Timbral Microperspectives by Martyna Kosecka

Project "Timbral Microperspectives" rediscovers the processes leading the composer in his/her artistic preferences through the immerse analysis of the factors of artistic discovery, lifelong learning, and contribution. The starting point for executing "Timbral Microperspectives" research lies in investigating innovative solutions in various tuning systems' interrelations within a musical composition. Driven by the initial idea for distinct timbral concepts, creative, quite often non-musical impulses or attraction by certain sound phenomena, Martyna Kosecka tries to rediscover and establish microtone's functioning in the harmonic landscape of music, as well as its overall significance in the creation of her new musical work. What is the process of transformation of the artist within the artistic process? What can be the possible triggers that shape our decision making in art? How if to document our choice-making and analyze it along with the growth of artistic creation itself? This project contributes to the dialogue within musical aesthetic and artistic research theories. It provides a new look at the compositional processes and corresponding methodology practices in an artist's self-development.

Martyna Kosecka

Timbral Microperspectives

Artist Statement

Timbral Microperspectives.
Transformations with sound. Prelude

Stagṓn. Retunings and vibrations

Isorropía. In search of balance

Ruba’i. Transformations of Persian poetry

Passaggio III. Harmonics and harmonies

Hypertexture. The fight with tinnitus

Video Reflections

Timbral Microperspectives.
Transformations with sound. Conclusion

Acknowledgments

References

Biggs, Michael, and Henrik Karlsson. The Routledge Companion to Research in the Arts. London, UK: Routledge, 2012.

Borgdorff, Henk. The Conflict of the Faculties. Perspectives on Artistic Research and Academia. Amsterdam, Netherlands: Leiden University Press, 2013. https://doi.org/10.26530/OAPEN_595042.

Byrd, Chris. “HyperTexture .” Worcester Polytechnic Institute, 1997. https://web.cs.wpi.edu/~matt/courses/cs563/talks/cbyrd/pres2.html.

Gottschalk, Jennie. Experimental Music since 1970. New York, USA: Bloomsbury Academic, an imprint of Bloomsbury Publishing, 2017.

Hannula, Mika, Juha Suoranta, and Vadén Tere. Artistic Research: Theories, Methods and Practices. Helsinki, Finland: Academy of Fine Arts, 2005.

Josel, Seth F., and Ming Tsao. The Techniques of Guitar Playing. Kassel, Germany: Bärenreiter, 2014.

Lehman, Harry. Rewolucja Cyfrowa w Muzyce. Filozofia Muzyki. Warsaw, Poland: Fundacja Bęc Zmiana, 2016.

Pasiecznik, Monika. “Tworzę Totemy. Z François Sarhanem Rozmawia Monika Pasiecznik.” Didaskalia 142 (December 2017).

Perlin, Ken, and Eric M. Hoffert. ACM SIGGRAPH Computer Graphics 23, no. 3 (July 1989). https://doi.org/https://doi.org/10.1145/74334.74359.

Samimi Mofakham,Yashar, Rafie Tarlan, Assmann Peter, and Pereña Helena. Solace of Lovers. Trost Der Liebenden. Innsbruck, Austria: Haymon Verlag, 2020.

Sethares, William A. Tuning, Timbre, Spectrum, Scale. London, UK: Springer, 2005.

Wishart, Trevor, and Simon Emmerson. On Sonic Art. London, UK: Routledge, 2002.

Tip

Tip