Research Catalogue

an international database for artistic research

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  5. Staff Publications 2024 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2024. Each project reflects the rigorous process of inquiry and creative exploration that defines our institution's commitment to advancing the field of artistic research. While some of our research is featured elsewhere in journals such as VIS or JAR, this collection highlights the significant contributions that remain within our own portal, underscoring the diversity and richness of the work conducted by our researchers.
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  4. Staff Publications 2023 This issue presents the finalized and peer-reviewed artistic research projects completed during 2023. These works exemplify our institution's dedication to pushing the boundaries of artistic inquiry and practice. Although certain projects may be published elsewhere in journals such as VIS or JAR, the research featured in this collection remains integral to our portal, highlighting the breadth and impact of our researchers' creative endeavors. Each project here stands as a testament to the successful and innovative research conducted within our community.
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  3. Staff Publications 2022 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2022.
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  2. Staff Publications 2021 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2021.
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  1. Staff Publications 2020 This issue showcases the final outcomes of artistic research projects completed and peer-reviewed in 2020.
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  0. Published Research by Advanced Postgraduate Diploma students Select final projects of our Advanced Postgraduate Diploma Students
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  0. Ongoing research by staff A look into ongoing projects

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  Transformative Reflections (2023) author(s): nikolaj hess published in: Rhythmic Music Conservatory, Copenhagen
  This project investigates how Transformative Reflections can be developed as a range of methods and processes and how it can be used to create music based on and inspired by paintings. The project has worked with developing a method for translating from painting to composition and improvisation, and making inspiration from another artistic domain tangible. It also seeks to get closer to the artistic material and inspiration that to me seems to lie before the art expresses itself as a work, with an idea of what could be called a pre-art. Methodologically the project explores through four different method categories and an artwork dialogue perspective, both how to get closer to the intrinsic material and values in the reflected work, and to how the extrinsic expressions might translate to meaningful artworks in another domain, in this case music. Furthermore, it investigates the potential of new artistic hybrid art experiences based on the findings and examines the processes and considerations of these. The artistic purpose is through transformative reflections of painting to new works in improvisational and compositional contemporary music (jazz), to create a multidimensional, multisensory art experience space, where the individual work can be experienced both independently and in close communication with a work from another artistic domain.
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  SCULPTING AIR IN THE SUB HABITAT (2023) author(s): Lotte Anker published in: Rhythmic Music Conservatory, Copenhagen
  Sculpting Air in The Sub Habitat (subtitle: Texture and Form in Composition for Larger Ensemble of Improvisers) is an exploration and unfolding of creative processes in composing for a larger ensemble (6+ musicians) of improvisers as well as the processes in the ensemble rehearsals and concerts. In Sculpting Air, I am both composer and performer. I work with an ensemble created for this project: Sub Habitat. Sub Habitat members are: Lotte Anker (DK), Mazen Kerbaj (GER/LBN), Katt Hernandez (S/USA), Nina de Heney (S), Sten Sandell (S), Andrea Neumann (GER), Burkhard Beins (GER) Sculpting Air grew out of a need to deepen, (re)examine and challenge my compositional practice (including aesthetic preferences and inclinations) within a larger ensemble of improvisers, and I went into the project looking for something: more or less vague, fragmented notions of particular sonic and textural qualities and structural concepts. Notions of a higher degree of connectedness between predetermined and undetermined elements in composition etc. The project is based on my own compositional work and 4 ensemble Sessions and Session concerts during 2020-22. It includes examples and reflections from these processes, and through them I try to articulate answers to the following research questions: Based on the concepts of texture, MODE and LIBRARY, how can I develop new compositional tools for a larger ensemble of improvisers in a music that reflects the sonic palette and expression of the individual musician, the expression and identity of the ensemble as an entity, and my artistic intention?  Including: How can these tools be deployed as sculpting materials in a large form piece, where the predetermined and indeterminate elements mutually reinforce each other and thus help to extend the musical space? How can I explore the sonic potential of the ensemble in dialogue with the musicians? How does the ensemble's overall expression inform my compositional work and vice versa? In score form, how can I develop a specific vocabulary, concepts and notational forms that clarify my artistic intention and convey the balance between the predetermined and indeterminate elements of the composition? 
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  Sonic Complexion (2022) author(s): Jacob Anderskov, Niclas Hundahl published in: Rhythmic Music Conservatory, Copenhagen
  The Sonic Complexion project has investigated from an artistic perspective the musical dimensions texture and ‘klang’ (harmony), with the aim of creating new music and new perspectives. The outcomes of the project are a number of new albums, methodologies and perspectives, coming from quite different starting point in terms of how to systematically-artistically investigate texture and harmony.
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  Rooms of Resonance, (2022) author(s): Lars Greve published in: Rhythmic Music Conservatory, Copenhagen
  This is the final exposition for Lars Greves artistic research project "Rooms of Resonance" (2019-21), undertaken at the Rhythmic Conservatory in Copenhagen. The project seeks to investigate the artistic potentials in Greves acoustic solo improvisations, the concert room's acoustics and selected objects, which are brought into vibration. Through experiments and procedural concerts, the research has hoisted artistic, technological and methodological experiences which will be unfolded in this exposition.
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  Multilayeredness in Solo Performance (2021) author(s): Søren Kjærgaard published in: Rhythmic Music Conservatory, Copenhagen
  This project investigates the multilayered potentials of solo performance with the intention of opening up the single player limitations often experienced during the creative process of play and practice. In performance contexts ranging from acoustic solo piano to a digital code-based video keyboard, concepts of multilayeredness are explored through compositional and improvisational strategies, that include instrument topography, extended piano techniques, audio-visual sampling and digital keyboard mapping. The purpose is also to create results that will contribute to how solo artists across formats can express themselves more dynamically and with greater flexibility in the interaction between their various materials and artistic ideas. A contribution also in terms of expanding methodological approaches to how solo performers and research practitioners can work iteratively and interactively in their reflective processes, inviting both a more verbalised and dialogic form, and to explore ways of documenting and communicating these processes in hybrids between text, sound and image.
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  Composition of graphic and sonic works through the improvisers' co-creation (2021) author(s): Laura Toxvaerd published in: Rhythmic Music Conservatory, Copenhagen
  Taking my compositions as a point of departure, the project investigates the improvisers’ co-creation in the compositional process. The composer (in this case, me) explores how improvisers’ ideas can be integrated into the development of the compositions, and explores what impact the integration has on the works of art. In the project, graphic scores are being designed, through the means of which I am seeking to bring forth new aesthetic forms of expressions. Along the way in this project, I have created new compositions that came to be drawn out as scores, which were continually adapted and re-arranged on the basis of the improvising musicians’ concert performances of the existing compositions. The working method could be characterized as an iterative artistic developmental process, which shuttled back and forth between my own compositional work, together with the design and elaboration of the graphic scores, and videotaped rehearsals and performances of my compositions with the collaborating musicians.
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