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Rooted in a composer–improviser’s fascination with a musical composition’s transformative potential, this doctoral artistic research project reflects on the composition through investigating it as a trace of creative interacting. It applies an artistic working method of individual and collaborative compositional experimental setups of iteratively combined creative activities, such as notating or playing saxophone. Interwoven with autoethnographic reflection, this yields a spiral creative-reflective path that focuses both on the activities and their traces, such as notations or recordings, as well as the human being’s perceptive transformations. Drawing on artistic and sociological–philosophical specifications of the human being’s interacting with its world such as Jean-Luc Nancy’s or Hartmut Rosa’s, as well as Sybille Krämer’s and Jean-Jacques Nattiez’s conceptualization of a trace, the project scrutinizes not only the diversity of evolving relations between all activities–traces–participants as transformative tools for each other, but also seeks a new language as a creative–reflective tool in its own right. Through exploring the notion of the trace, as well as creating neologisms such as the musical Geschehen for a specific notion of created sound, a concept of creative practices as being relational and transformative emerges, leading to the notion of a shared creative practice as shared modes of relating. Creative practices such as improvising and composing evolve as epistemological and semantic grids that conceptualize experiences of engaging with traces, alongside an understanding of a composition as a trace that is formed by and affords specific modes of relating to the “outside” world. Artistic results include new vocal and instrumental scores, lead sheets, electroacoustic pieces, and a selection of recordings.
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