Marking the passage of time in space
(2017)
author(s): Lucila Nalvarte Maddox
published in: Research Catalogue
This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.
V. Bach - Sheets and tablatures
(2017)
author(s): Andreas Aase
connected to: Norwegian Artistic Research Programme
published in: Research Catalogue
The recording "V. (Bach)" (Øra Fonogram, 2016) is the artistic outcome of my research project "Transcribing Johann Sebastian Bach's Lute Music For Guitar Bouzouki" (2015)[1]. I've slowly arrived at a personal way of playing this material, simplified to fit my small, four-course guitar, and I've tried to maintain a Nordic folk music approach throughout. Some music written for other instruments has been added as well. Consequently, the results deviate quite a bit from the direction of the process documented earlier, and things have kept changing even after the recording, which took place in August of 2016.
These sheets and tablatures correspond as closely as possible to the music on the record, which is accessible through the most common streaming and download services. The conventional sheet music attempts to show what my arrangements actually sound like, irrespective of instrument, but with significant visual simplifications that belie polyphonic richness; this particularly concerns the duration of bass notes, and individual voice-leading within the music. The ear will hopefully compensate for this when the music is sounded. The tablatures, on the other hand, start from my default tuning (bottom to top F - C - G - D), occasionally using a capo to alter the keys, which adhere to Bach's original ones (I use the capo to maintain access to open strings, an important feature in traditional fiddle music). If you play an instrument within the CBOM (Cittern-Bouzouki-Mandolin) family of plucked folk instruments, the tablatures can work with the fingerings represented here in whichever key you find suitable, or maybe you even have access to the tunings listed here on a different part of your instrument than I do - if, say, you play a five-course instrument.The important thing is to work in an essentially fifths-based tuning.
Some of the movement titles are Norwegian-language approximations that are commonly in use among musicians in my part of the world.
- - -
Arranged and performed by Andreas Aase
Produced by Jo Ranheim and Andreas Aase
Mastered by Karl Klaseie
All work conducted at Øra Studio, Trondheim
Supported by Nord Universitet, Levanger, Norway
[1] https://www.researchcatalogue.net/profile/show-exposition?exposition=85891
In Between
(2016)
author(s): Priska Falin
connected to: Aalto University
published in: Research Catalogue
The goal of this artistic exploration was not to find the one ‘true’ identity but to understand and cope with the transformation between different roles that challenge the perception of oneself. Who / what exists in between the roles?
Instead of focusing on human subjects, I have used a city as an example for the exploration. The city of Rovaniemi works as the basis of the exploration where different ‘roles’ can be understood. In order to understand the identities of the city, I first mapped the different roles with informal questionnaires and focused on places that were left in between.
The exploration aims to understand what emerges through a compilation of views that focus on something ‘in between’. The aim was to collect video clips that show the gaps and the places in between the well-known and recognizable locations. The interest of this exploration was to understand what can be revealed through focusing on the unnoticed or disregarded.
Hans Schleif - Stations of the Biography of an Architecture Historian in German National Socialism – Addenda and Register
(2016)
author(s): Julian Klein
published in: Research Catalogue
Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are over¬shadowed by his career in the SS. He was director of the Excavation Department of the »Ahnen¬erbe« (ancestral herit¬age) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Af¬fairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the Jäger- und Rüstungsstab task force he became. In this role, Schleif was responsi¬ble above all for moving key arms production facilities underground, where fighter planes and the »reprisal weapons« V1 and V2 were built – hence for the largely subterranean concentra¬tion and slave labour camps of the Sonderstab Kammler. His grandson, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif’s biography.
This are the addenda and the register of the publication in the yearbook of the German Archaeological Institute, No. 131, 2016.
Artistic Research Does Not Exist … And How She Managed Not to Be Afraid
(2016)
author(s): Julian Klein
published in: Research Catalogue
“Fine, then,” fluted Fay, “sing me the reasons why you don’t exist, and I will whisper to you why you don’t have to be afraid – as long as you accompany me on the guitar.” – “But I can’t play the guitar!” –
“If you don’t exist,” continued Fay, “then you can also play the guitar, because you actually do exist, otherwise you wouldn’t be afraid of not existing, and from one such a false premise follows the entire universe.”
And so she played and played, sang her favorite fears and listened to Fay's eleven chords of consolation.
Practical Solfège and Music Theory in Violin Education
(2016)
author(s): Eszter Viczian
published in: Research Catalogue
Nowadays, violin students in conservatoires often learn solfège and music theory by singing and using the piano. For some instruments it is difficult to apply the acquired knowledge because it needs to be ‘translated’ into a different context. The main goal of this study is to get more information of working with an approach where violin playing is integrated into the teaching of solfège and music theory.
At the beginning of the research a literature study was done to consider music learning theories and to analyse violin methods. Then an action research was conducted to take into account the ways in which solfège and music theory can be taught in a group violin lesson context. The lessons took place in the Young Talent Department at the Royal Conservatoire in The Hague among 7- to 17-year-old students. The action research consisted of three cycles.
The findings are that students in general had no difficulty with playing by ear and singing with relative sol-fa names. Results from the analysis of the transposition, note naming and writing exercises indicated that students’ knowledge of absolute pitch letter names and the tone- semitone relationships between neighbouring notes were not at the same level. During the evaluation process of students’ answers to these exercises, some violin and theory teachers presumed that the difficulties could emerge partly from the fact that in most violin schools the first note reading exercises are not in C major but in G, D or A major. Hence students easily get confused when they become familiar with some augmented notes (e. g. f sharp, c sharp, g sharp) before they learn how to play and read their natural versions.
My conclusions are that playing by ear and singing with relative sol-fa names can be good basis for teaching the connection between sound and notation. When introducing absolute pitch names it is advisable that violin and solfège teachers compose the content of the lessons together. Transposition exercises from the very early stages using just two-note melodies give good opportunities for applying knowledge into violin playing. For illustrating the tone- semitone relations between the notes Lego models can be used. Singing with ABC or sol-fa names while playing and subsequently notating these transposed notes gives a multimodal experience for students.