Out of these songs I considered 100 of them not being good enough for more work. 14 of them I took on for producing them more and. Out of these I chose 9 songs to be performed live. This was a huge amount of work that has not only taught me a lot about new aspects of music, but has also taught me how it feels to really own a piece of music. And the value of that ownership-feeling I will transfer to more of my performing in the future. The other thing I had to learn was to sing. I've never sung before. But I had used my voice for hip hop and rap. But the most challenging part of the percussionist singer is that phrasing was really like listening to a marimbist phrasing. I was not at all used to phrase with long notes, or used to the feeling of changing the sound of a note after it was started. To elaborate on the marimba phrase it's very much based on phrasing on the sustain of the last note played or using dynamics. But even this have changed for me after all the singing I had to do. I no try to approach the other percussion instrument with a more singing kind of approach. So to the inevitable question about why this project is a percussionists project. A simple answer is could any other instrumentalist do this? A more elaborate answer is what I think a percussion-musician is. And that is a performer who is not performing on a specific instrument. But rather which performer is playing that instrument. We have reached a point where a percussion instrument is what a percussionist is playing. And that is so much more than only a drum.
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