Research Catalogue

research expositions (collaborated)

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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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  Rethinking the Performer: Towards a Devising Performance Practice (2018) author(s): Jennifer Torrence published in: VIS – Nordic Journal for Artistic Research
  The performer’s perspective and the impact of collaboration on the performer’s artistic practice is often overlooked in frameworks designed to analyze collaboration in contemporary music. The conception of what a performer is ‘for’ in the development of a new musical piece is, at least in part, what constitutes a performer’s artistic practice, whether that is the performer as an interpreter and executor of scores, as an adviser to the composer, and/or as a co-creating deviser. The interpreter-adviser-deviser model is conceived as a framework for considering the ways composer-performer collaborations can influence and contribute to the construction of a performer’s artistic practice and subjectivity. Collaboration is not only a method of creating new works, it's also a method for creating artistic practices. Drawing on examples of devised practices as exhibited in Jennifer Torrence’s artistic research, practices which are communicated through reflections, dialogues, images, and videos, the article ultimately argues that it is the performer as deviser that offers the most radical rethinking of the purpose, role, and potential of the performer in contemporary music collaboration.
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