This reflection will place the research project within the field of classical clarinet performance.
As a modern orchestral clarinetist and educator at the university level, my project aims to expand on understanding the phrasing challenges we face as modern instrumentalists. The project examines the affordances of different clarinets, as this is my field of expertise. Still, the findings and reflections will be relevant to a broader field of performers on modern orchestral instruments, especially other woodwind instruments. The form of presentation and reflection aims to be designed for relevance in the field of orchestral instrumentalists.
For this project, it is relevant to look at the following categories when describing my artistic standpoint and work:
-Recording context: Which recordings influenced this research project, and how do my artistic results differ from already recorded material
-Performer context: Which key modern orchestral clarinetists use different materials (i.e., wood) for their artistic choices? How are these performers using the other material instruments
-Material context: Which key modern clarinet manufacturers offer different materials (i.e., wood) for their professional instruments
-Methodological context: Which research projects are relevant to the methods I am using
-Theoretical context: Which research papers address the affordances of musical instruments that are relevant to this project
RECORDING CONTEXT:
When choosing repertoire to focus on in this research project, a broad range was selected from the Baroque era to the music of our time. For the baroque clarinet, the primary inspiration was based on a CD by Christian Leitherer, "So dient das Clarinet auf angenehme weiss"[1] from 2002. Christian was the first clarinetist to earn a complete degree on period clarinets at the Schola Cantorum in Basel, Switzerland. He is one of the leading period clarinet performers focusing on early clarinets, and his advice, performances, and recordings were significant in planning this project. He is also one of the reference group members in this project and has been a part of the training section. His CD had performances by Michel Corrette (1709-1795), Suite I in C major (1740) from Pièces pour la Musette, Op. 5[2] originally for musette, and Giovanni Bonaventura Viviani (1638-1693) Sonata Prima per Trombetta Sola: I-V (1678) from Capricci Armonici, da Chiesa, e da Camera, Op. 4[3] originally for trumpet. I performed these and added Giovanni Bonaventura Viviani (1638-1693) Sonata Seconda per Trombetta Sola: I-V (1678) from Capricci Armonici, da Chiesa, e da Camera, Op. 4 which hasn’t been recorded, Tomaso Giovanni Albinoni (1671-1751) Sonata in C major (1720) Mi 4 originally for obo which hasn’t been recorded on clarinet; Georg Philipp Telemann (1681-1767) Fantasia No. 1 transcribed to C major (1732) TWV 40:2 originally for recorder which hasn’t been recorded on baroque clarinet; and the only original work for the baroque clarinet: Johann Valentin Rathgeber (1682-1750) Concerto 19 in C major (1728) from Chelys sonora, Op. 6[4] where I also performed Johann Valentin Rathgeber (1682-1750) Concerto 20 in C major (1728) from Chelys sonora, Op. 6, not previously recorded.
Not being a period instrument specialist and using modern playing methodology meant that many special fingerings were needed to compensate for the baroque clarinets' uneven tuning and voicing, especially in the first register. Modern playing methodology involves stability of embouchure, tongue, and air support, where Leitherer would, after his own accord, adjust all these variables for almost every note to compensate for the instrument. Tongue positioning (with modern methodology of a stable high tongue position) equates to quite a big timbre difference between our playing, which is perhaps a more focused sound in my performances. My phrasing trajectories are also a bit longer due to the modern methodology of stable air support. With these slightly longer trajectories, my performances might not align with current performance practice. Still, I think they give insight into how modern playing methodology can be used to phrase on period instruments with a contribution to the limited recordings and performances available.
In 2020, the largest manufacturer of clarinets, Buffet Crampon, announced that it would produce a limited edition of their top model in boxwood[5], the wood most frequently used for woodwind instruments in the 17th-19th centuries. One of the most prominent soloists on the clarinet, Martin Fröst, performed and recorded Vivaldi's music on this instrument, re-arranged as concertos for clarinet and orchestra[6]. Here, Vivaldi's music is recomposed for this modern boxwood instrument, accompanied by an ensemble of period instruments. This sparked an interest in how a modern boxwood instrument could influence phrasing and the commission of a clarinet set in boxwood specifically for this research project. At the start of the project, I had been lent a set of Buffet Crampon Legende boxwood instruments, and my commissioned ones were delayed because of the difficulty in finding good enough quality boxwood. These loaner instruments made it possible to start my project and compare phrasing differences with the baroque clarinet, as they have the same bore as my instruments, only with gold-plated rings and posts and greenline tonehole inserts. I received my set in May of 2023.
The Carl Arnold Sonata was the first main work I used my modern boxwood A clarinet for; previously, I used them and the loaner set to compare phrasing with the baroque and grenadilla instruments. The Arnold Sonata, a relatively unknown work in the clarinet literature, has only been recorded by Luigi Magistrelli[7]. Torleif Torgersen, piano professor at the Grieg Academy and fortepiano specialist, has been exploring the music of Carl Arnold. Our performance involving the fortepiano was a good complement when exploring the possibilities of the boxwood instrument. Luigi Magistrelli's recording is on a modern piano and a grenadilla clarinet, so it is quite a different timbre than our performance. Also, the playing style is very different, where Magistrelli focuses on very long phrasing lines with very stable timbre. With the material affordances of the boxwood instrument combined with the fortepiano, I phrase in a more classical style, tapering the ends of phrases. Being only the second recording available, here a fortepiano and boxwood clarinet, is an addition to the recorded repertoire and showcases the qualities of this relatively unknown work. It also gives insight into the phrasing positivities of this combination, where the faster responding boxwood instrument can portray more phrasing expressivity, especially when matched with a fortepiano.
The Brahms Sonatas are a staple in the clarinet repertoire, with some claiming they are a highlight of the romantic repertoire. Countless recordings are available, but perhaps the recording I appreciate most is with Romain Guyot[8]. Playing very refined and with impeccable intonation, his tempi, especially in the first movement, are on the slower side of mean tempi. Torleif and I chose a relatively quick tempo in the first and later movements, maybe influenced by the classical pieces performed at the concert's start (Arnold). This may make the sonata seem rushed, not allowing phrases to breathe. Having experimented with the boxwood instruments for over a year, showing possibilities that are not intuitive on the grenadilla instruments, gives insight into the process and how I started to work on my main grenadilla instrument in a concert situation.
The Schumann Abendlied, originally for four-handed piano, was a piece I first heard adapted for clarinet and piano by François Benda[9], a former teacher in Basel. His recording inspired me to create a version and perform it myself. I had a librarian at the Bergen Philharmonic Orchestra transpose and make two versions in different octaves, where I cherry-picked the best register. Performing this on a Bb boxwood clarinet with a fortepiano gives quite a different timber, more intimate than the recording by Benda, who performs with a Steinway and a grenadilla clarinet. This is the only performance on boxwood where my phrases are not as overpowering as Benda’s, which can be interpreted as forceful at times. Benda also frequently uses vibrato, which I don’t use. There are few recordings of this arrangement, so my addition, with a boxwood instrument and fortepiano, showcases the intimate and expressive phrasings possible with this combination.
Schubert’s Der Hirt auf dem Felsen is another standard piece in the clarinet repertoire. I perform with a boxwood clarinet and a fortepiano, then a grenadilla clarinet and a Steinway piano. The interesting result of this collaboration with song professor Hilde Haraldsen Sveen and research fellow Diana Galakhova was how the affordances of the different instruments not only affected the way Diana and I played, but also the general character of the piece and how Sveen's timbre, text, and didactics changed. A deeper dive into this material affordance is in the case study. Again, being quite a standard piece, there are numerous recordings. None available with a modern boxwood clarinet and fortepiano, but there is a live version with Shirley Brill performing it on a Seggelke mopane clarinet with gold-plated keys[10]. There are also several versions available with period instruments. A reference recording is one with Sharon Kam[11], where she perhaps has more freedom and rubato use than I do in my performances, and opts for a slightly slower tempo at the beginning of the piece. My phrasings, especially on the boxwood instrument, are shorter than hers, with the accompaniment of the fortepiano sounding more in line with a period instrument performance. The contrast between my two recordings is apparent and shows how material affordances affect each performer and the whole expression in a piece.
Debussy and Mozart are perhaps the most standard repertoire, especially for auditions. Having a special focus as an orchestral musician, performing these works at around 22 auditions, my phrasing and interpretations are perhaps conservative compared to commercially available recordings. This is partly because of my own taste, style, and experience with performance practice, which all influence whether one is successful in auditions. A recording of Debussy by Martin Fröst from the start of his solo career is a reference.[12] Here, Fröst takes a lot of freedom from written rhythmic notation with a very agogic playing style known to his artistry. Also, his timber is at times shifting, where I focus on stability. This is telling with phrasing differences, where I play with general longer lines and he somewhat uneasily combines agogics with timber shifts. Having performances on three different woods gives a unique perspective, as few players have recorded the piece on different wooden clarinets commercially. This contributes to the discourse on material affordances and how they influence how I phrase them, as all three recordings are inherently different. More reflections on this will be provided in the case study.
Mozart recordings are, again, abundant, being one of the main pieces, if not the main piece, in the clarinet repertoire. A halo reference recording would be with Robert Marcellus and the Cleveland Orchestra with George Szell[13]. Marcellus was the principal clarinetist of the Cleveland Orchestra and later a professor at Northwestern University, Illinois. He was the professor of my teacher, Lee Morgan, and thus had a secondary influence on how I play the piece. Marcellus was far ahead of his time in terms of timbre and beauty of sound, still being a reference recording almost 60 years later. Perhaps a smaller timber that I aim for, his playing focuses on long lines. I perform more in a classical style, aiming for a slightly more shaped sound for each phrase, which is facilitated primarily by the boxwood instrument performance. Having succeeded in seven principal clarinet auditions, my recordings of the exposition on the different woods give insight into an interpretation and phrasing style that has been successful in the performance scene.
The standard to perform the whole Mozart clarinet concerto is with orchestra and a bassett clarinet, the original instrument it was written for. This is not done for auditions; only the exposition is usually requested. Marcellus plays it on a regular clarinet, as the first recording with a bassett clarinet was released two years after his recording with Hans-Rudolf Stadler and the Cologne Chamber Orchestra[14]. In my recording from 2012 with the Bergen Philharmonic Orchestra, I used a grenadilla bassett clarinet, and I have reflected on how I played this then and how I play the piece now in one of the case studies. Buffet Crampon has also made two bassett clarinets in boxwood, one for Olivier Patey and one for Garbor Varga. I tried Garbor Varga’s bassett clarinet at the factory and compared it to a grenadilla bassett clarinet. The dynamic impact of the boxwood was quite evidently less.
The recordings with Debussy and Mozart on each wood are the only ones available to explore their differences, with the only variable being the recording date and the reed. The venue and piano are the same, so variables can be deduced to be the wood as the only variable as far as possible in such a context. This is valuable insight, with repertoire all performing clarinetists know extremely well, on the direction the woodwind field is taking and how choices in material affect phrasing and the overall expression.
The pieces I performed with the accordion (Pierné, Purcell, Rossini, and Piazzolla) are challenging to reference because of non-standard accompaniment (Pierné originally with piano and Rossini with orchestra, and Purcell and Piazzolla being arrangements). Pierné was chosen as a video of Florent Héau[15] with an accordion was referenced. His interpretation and phrasings are lighter, with a faster tempo than mine, and with a slight use of vibrato. I use more dynamic contrast to showcase the possibilities of the mopane clarinet. Since mopane reacts quicker to dynamic impulses than grenadilla, this is a relevant addition to this one recording available and the woodwind manufacturing industry’s direction, focusing on this material.
The Purcell songs are adaptations I made to portray phrasing, and there are no recordings with clarinetists. Choosing boxwood with the quickest response rate matched these baroque songs' shorter phrasings needed to achieve them. These recordings show the possibilities of the material.
Rossini was chosen as a showcase piece for the mopane, as the accordion is quite orchestral in volume. No recordings are available for this constellation. After reviewing recordings with orchestras, a reference recording with Charles Neidich[16]demonstrates that I phrase with longer lines, less vibrato, and less extended techniques like double tongue and circular breathing. As few recordings are available on a mopane clarinet, this performance adds value to the field, primarily exhibiting the materials' expressive possibilities in response rate in the introduction and slow variation.
Piazzolla has been arranged in countless consolations, but the version I used have not been recorded. Having my timber on the grenadilla instrument, these recordings portray the version I am most convinced is the sound I want to produce.
Of the solo pieces (Ulvo, Berg, and D’Arcy) performed, only Berg had previously been performed. The Ulvo piece has only been performed by me previously. There is a commercial recording available with the original orchestra version[17]. I performed the piece with a different bore model grenadilla clarinet, so there are many variables in referencing. The boxwood instrument I use for the solo recording shows significant ease in articulation in the middle section because of the faster response of the material. This being the only recorded solo version is an addition to the contemporary Norwegian solo repertoire.
Berg’s solo piece had been premiered before by Alberto Álvarez García. There is a private recording of this world premiere, but it is not available publicly. I did get to listen to the recording and noticed my performance was slower and had less hectic phrasing in a non-agogic way. Anna Berg preferred the mopane clarinet for this piece, and with my performance being the only recording available, it is another addition to the contemporary Norwegian solo repertoire.
D’Arcy’s Three Pieces was a world premiere so that no reference can be made. But it is, again, a portrayal of the timber I would like to portray (which is on the grenadilla clarinet) and an addition to the solo clarinet repertoire.
With my unique background and experience, this project contributes to the discourse on phrasing with artistic results that show new knowledge and demonstrate, with material affordances and co-affordances, differences possible in phrasing.
PERFORMER CONTEXT:
I have worked as a principal clarinetist in orchestras my entire career. I was 12 years principal clarinet with the Bergen Philharmonic Orchestra and before that, 3 years principal clarinet with the Norwegian National Opera Orchestra. I regularly appear as guest principal clarinet in various Nordic, European, Asian, and Australian orchestras, including the Philharmonia Orchestra, the London Philharmonic Orchestra, and the Sydney Symphony Orchestra. I am also the Associate Professor of clarinet at The Grieg Academy – Department of Music at the University of Bergen, teaching there since 2012. I have always used grenadilla instruments in orchestras, as Buffet Crampon, the instrument brand I perform on, did not offer alternatives until 2020. Although other materials have been in clarinet production previously and by smaller brands, they have not gained any mainstream following. When larger manufacturers like Buffet Crampon introduced boxwood as a limited edition, key players in orchestras like Olivier Patey and Nicolas Baldeyrou started experimenting with the possibilities for specific repertoires. This is now also seen more widely in orchestras with mopanes. Having used boxwood (Norwegian National Opera Orchestra) and mopane (Iceland Symphony Orchestra) in orchestras, I can, with this research project, contribute to the discourse on materials used in the field.
The lists below are not extensive, but indicate other performers in the field experimenting with material.
-Some orchestral players who are using modern boxwood instruments are Nicolas Baldeyrou (Principal clarinet, Orchestra Philharmonic de Radio France), Olivier Patey, including a modern boxwood bassett clarinet (Principal clarinet, Concertgebouw Orchestra), Kenji Matsumoto (Principal clarinet, NHK Symphony Orchestra), and John Schertle (Co-principal, Hong Kong Philharmonic Orchestra). University professors using modern boxwood instruments are Shirley Brill (Professor, Hochschule für Musik Nürnberg) and Gabor Varga, including a modern boxwood bassett clarinet (Associate Professor, Indiana University Jacobs School of Music) and Harri Mäki (Sibelius Academy). These performers choose boxwood mainly for classic and early romantic repertoire.
-Some orchestral players who are using modern mopane instruments are Nicolas Baldeyrou (Principal clarinet, Orchestra Philharmonic de Radio France), Ricardo Morales (Principal clarinet, Philadelphia Orchestra), Arthur Stockel (Principal clarinet, Orchestre Philharmonique du Luxembourg), and Christoffer Sundqvist (Principal clarinet, Finnish Radio Symphony Orchestra). University professors using modern mopane instruments are Björn Nyman (Norwegian Academy of Music) and Harri Mäki (Sibelius Academy). Many of these performers choose the mopane as their main instrument, although some also change to grenadilla for specific repertoire.
Some modern orchestral players who also play period instruments include Nicolas Baldeyrou (Principal clarinet, Orchestra Philharmonic de Radio France), Asko Heiskanen (Clarinetist, Tapiola Sinfonietta), and Alf Hörberg (Clarinetist, Royal Stockholm Philharmonic Orchestra, retired). Besides Baldeyrou, their period instruments are boxwood, but their orchestral instruments are grenadilla.
A soloist who uses boxwood and mopane instruments for specific repertoire is Martin Fröst. He uses boxwood for his recreated baroque repertoire (Vivaldi and B.A.C.H. recordings) and classical repertoire. Mopane has been used infrequently.
MATERIAL CONTEXT:
In 2020, the largest manufacturer of clarinets, Buffet Crampon, announced that it would produce a limited edition of their top model (Legende) in boxwood[18]. This was the wood most frequently used for woodwind instruments in the 17th to 19th centuries. Grenadilla wood is the norm in professional clarinets today and is a dense African Blackwood from Tanzania. Having used Buffet Crampon instruments for my entire professional career and in connection with this research project, I commissioned a one-off set of their boxwood instruments. My main instruments are a set of Buffet Crampon Tradition clarinets in grenadilla with nickel-plated keys, which are in the same bore family as the Legende clarinets Buffet Crampon marketed as a limited edition, but one tier down. My commission thus needed to be of this exact model (the Tradition, not the marketed Legende), just in boxwood to limit the variables to just material (wood) when comparing instruments. Their boxwood is sourced from Turkey. I also commissioned a set of Tradition mopane instruments with nickel-plated keys that arrived in April 2024. Mopane is another dense African tonewood with a brownish color sourced from Mozambique. It is similar to grenadilla but more sustainable and less prone to splitting. This is increasingly relevant to my field as the woodwind manufacturing industry slowly shifts away from grenadilla following cost and sustainability factors.
Several other modern clarinet manufacturers also offer boxwood and mopane alternatives in addition to other woods like cocobolo, rosewood, amaranth, leadwood, and bloodwood. In addition to Buffet Crampon, some manufacturers that provide boxwood instruments are Schwenk & Seggelke and Wurlitzer. Manufacturers that offer mopane instruments besides Buffet Crampon are Schwenk & Seggelke, Wurlitzer, Uebel, and Rossi. The list is not extensive, but it shows that many key manufacturers focus on offering various materials in their lineup, especially mopane. Having my main working instruments from Buffet Crampon meant that it was only feasible to study variants of the same, which I am most familiar with when looking at material affordances. Otherwise, there would have been too many variables to make any valid assessment.
METHODOLOGICAL CONTEXT:
This project uses a period boxwood instrument, modern boxwood instruments, modern mopane instruments, and modern grenadilla instruments (the norm today) as tools for research on phrasing. By switching tools between these instruments, I have identified and related different techniques to establish how the affordances of the various instruments can influence phrasing. The method involves experimenting with changing tools and techniques and using the results to expand on the understanding of phrasing on modern instruments.
Håkon Skogstad and Sigurd Slåttebrekk are two previous research fellows of the Norwegian Artistic Research program who have used methods of imitation that have led to new knowledge. Skogstad has imitated Ricardo Viñes's performances[19], and Slåttebrekk has imitated Edvard Grieg's performances[20]. Although I am not imitating my own playing on the different instruments, I have been influenced by their form of presentation, where performances are recorded (with bone-conducting headphones in the case of Skogstad) with the background of another recording. In the Mozart Clarinet Concerto case study, this is how I will perform with my own recording from 2012 and show different phrasing results.
THEORETICAL CONTEXT:
Artistic research, which this project is based, connects with Christopher Frayling’s notion of “research through art…”[21] and Henk Borgdoff’s “research for the arts”[22]. As a performer, this research is through the art of music, where the artistic results are at the forefront, together with material documenting artistic reflection.
The American psychologist James Jerome Gibson introduced the word «affordance» as a term in the study of cognition. It is widely used in different forms of psychology, design, human-computer interaction, robotics, language education, and artistic research. Gibson defines affordance in his final book from 1979 as such:
“The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or ill. The verb to afford is found in the dictionary, the noun affordance is not. I have made it up. I mean by it something that refers to both the environment and the animal in a way that no existing term does. It implies the complementarity of the animal and the environment.”[23]
When examining affordances in the context of musical instruments, this is the relationship between the instrument and the musician. A musician’s understanding of the agent of affordances in this relationship determines an instrument's possibilities. I propose that affordances be categorized into two areas: material affordances and co-affordances. The term co-affordance has been used in a limited way as a term in human-computer interaction and robotics, but not in music performance.
There is a lot of research and literature in the field of historically informed performances on period instruments. Still, concrete examples of how this relates to modern instrumental playing are lacking from researchers trying to define phrasing from a theoretical point of view, such as "The Art of Musical Phrasing in the Eighteenth Century"[24] and "The Classical Style: Haydn, Mozart, Beethoven"[25], to the theses "The Melody Phrasing Curve: A Visual Tool for Illustrating Perceived Musical Dynamics"[26], "What contributes to the perception of musical phrases in western classical music?"[27] and "From Phrase to Phrasing - A Classical Perspective"[28], where methods and analysis for how phrasing is experienced and performed, there are many examples of the theoretical approaches to phrasing. Other research compares performances of early music performers against "mainstream" performers, such as "Between Theory and Practice: Comparative Study of Early Music Performances"[29].
Mine Doğantan-Dack is at the forefront of artistic research and is a piano and music performance professor at the University of Cambridge. She writes:
«In the context of artistic performance as research, understanding the affordances of different kinds of musical instruments becomes crucial in exploring the means through which new insights and knowledge might emerge.»[30]
Researcher and flutist Markus Tullberg at Lund University in Sweden wrote his dissertation on the affordances of musical instruments, focusing on the simple-system flute[31]. This is the closest research paper that connects to my project, although its viewpoint is from a folk music and music education standpoint.
Tullberg has extensively categorized and analyzed the concept of affordance in music research,[32] chronologically mentioning Folkestad[33] (1996), DeNora[34] (2000), Clarke[35] (2005), Godøy[36] (2010), Nilsson[37] (2011), Menin and Schiavio[38] (2012), Windsor and de Bézenac[39] (2012), Akoumianakis[40] (2013), Coessens and Östersjö[41] (2014), Krueger[42] (2014), Schiavio[43] (2014), Duby[44] (2019), Koszolko[45] (2019), Clarke[46] (2020) Duinker[47] (2021), Tullberg[48] (2021), and Cross[49] (2022).
Tullberg writes: “While the concept of affordances has been applied in music research, it has not been satisfyingly developed regarding musical instruments.”[50]
Tullberg continues: “Furthermore, researcher-musicians and educators can contribute by autoethnographies and phenomenological explorations of their craft. Such first-person accounts have the potential to inform our understanding of perceptual and cognitive processes, hard to access from a third-person perspective.”[51]
This project answers Doğantan-Dack and Tullberg’s call to action by exploring affordances from a first-person practice-based artistic research standpoint. Using empirical data, this project aims to impact and contribute to the field of classical clarinet performance by bridging practice-based artistic research and the orchestral world. This is vital in making the project relevant to my field and contributing to the development of the modern instrumentalist.
[1] Leitherer C. «So dient das Clarinet auf angenehme weiss» CD (2002)
[2] Leitherer C. «So dient das Clarinet auf angenehme weiss» CD track 23-31 (2002)
[3] Leitherer C. «So dient das Clarinet auf angenehme weiss» CD track 1 (2002)
[4] Leitherer C. «Rathgeber: Messe Op. 12 / Konzerte Op. 6 Concertos» CD track 6 (2007)
[5] https://www.buffet-crampon.com/en/instruments/clarinets/legende-boxwood/
[6] Fröst M. «Vivaldi» CD track 1-3, 7-9, and 13-17 (2020)
[7] Magistrelli L. «Unknown Classical Clarinet Sonatas» CD track 14-16 (2016)
[8] Guyot R. «Brahms Sonates Op. 120» track 5-7 (2009)
[9] Benda F. «Robert & Clara Schumann Romances and Fantasies» track 9 (2009)
[10] Brill S. https://www.youtube.com/watch?v=I_ylAK3P8aw
[11] Kam S. «Schubert Lieder» CD track 17 (1994)
[12] Fröst M. «French Beauties and Swedish Beasts CD track 1 (1994)
[13] Marcellus R. «Mozart: Flute Concertos; Clarinet Concerto» track 7-9 (1966)
[14] Stadler. H.-R. «Mozart: Clarinet Concerto» track 1-3 (1968)
[15] Héau F. https://www.youtube.com/watch?v=aRpOkHpTX3w
[16] Neidich C. «Weber: Concertos, Concertino, Rossini: Introduction, Theme & Variations» track 7-13 (1992)
[17] Stene C. «Opus 250» track 2 (2015)
[18] https://www.buffet-crampon.com/en/instruments/clarinets/legende-boxwood/
[19] Skogstad H. https://www.researchcatalogue.net/view/1399142/1411285
[20] Slåttebrekk S. https://www.chasingthebutterfly.no
[21] Frayling C. «Research in Art and Design» Royal College of Art Research Papers Volume 1. Nr, 1, p. 5 (1993)
[22] Borgdoff H. A. «The Conflicts of the Faculties: Perspectives on Artistic Research and Academia» 2012 p. 38
[23]Gibson J. J. «The Ecological Approach to Visual Perception» p. 127 (1979)
[24] Vial S. «The Art of Musical Phrasing in the Eighteenth Century» (2008)
[25] Rosen C. «The Classical Style: Haydn, Mozart, Beethoven» (1998)
[26] Fridell I. «The Melody Phrasing Curve: A Visual Tool for Illustrating Perceived Musical Dynamics» (2006)
[27] Spiro N. «What contributes to the perception of musical phrases in western classical music?» (2007)
[28] Nelleke J. W. «From Phrase to Phrasing – A Classical Perspective» (2017)
[29] Ornoy E. «Between Theory and Practice: Comparative Study of Early Music Performances» (2006)
[30] Doğantan-Dack M.«The Role of the Musical Instrument in Performance as Research: The Piano as a Research Tool» p.173 (2021)
[31] Tullberg M.“Wind and Wood: Affordances of Musical Instruments: The Example of the Simple-System Flute” (2021)
[32]Tullberg M. “Affordances of Musical Instruments: Conceptual consideration” p. 1-2 (2022)
[33]Folkestad G. “Computer Based Creative Music Making: Young People's Music in the Digital Age” (1996)
[34]DeNora T. “Music of Everyday Life” (2000)
[35]Clarke E. “Ways of Listening: An Ecological Approach to the Perception of Musical Meaning” (2005)
[36]Godøy, R. “Gesture Affordances of Musical Sound” (2010)
[37]Nilsson P-A. “A Field of Possibilities: Designing and Playing Digital Musical Instruments” (2011)
[38]Menin D. and Schiavio A. “Rethinking Musical Affordances” (2012)
[39]Windsor W. L. and de Bézenac C. “Music and Affordances” (2012)
[40]Akoumianakis D. “Socio-Materiality of Online Music Ensembles: An Analysis Based on Cultural Artifacts & Affordances” (2013)
[41]Coessens K. and Östersjö S. “Habitus and the Resistance of Culture” (2014)
[42]Krueger J. “Affordances and the Musically Extended Mind” (2014)
[43]Schiavio A. “Music in (En)Action: Sense-Making and Neurophenomenology of Musical Experience” (2014)
[44]Duby M. “Affordances in Real, Virtual, and Imaginary Musical Performance” (2019)
[45]Koszolko M. K. “The Tactile Evolution: Electronic Music Production and Affordances of iOS Apps” (2019)
[46]Clarke E. “The Psychology of Creative Processes in Music” (2020)
[47]Duinker B. “Rebonds: Structural Affordances, Negotiation, and Creation” (2021)
[48]Tullberg M.“Wind and Wood: Affordances of Musical Instruments: The Example of the Simple-System Flute” (2021)
[49]Cross I. “Music, Speech and Affiliative Communicative Interaction: Pitch and Rhythm as Interactive Affordances” (2022)
[50]Tullberg M. “Affordances of Musical Instruments: Conceptual consideration” p. 1 (2022)
[51]Tullberg M. “Affordances of Musical Instruments: Conceptual consideration” p. 9 (2022)