Research Appendices
(2016)
author(s): Tero Nauha
published in: Research Catalogue
Appendix for the doctoral research
SPATIAL RHYTHMS Scenographic movements in the intersection of the installation and performing arts.
(2015)
author(s): Elina Lifländer
published in: Research Catalogue
This artistic research started with the challenges of the contemporary scenography; How to react and participate in the fluctuating performances of today? The immaterial starting point has turned into a rhythmic spatiality, where the rhythm meets visual compositions, movements, sound and other intangible elements of the performative space. After joining to the TAhTO program, my study started to move even more towards interartistic aspects where the performing art meets installation art and the participatory performance meets music and sound art. Among the important aspects today, has proved to be the process of sharing and making the spatial experience and design process more comprehensive and visible through communicative practice.
Schizoproduction: Artistic Research and Performance in the Context of Immanent Capitalism
(2015)
author(s): Tero Nauha
published in: Research Catalogue
In the written part of my doctoral dissertation I am presenting the artistic works and set them in a larger context, which I have entitled immanent capitalism. This is an artistic research, where the art works, their processes or workshops produce knowledge, which will not be fully translatable to a written form. The artworks are performances, live-art projects and works on video. In the presentation of the context I am presenting the transformation that has taken place starting from the industrialism and modernism, and which have recently been incorporated with new forms of labour and economy.
What's in a name? - The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notation
(2015)
author(s): Suzanne Konings
published in: Research Catalogue
Sight singing is a part of almost every music theory curriculum in conservatoires. But one might ask oneself why lessons in sight singing are needed for students who can already read music notation? The answer usually is: to develop the aural imagination in relation to music notation. The way students have learned to read music notation in the first place did not develop this skill well enough then?
Experiences in teaching made me think that we need functional note names (unique sound names) to be able to aurally understand pitch in staff notation, and that the absolute note names (unique pitch names) may be an instrumentally useful, but less effective step ‘in between’ in the process of aural imagination. From existing literature and recorded tests with students performing special designed scores I hope to learn more about connecting the inner hearing world to music notation in the most effective way.
FolkImproV
(2015)
author(s): Andreas Aase
connected to: Norwegian University of Science and Technology
published in: Research Catalogue
Can pieces of dance tunes from Nordic folk music, organized according to principles from jazz, provide source material for building an improvisation language?
Scandinavian folk music traditionally used for dancing consists of melodies, organized in a limited amount of measures and sections (typically two or three eight-bar sections, played with repeats). The organizing principle in ensemble playing is for every musician to learn the melody first, and to let each following contribution be dictated by it. Variations in arrangements occur frequently in modern-day interplay, with harmony parts, chord changes, counter rhythms and dynamics meticulously employed in order to avoid monotony. But interpretation of the melody remains the main activity.
The ability for creativity on the spot is big among folk musicians, though it is seemingly framed by the strategies discussed above. I have yet to come across a methodical investigation of using material from traditional tunes as a musical vocabulary for improvisation. Consulting supervisors from the folk and jazz genres, I try to use source elements from the folk repertoire while employing organizing principles from jazz. As I present these ideas on several instruments, and over rhythmic foundations in a slightly modernized folk idiom, I'll try to encourage the use of these ideas in contexts not necessarily associated with traditional music. The project seeks to encourage participation, and may possibly work as tutorial material.
This exposition focuses on portions of a Pd.D.-level project I finished in 2009. The original three-year undertaking was supported by the Norwegian Artistic Research Programme, hosted by NTNU, and was supervised by John-Pål Inderberg and Geir Egil Larsen. The current version was supported by HiNT University College.