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Intellect and emotion

What is the nature of the interaction between thinking about music and performing it, and how might this interaction affect performance outcomes?

Bartok: Sonata for 2 pianos and percussion

Brahms: Piano quintet

Architecture of a project

History of The Reflective Musician

 

 

 

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Chopin: Ballade no. 3

Research Questions:


1) What kind of performing knowledge might lead to specific, unique interpretations?

2) What kind of interpretations might lead to ‘new knowledge’?

3) How can this cycle of knowledge → interpretation → new knowledge be studied?

4) How can what is learned through this cyclical process best be articulated and disseminated?

5) To what extent is it a process that can benefit from the collaborative input of a team of artists and researchers?

6) What could such a team-based project teach us about the co-creative aspects of the bringing-into-being of specific, unique interpretations?

Repertoire, reflection, research

How the fusion of musical thought and practice and the contribution of this to musical understanding lies at the heart of the Reflective Musician project


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Chopin: Polonaise-Fantasie

Late style

What characterises “Late Style” and what can we learn more generally about  the deeper forces in music from the investigation of works created when experience is at its most mature?

The Reflective Musician

 Interpretation as co-creative process 

Beethoven: String quartet op. 131

Brahms: Klavierstücke op. 118

                Vier ernste Gesänge op 121

Schoenberg:

Drei Klavierstücke, op. 11

Sechs kleine Klavierstücke, op. 19

Mozart: Piano Concerto KV453

New approaches

What kinds of deeper knowledge may be accessed when works are ‘curated’ in new ways, whether in terms of the nature of their presentation or even involving elements of re-composition?

Nils Henrik Asheim: The Schubert Moment

Interpreting interpretation

How do musicians, musicologists and composers experience the phenomenon interpretation?


 

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New works

What impact does it have on composer and performer when a newly-commissioned work is developed in collaboration between them?

Lasse Thoresen: Invocations

Leiknes Thorsen:

Piano concerto

About Quality

How can we meet the challenge of establishing criteria for quality in musical performance?

 

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