Once the general scope of the research had been outlined, I needed to find a way to give form to the blend of sensations and questions that had emerged. The goal was to articulate a theme that could reconnect me with something partially lost — my relationship with my instrument — while also propelling me forward, toward the direction in which I feel I am growing and creating space for artistic development.
As often happens when attempting to merge disparate ideas, I felt a sense of doubt. I struggled to see a clear and coherent final outcome, supported by strong principles and ideas, which only take shape through time and sustained work. As a result, every option I considered led me back to a state of anxiety and general disillusionment, forcing me to confront my creative limitations — especially during the initial stages of a project.
Amid these early difficulties in defining a concrete project, I began to reflect on the very nature of research. I came to see that research is not a linear process with a clear beginning and end — not simply an idea followed by a finished product — but rather, a tool-making phase that is deeply personal. It is up to the artist to choose how, and above all where, these tools are applied.
Jonathan Burrows offers a definition that resonates deeply with this sentiment:
“Research is useful so long as I know it’s research and don’t start thinking it’s the finished work. Sometimes it’s better to put down the research and get on with the piece.” (Burrows, 2010, p. 43)
This quote captures the idea of research as a beginning — as a means, open to all discoveries and directions — a way of gently walking with one’s ideas, without burdening them with excessive expectations.
Ultimately, research has become, for me, a way to engage with a project or idea with greater clarity. It offers a kind of safe space in which I can observe connections, recognize the value of my ideas, and give them strength and structure. In this way, research itself becomes an integral part of the creative process. Writing these words — whether in a more conventional or creative way — helps support me, and that support is a fundamental building block of the confidence with which I now present this work.
Creating the research question
With these reflections in mind, I began to formulate a set of focused artistic questions. Given the breadth of the project and the openness of the approach, I felt the need to focus on the area I have been most engaged with over time and which feels closest to me: composition, and more specifically, the figure of the composer.
By defining the subject (composition), the medium (my instrument), and the objective (expressing my self freely), the framework of the research naturally took shape, leading me to the core question:
“How can I, as a composer, create unique tools that emerge from a physical and spontaneous experience, and that can help me navigate through various artistic contexts?”
This question is accompanied by a series of sub-questions that further guide the inquiry:
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What is my role as a performer within this process?
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How are composition and improvisation connected, and how do they interact?
Throughout this research, I aim to answer these questions by presenting the process, the methodology adopted, and the final application of these ideas in various artistic contexts, along with their implementation in future projects.
This thesis is the result of a year of work and attentive listening to my artistic process. It is an attempt to understand the origin of my creativity and how I can use it in a constructive, conscious, and sustainable way.