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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 (2016) 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 (2014) 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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