This four-year artistic research project allowed me to dive deep into my orchestral playing field and examine the essence of music-making and phrasing. I cannot understate the extreme privilege this opportunity has been, and I am forever grateful to my family, friends, and colleagues who contributed to this culmination of my oeuvre.
I am especially grateful to my main supervisor, Jostein Gundersen (associate professor and vice-dean), and co-supervisor, Yehuda Gilad (professor at USC and Colburn School), who helped guide this project. I could not have asked for a better team, with Jostein’s extensive knowledge of the artistic research field setting the highest demands and Yehuda’s immense overview of the music performance field informing my practice.
The Grieg Academy, with Randi Rolvsjord (professor and Head of Department) and Einar Røttingen (professor and Research Coordinator), saw the potential of my project and supported its progress, which I am forever thankful for. Significant recognition has to be given to my faculty colleagues, Hans Knut Sveen (former associate professor of cembalo), Torleif Torgersen (professor of piano), Hilde Haraldsen Sveen (professor of song), my fellow researchers Diana Galakhova (fortepiano) and Sergej Tchirkov (accordion), and my former orchestral colleagues Siri Hilmen (cello) and Chien-Yu Chu (violin), and Stedal Lindvall (violin), whose collaborations are the very essence of my artistic results.
The reference group with Björn Nyman (professor at NMH), Andreas Sundén (professor at KMH), John Kruse (associate professor at DKDM), Christian Leitherer (period clarinet specialist), and Eric Baret (acoustic advisor at Buffet Crampon) was invaluable in the process to bounce ideas off of and challenge my methods. Special thanks must also be given to Harri Mäki (professor at Sibelius Academy) for vital feedback during my midway evaluation and shared experiences concerning material affordances. In addition, my students in the Grieg Academy clarinet class deserve praise for being open and curious about this research and validating many of my findings in practical pedagogical implementations during our lessons.
Buffet Crampon was instrumental in their willingness to make custom clarinet sets for me in boxwood and mopane, and this project would not have been possible without their partnership. Without Vandoren products, creating the sound I want to produce would also not have been possible. For the instruments to perform at their best, the woodwind repair artisans at Instrumentmager A. Andersen, Hans Zachariassen, and Antoine Hervy have been invaluable, as has the master mouthpiece maker James Kanter and his wife Debra Kanter, who also were generous enough to contribute to the discourse concerning material density.
As an orchestral player, using the different instruments practically in rehearsals and concerts as research was imperative to validate and drive the project forward. The Norwegian Opera Orchestra was vital in allowing me to perform on different material instruments through several performances, as was the Iceland Symphony Orchestra for debuting my mopane clarinets. I also want to thank Anna Berg, Therese B. Ulvo, and James D’Acry for their collaborations and contributions to the solo clarinet repertoire and the final stage of my project exploring the music of our time.
All the universities I visited during the four years, their professors, staff, and students who were welcoming, curious, and contributed to discussions on phrasing deserve my utmost appreciation. Connecting with this fascinating field has been an honor and highlight of my career. These research trips could only have been made possible with contributions from the Ingerid, Synnøve, and Elias Fegersten's Foundation (2022), Jacob. R. Olsen and Johanne G. Olsen’s Endowment (2023), Fund for Performing Artists (2023 & 2024), and the L. Meltzer’s Research Fund (2024).
I am grateful to all the teachers and mentors who have shaped my musicianship, with special mention to Lee Morgan, who instilled the notion of “beauty of sound,” which follows me every day.
I would not have ventured on this path towards a PhD without the push from one of my best friends, Kristian Jansen, who inspired greatness long before his doctorate and degree in medicine. The support, love, and proofreading of my partner, Kariann Svensson, also cannot be underestimated. Lastly, reaching my potential would not have been possible without the love, support, and guidance of my parents Ole B. Stene and Toril Håvardstun Stene. Thank you all so much!