(Un-) settling Sites and Styles
(2021)
author(s): Einar Røttingen, Bente Elisabeth Finseraas
published in: Faculty of Fine Art, Music and Design, University of Bergen
(Un-)settling sites and styles: In search of new expressive means.
Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances.
How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation?
The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.
The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
(2014)
author(s): Andrea Vasi
published in: KC Research Portal
Name: Andrea Vasi
Main Subject: Piano
Research Coach: Theo Verbey
Title of Research: The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
Research Question:
What is the nicest way to make an arrangement for 2 pianos of the first Romanian Rhapsody opus 11 no. 1 by George Enescu, and how has this piece been influenced by Romanian folk music?
Research Process:
My (Romanian) father, who is also a professional musician, helped me in the sense that he told me his views on what Romanian folk music was, which I took as a starting point. Throughout my childhood, I listened to Romanian folk music a lot (every week, we went to a café in The Hague where Romanians would play their music), so I have quite much personal experience with it as well (I sometimes played along, and had my own ‘gypsy’ ensemble). Only one valuable book on Enescu has been published in the west, in 1990, namely ‘George Enescu: His Life and Music’ by N. Malcolm. A lot of biographical and musicological information on Enescu I could find in here, but I really needed my father to translate the Romanian sources I had collected. I had the chance to quote Enescu himself, because he did some extensive interviews with B. Gavoty. As for the arrangement, I am a pianist myself, and played and studied a lot two piano-pieces in the past. With the help of my coach, composer Theo Verbey, I made my own arrangement for two pianos of Enescu’s Romanian Rhapsody no. 1 opus 11.
Summary of Results:
First of all, one can find the arrangement I made of the Romanian Rhapsody no. 1 opus 11 by George Enescu in the Appendix. I make clear how I made this arrangement for two pianos, and why I made it like this. The main goals were to keep the material as much intact as possible, but while doing this, I wanted to make sure both piano parts were very ‘playable’, very ‘pianistic’. Secondly, I wanted to know how this piece has been influenced by Romanian folk music. In order to be able to do this, I had to determine what ‘Romanian folk music’ actually is. So I tried to narrow it down to the most distinct and prominent characteristics. I did this in chapter three, in which I started by quoting Enescu himself on the subject. According to him, the music of his country is full of ‘dor’ (‘Sehnsucht’), and there is ‘sadness even in the midst of happiness’. Shifting between major and minor also occurs frequently, I noticed. When I started analyzing songs I knew from my childhood, and started looking for characteristics on the internet, in chapter four, I deminstrated that there are some elements which appear in most of Romania’s folk music, concerning instruments, scales and modes, meter and rhythm, ornamentation, ‘doina’ and gypsies.
Goldberg’s Variations: investigating Aaron Goldberg’s improvisational style
(last edited: 2023)
author(s): Jelle van der Meulen
archived in: KC Research Portal
Name: Jelle van der Meulen
Main Subject: Jazz Piano
Research Supervisor: Patrick Schenkius
Title of Research: Goldberg’s Variations: investigating Aaron Goldberg’s improvisational style
Research Question:
How can I emulate characteristic devices from Aaron Goldberg’s improvisational style and apply these to my own playing?
Summary of Results:
In this research paper four improvisational devices that Aaron Goldberg uses are analysed. Examples of these devices are taken from five transcriptions of improvised solos on jazz standards (Con alma, Fantasy in D, The shadow of your smile, (Un) stable mates and Perhaps) and from recordings where Aaron Goldberg functions as a leader. The devices are selected for their occurrence in (almost) all of the transcribed solo’s and because they stand out and attract attention.
Together they make up an important part of Aaron Goldberg’s playing style. The four devices are: chromatic runs returning to one note, arpeggios over the bar line, motivic development and lines in intervals. Following the analyses and some words on the (possible) origin of these devices (Aaron Goldberg didn’t invent them, they are part of the jazz vocabulary and came forth out of the improvisational styles of musicians from the history of jazz) the research deals with the emulation of the devices and offers exercises which an improviser can do to apply the devices to his/her playing.
Biography:
Jelle van der Meulen (1990) studied jazz piano from 2008 at the conservatory of Amsterdam where he received his bachelor’s diploma in 2013. There he studied with Karel Boehlee, Rob van Bavel, Hans Vroomans and Kris Goessens. In 2015 he started his master studies at the Royal Conservatoire in The Hague where he studied with Juraj Stanik and is currently studying with Wolfert Brederode.
Jelle is the pianist of the hard bop band Bop This! and he leads his own piano trio. Jelle’s playing is featured on three recordings so far, the albums ‘Introducing’ and ‘Page Two’ by Bop This! and on the album ‘Out of Universe’ by the Amstel Bigband of which Jelle was the pianist from 2011 until 2014.
Romanticizing Brahms: Early Recordings and the [De]Construction of Brahmsian Identity
(last edited: 2023)
author(s): Anna Scott
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Despite most pianists' claims of historical deference and creative agency, their performances of Brahms's piano works are nothing like the early-recorded performances of the composer and his students: gaps that are mediated by understandings of Brahms's Classical canonic identity, the performance norms that protect that identity, and those norms' underlying aesthetic ideology of control. This predication of Brahmsian identity on restraint leaves the composer and his students in a precarious situation, as their recordings evidence an approach that is governed by the inhibitions typically associated with Romanticism. This volume, by Anna Scott, seeks to problematize understandings of Brahms's identity: by investigating the origins and vestiges of the aesthetic ideology of control; by analysing and copying the recordings of pianists in the composer's inner circle; and by applying these pianists' styles in ways that are just as disruptive to modern notions of Brahmsian identity as their early-recorded models. In so doing, a thoroughly Romantic performance style emerges that catalyses a fundamental shift in understanding as related to Brahms's identity; thereby opening up a new palette of expressive and technical resources, and both elucidating and narrowing persistent gaps between modern and early-recorded Brahms style, as well as between what performers believe, know, and ultimately do.