Research Catalogue

"Metamorphoses - The performance of process" is an exposition of choreographic objects. Operating in the realms of drawing, photography, and video, these objects each address a poetics of transformation. The collections expose the simple materiality of change; the wind scattering paper pieces - or being transformed into sound by the paper walls of an accordion. ::: Contextual note: Metamorphoses is the first cycle of the choreographic project Love, polyphonic. The Metamorphoses Cycle consists of four parts: 1. The Performance of Process 2. Performance object 3. International performance workshop tour 4. Choreographic Toolbox #1: Metamorphoses (publication) The project Love, polyphonic extends over six years. The work approaches movement, sound, geometry and language through the concept of "love" as a prism. A force that can only be recognized indirectly. A tool for listening to the world; polyphonic. The series "The Performance of process", which was shared on the Instagram account love_polyphonic and Black Box teater's websites through the spring of 2021, invites us into the process of Metamorphoses. The performance object that premiered at Black Box Teater September 18th 2021 was a collaboration with cellist and composer Lene Grenager and dancer Cecilie Lindeman Steen. The performance was presented in collaboration with Ultima Oslo Contemporary Music Festival. The collaborators for the international performance workshop tour was MAD, Firenze (IT), La Regarde du Cygnet, Paris (FR) and Dansekapellet, København (DK). The Choreographic Toolbox #1: Metamorphoses (publication) was launched at Norma T in collaboration with Mette Edvardsen on March 7th 2023, and is distributed nationally and internationally by Tekstallemenningen. ::: Janne-Camilla Lyster (b. 1981) is a Norwegian choreographer, writer and performer. She gained her artistic PhD with the project «Choreographic poetry: Creating literary scores for dance», and has a particular interest in pre-figurative practices, including scores, experimental notation and notation systems for movement. She has published a number of poetry collections as well as novels, plays, essays and performance scores.

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The research project 'Lessons in the Shadows of Death' explores and exposes an almost lost tradition of public mourning - the Art of Lamentation. The project follows the structure of the 17th century musical genre 'Leçons de Ténèbres' – traditionally composed as vocal ‘lessons’ performed during Easter week contemplating the fall of Jerusalem in 586 BC and based on the Biblical Lamentations. The overall purpose is to create and promote an intra-active 'grief-entangled' music practice in relation to public mourning and wounds of loss. Previous artistic research on vocal mad scenes, lamentations and Nothingness (Laasonen Belgrano 2011) and performance philosophical explorations of apophenia and autopoesis (Price 2017) has since 2019 merged and developed into a growing archive investigating ‘ornamentation-as methodology’. The primary aim of this project is to transform the ornamented music and words of Michel Lambert’s nine Leçons de Tenebres from 1661 into nine video-essays. Together with an international network of artists and scholars we will bring the 17th century musical mourning to a contemporary Jerusalem – a city which lives as a symbol of any falling, wounded and embodied space-time. The project reconfigures the Art of Lamentation as a living practice for a wounded world in need of re-learning how to attend to existential consciousness and communal grief.The research project 'Lessons in the Shadows of Death' explores and exposes an almost lost tradition of public mourning - the Art of Lamentation. The project follows the structure of the 17th century musical genre 'Leçons de Ténèbres' – traditionally composed as vocal ‘lessons’ performed during Easter week contemplating the fall of Jerusalem in 586 BC and based on the Biblical Lamentations. The overall purpose is to create and promote an intra-active 'grief-entangled' music practice in relation to public mourning and wounds of loss. Previous artistic research on vocal mad scenes, lamentations and Nothingness (Laasonen Belgrano 2011) and performance philosophical explorations of apophenia and autopoesis (Price 2017) has since 2019 merged and developed into a growing archive investigating ‘ornamentation-as methodology’. The primary aim of this project is to transform the ornamented music and words of Michel Lambert’s nine Leçons de Tenebres from 1661 into nine video-essays. Together with an international network of artists and scholars we will bring the 17th century musical mourning to a contemporary Jerusalem – a city which lives as a symbol of any falling, wounded and embodied space-time. The project reconfigures the Art of Lamentation as a living practice for a wounded world in need of re-learning how to attend to existential consciousness and communal grief.

When sounds meet in space, they interact with each other, they diffract, change, and create new ones - these artefacts are always present, have always been heard, but here they become the music itself. Creating a space of both extreme clarity and overwhelming complexity, they lay bare a music that exists within our perception of steady sounds, a music that listeners create themselves through listening in space. What forms of creating, performing, and listening can be developed by making the phenomenon of wave interference my main musical material? And what implications can this phenomenon have as a figuration for the entities involved in performing and listening?

This video article presents two pedagogical applications of the artistic research project "Expanding Horizons" for ensembles with adult music students of diverse musical backgrounds. The project is centered around practical explorations of applying improvisation to repertoire from 20th-century Western classical music, in combination with qualitative methods such as autoethnography, participant-observation and semi-structured interviews. The examples in the video demonstrates how approaches that are developed in the project can be applied to pedagogical situations, based on ensemble workshops with musicians of different musical orientations enrolled in music performance programmes in Sweden, one with university-level students in a bachelor programme and another with students at a folk high school. Two pieces were selected and adapted for these situations: Lili Boulanger’s Cortége (1914) and Maurice Ravel’s String quartet in F, movement II (1903). During the workshops, these pieces were then re-worked in a collaborative manner, with an emphasis on mutual exploration and musical expressivity through improvisation. The main pedagogical considerations were: selecting the appropriate repertoire, adapting materials for diverse learners, and fostering agency among performers. Although the improvisational approaches presented are rooted in jazz performance practice, the examples demonstrate how improvisational frameworks can be adapted for music students across musical genres, showcasing the potential for creativity, collaboration and interdisciplinary learning in music education.

This exposition explores the following question: How might an analysis be done in post-qualitative inquiry and performative approaches? Considering that post-qualitative inquiry rejects pre-existing research designs, methods, processes, procedures, or practices, and acknowledging that a research process will unfold and materialize differently in different projects, my aim is to explore one possible approach to analysis. This approach explored herein is specific to my PhD project. At the same time, I invite you to re-turn (to) the pieces you find fruitful and adjust them to your research. The research material being analyzed in this exposition is informed by my PhD project, which explores what might materialize in the matter of digital musicking when a loop station and 1–3-year-olds meet each other in a kindergarten context. Exploring how an analysis might be done in post-qualitative inquiry and performative approaches, and as the title plays on, the method of analyze is with the arts and take an arts-based approach. This exposition contributes to the fields of early childhood music education, post-qualitative and performative inquiry, and arts-based research. This exposition is included in the anthology "Utfordringer og muligheter innen musikk og utdanning", or "Challenges and Opportunities in Music and Education" in Enlgish. The anthology is published as part of MusPed:Research by the Cappelen Damm Academic publishing house. MusPed:Research is a peer-reviewed series of scholarly publications within the field of music pedagogy. The anthology, of which this exposition is a part, has been peer-reviewed, and this extends to this exposition as well.