Research Catalogue

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  Cross cultural meetings: Traditional music from Setesdal and world musicians (2017) author(s): Ingolv Haaland, Jeremy Welsh, Bjørn Ole Rasch connected to: Norwegian Artistic Research Programme published in: Research Catalogue
  The starting point for the project is a set of recordings by Norwegian folk-musicians of Norwegian folk-songs in the “stev og slåtte” (stave and tune) tradition of Setesdal in Agder. This source material was presented to musicians around the world in various studio sessions. The musicians did immediate responses after listening to a song, connecting to the music and establishing a dialogue. The purpose of this article is to document and provide insight into some of the processes in this artistic research project. The album FERD was released on Grappa Records 17.09.17 and a 70 minute film documentary will be released in 2018.
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  Bulletin No. 3 - NARP (2017) author(s): Norwegian Artistic Research Programme published in: Norwegian Artistic Research Programme
  The bulletins of the Norwegian Artistic Research Programme aim primarily to disseminate artistic research funded and supported by the programme. The bulletin is not a reviewed portal and will not contain other than short descriptions of and links to research work, chiefly on the Research Catalogue but not exclusively. Bulletin No. 3 guides the reader to published by graduated research fellows.
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  V. Bach - Sheets and tablatures (2017) author(s): Andreas Aase connected to: Norwegian Artistic Research Programme published in: Research Catalogue
  The recording "V. (Bach)" (Øra Fonogram, 2016) is the artistic outcome of my research project "Transcribing Johann Sebastian Bach's Lute Music For Guitar Bouzouki" (2015)[1]. I've slowly arrived at a personal way of playing this material, simplified to fit my small, four-course guitar, and I've tried to maintain a Nordic folk music approach throughout. Some music written for other instruments has been added as well. Consequently, the results deviate quite a bit from the direction of the process documented earlier, and things have kept changing even after the recording, which took place in August of 2016. These sheets and tablatures correspond as closely as possible to the music on the record, which is accessible through the most common streaming and download services. The conventional sheet music attempts to show what my arrangements actually sound like, irrespective of instrument, but with significant visual simplifications that belie polyphonic richness; this particularly concerns the duration of bass notes, and individual voice-leading within the music. The ear will hopefully compensate for this when the music is sounded. The tablatures, on the other hand, start from my default tuning (bottom to top F - C - G - D), occasionally using a capo to alter the keys, which adhere to Bach's original ones (I use the capo to maintain access to open strings, an important feature in traditional fiddle music). If you play an instrument within the CBOM (Cittern-Bouzouki-Mandolin) family of plucked folk instruments, the tablatures can work with the fingerings represented here in whichever key you find suitable, or maybe you even have access to the tunings listed here on a different part of your instrument than I do - if, say, you play a five-course instrument.The important thing is to work in an essentially fifths-based tuning. Some of the movement titles are Norwegian-language approximations that are commonly in use among musicians in my part of the world. - - - Arranged and performed by Andreas Aase Produced by Jo Ranheim and Andreas Aase Mastered by Karl Klaseie All work conducted at Øra Studio, Trondheim Supported by Nord Universitet, Levanger, Norway [1] https://www.researchcatalogue.net/profile/show-exposition?exposition=85891
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  Zum Spielen und zum Tantzen (2016) author(s): Tormod Dalen connected to: Norwegian Artistic Research Programme published in: Journal for Artistic Research
  This exposition presents the artistic research project 'Zum Spielen und zum Tantzen: A Kinaesthetic Exploration of the Bach Cello Suites through Studies in Baroque Choreography’, undertaken at the Norwegian Academy of Music between 2009 and 2012. I offer a historical background, discuss the method used, and present the artistic results in the form of video and audio files. The dance titles of J. S. Bach's cello suites, derived from French court dance, clearly meant more to the composer than just abstract references. In Bach's time, dance practice permeated social life, and an intimate knowledge of fashionable dance forms was indispensable for a musician. The movements and gestures of these dances inevitably had a profound influence on performance style. I have investigated how the practice of Baroque dance could influence my interpretation of the Bach suites. Learning the essentials of this style and its original choreographies and frequently accompanying dancing, I also explored the dance aspect of the cello suites by way of experiments with historical tempos as well as melodic and rhythmic reductions of the musical material. Through this project, I hope to make a worthy contribution to the development of performance practice studies, offering a recontextualisation of Bach’s work that emphasises the close links between the expressive gestures of music and dance. The results have both artistic and pedagogic potential as tools to discover essential aspects of dance character in Baroque music.
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  A Place for Painting (2016) author(s): Andreas Siqueland published in: Norwegian Artistic Research Programme
  My practice as a painter deals with notions of repetition, displacement and reenactment, often in relationship to nature. From 2009 to 2013 I was enrolled in the Norwegian Artistic Research Programme at the Academy of Fine Arts in Oslo. Through the fellowship I wanted to learn more about the particular circumstances that influence the decision-making taking place on the canvas. I decided to go on a search for A Place for Painting. For many years I used photographs as a way to remember landscapes. I would use them to go on extended journeys in painting. With the advent of the digital age, the time between taking and developing and distributing images collapsed. At the same time, I saw my paintings gradually shifted in character. It felt as if there was lack of presence in the brushstrokes. I associated this with a dependency on the photographic medium as a model and source material for new painting. Photography seemed to disconnect me from observing what was actually happening on the canvas and how this was related to the outside. To make my experiences visible, I needed a more direct translation of the world. I imagined a search for a place for painting to rediscover the connection painting has to its surroundings. This led to a series of journeys to see how changes in geographical location would influence my work. As part of the investigation, I returned to the tradition of plein air painting. For me, this felt like the most direct way in which I could study how painting interacts with a physical place, while also addressing the subject of place in painting. Plein air painting necessitated working outside the architectural constraints of the studio. The variables of the outdoors raised fundamental questions about color, light, composition and the act of painting itself. I began experimenting with different studio models that I hoped could open up new relationships to nature and new modes of production. To further explore this repositioning and the interactive relationship that resulted, I decided to build a mobile outdoor studio using my own loft studio in Oslo as a model. The result was Winterstudio. This essay gives an account of the research and thinking that informed the building of this structure, the experience of working within it at two different locations and its subsequent influence on my work in the studio in Oslo. The focus is on a contemporary painting practice, but should be relevant to anyone interested in exploring the conditions and context of artistic production today.
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  The Reflective Musician (2016) author(s): Håkon Austbø, Darla Crispin, Jonas Howden Sjøvaag published in: Norwegian Artistic Research Programme
  The relationship between performance and reflection is rich and complex. Great performances can sometimes seem the spontaneous products of mysterious inspiration; however, most musicians would agree that, to attain its full potential, a performance must arise from a thorough investigation of the artistic acts of interpretation and expression appropriate to the work. When this investigation becomes an overt research process, artistic choices begin to be based on conscious critical and self-reflective evaluations and decisions — and the resulting performance to be informed by a wide range of hermeneutic and analytical approaches. But the promise of such a multi-stranded approach is vulnerable, and sometimes compromised, when the performer’s skill and knowledge in the associated disciplines does not measure up to their performative artistry and insight. Since Artistic Research, in particular, often posits a model in which all associated knowledge should reside within the performer, this can be problematic. So, is there an alternative model that, nonetheless, maintains the skills of artist and scholar in a mutually beneficial configuration? And, if so, how does such a model uncover the kinds of performing knowledge that may lead to a specific, unique interpretation? This exposition reveals a constellation of approaches around a central premise, namely that musical interpretation may be read as an inherently creative activity based on its own systems of knowledge which, whether conscious or intuitive, ought to be capable of being articulated in words as well as in practical music-making. In articulating this premise within the project, the process of interpretation is seen as emerging, ideally, as a form of co-creation, as it were, in which the performer ‘composes’ the work anew from inside the act of performance and, in doing so, works in a creative partnership with both composer and audience. Among the possibilities offered by such a model is the prospect that the term ‘performer’ can become a multiple entity of individuals engaged in a creative partnership of their own and articulating in words the impulses and mechanisms at work in this partnership.
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