Research Catalogue

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Much of Janine Antoni's work is about the female body and cultural identity.

We, Anna N. and Barb/Brab, started an exchange of thoughts about the meaning of "aut" – as in aut/istic and aut/oimmune. We are interested in what it means to live as auts, to write about it in regard to everydaily life, in regard to the medical discourses about autism and autoimmunity, and in regard to the view of the "others", the not-auts. In the context of language-based artistic research we seek to develop practices that allow for investigating the meaning of aut on different levels of our existence. * (Speaking out and at the same time speaking as auts, but also speaking in a language called "aut")

This is the landing page for Rhythmic Music Conservatory's portal on Research Catalogue.

In any performance genre, the use of time is a fundamental element that shapes the artistic experience. When artists from different disciplines come together to collaborate on the same material, the perception and utilization of time as an artistic device can undergo significant transformations. This exposition delves into the intricate realm of non-verbal artistic communication between performers from diverse disciplines, with a specific focus on how the actions of one artist can profoundly influence and shape the decisions of another. To explore this dynamic interplay, a compelling case study is presented, examining the enchanting character miniatures for solo piano composed by Alexander Scriabin during the middle and late periods of his life. These exquisite musical pieces are interwoven with the fluidity and spontaneity of contemporary dance improvisation, creating a rich tapestry of artistic expression. Within this crossdisciplinary collaboration, the exposition sheds light on the ephemeral layers of communication that exist between performers. It delves into thought-provoking topics such as the sense of flow, movement, and structure within the work, the role of physical distance between performers and its intricate relationship with the passage of time, the density of content (i.e., musical material) in the context of crossdisciplinary exploration, and the profound significance of gestural communication between artists. Through this crosspollination of ideas and artistic exchange, the potential for profound and transformative artistic impact emerges. In essence, this exposition offers a thought-provoking exploration of the transcendent power of artistic communication between performers from different disciplines.

SONIC EQUITY This exposition investigates questions of inclusion, equity, and decolonisation through the central voice of the Brazilian berimbau. Drawing on the approaches of artistic research, musical case studies are employed to investigate the core concepts, including the solo berimbau work of Adriano Adewale, as well as duo dialogues between Adriano Adewale on berimbau and Nathan Riki Thomson on double bass, seen through the conceptual lens of third space. Findings emerge in terms of uncovering and reimagining the unique, experimental sonic possibilities of the berimbau and the ways they can be utilized for artistic expression in both solo and duo playing. Through shining a light on the unique possibilities of the berimbau, questions arise in terms of why this instrument and its interconnected traditions have not been given equal space and value within higher music education, highlighting the need for institutions to continually reassess their policies through the lens of decolonisation. The artistic investigations further reveal issues related to the need for equity in music and music education, pointing towards a decolonised future where marginalized instruments such as the berimbau are given space and valued equally alongside all forms of musical expression. This connects back to the fundamental human need to be seen, acknowledged, and valued in our world, which is a commonality we can perhaps all relate to. Key words: berimbau, equity, decolonisation, interculturalism, higher music education, third space.

The difference in embodiment experience when transitioning from one piano to another is highly complex, not to mention the transition from a modern piano to a 19th-century historical piano, as playing techniques were also different. As the modern piano is very different from 19th-century keyboard instruments such as the fortepiano, it can be difficult for a modern pianist to understand the techniques used in the 19th century, and why. While it may be impossible to perfectly reconstruct the playing of 19th-century pianists, this study focused on the process of reimagining the 19th-century playing techniques on historical instruments from the perspective of a 21st-century pianist which will help develop understanding towards the potential roles and impact of these techniques, recognize the connections between instruments and techniques, as well as their influence on my playing as a pianist-researcher. Through this artistic practice, the feedback and observations from these experiences in the form of reflection logs were used to uncover the roles and effects of these techniques. This exposition will discuss a performer-researcher’s experience with references to the current literature, demonstrate how these techniques help narrow the gap between the modern and period instruments, especially in terms of touch and control, and investigate the effects of the artistic practice on dynamics and phrasing. Video clips of performances on both modern grand piano and historical instruments such as the fortepiano will also be included to better demonstrate the different approaches.