Background on Artistic Research Project
On Christmas day in 2009, my mother gifted me Nikolas Slonimsky’s ‘Thesaurus of Scales and Melodic Patterns’. I was 18 years old and I had no idea what it was. I only had read that Coltrane practiced from it day and night carrying it around with him everywhere he went. So that is exactly what I did. Several years later I moved with my wife from Australia to Denmark. I cut my whole life down to one thirty kilogram suitcase, and in there was the one-kilogram Slonimsky book.
The initial offset of this research project was the development and utilisation of my intervalic and tonal system, entitled Polymorphic Shapes and Spirallic Patterns (PSSP). It was inspired by Slonimsky’s work. For brevity's sake, the full outline of the system is attached in the appendix. In a concise manner, PSSP utilised cyclic intervalic sets which expanded and contracted at various rates upon each revolution of the cycle (expanding rates, contracting rates, constant rates etc). These sets developed pitch and harmonic material. My aim was to use this material as a fundamental for a hybrid of improvisation and composition, a place between open compositions and structured improvisations. It was partly informed by serialism and the non-conventional notation techniques associated with later Darmstadt. The prevalent thought was that the composition could become the improvisation and vice versa.
I constantly asked myself, “what is a composition?”, “where is the line between composition and improvisation?".
Considerations Regarding Artistic Research
This artistic research project undertook quite a transformation since its point of departure two years ago. Some projects never deviate from the path laid out before them, this was not the case with this research. Like the alchemist phrase solve et coagula, this project was broken down and rebuilt twice. Both transformations took on new working methods and new considerations. Adapting to new findings as a result of inquiry and investigation is a core essence of research. We need both air and water to survive. Too much water and you will drown, too much air and you will dry out. The art is in the tension, the balance of the two. The scientist who deals only with materialistic facts and reasons will still go home, leave their microscope behind and experience a metaphysical reality. There is an exploratory nature to research that is sometimes ignored, and it is much needed for it to come alive.
My background had dealt with the idiom of bebop/postbop, this idiom is often referred to as a language. Within this language, there are rules and devices for improvisation. As a saxophonist with a background in jazz improvisation, I was reminded of these devices and how this language could be utilised as a basis of a ‘game composition’ format (á la Cage). I turned my thoughts towards ideas like the Triadic Chromatic Approach by Geroge Garzone — a form of structured improvisation. I thought “on the continuum of improvisation to prepared composition how far along is the Triadic Chromatic Approach?”. In the past, I have worked with large ensembles often with musicians who range from improvisers (stemming from different backgrounds; jazz, classical, noise) and contemporary classical musicians who arrive at improvisation out of a different lineage and focus point.
The above describes a mixed bag of merging traditions that culminate within this artistic research project. Working within the blend of western classical, free jazz and new music that also sometimes borders on Scandinavian minimalist sound art. All the while exploring post-religious spirituality and utilising practical and abstract implementations of spiral formations in the compositional process.
A Spirituality of Spirals.
Spirituality. I cannot think of a word that to one is concrete and to another is highly abstract. For each person, this word conjures up countless associations; Philosophy? Way of life? Inspiration? Contemplation? Religion? Institution? Communication? Expression?
I chose the term ‘Spirituality of Spirals’ as my work is a proponent of the spiral as a form of spiritual expression — a symbol for eternal renewal. This thought is the red thread that runs throughout the creative output of this artistic research.
My music is infused with notions of mysticism and existentialism, circling a general theme of Post-Religious Spirituality. It is an extension of post-Christian thought, which I predominantly focus on as it is a cornerstone of Western culture. I am most acquainted with Christian thought having previously completed formal theological studies. Spirals and cycles have a profound effect on me. For me, they are intrinsically linked to the idea of spirit; being omnipresent and all-encompassing. Cosmic balance.
“The owl of Minerva spreads its wings only with the falling of dusk.”
- Hegel: Philosophy of Right
Contemplative reflection takes place after the day’s events, when all is said and done. It is in the still of the night when we begin to unpack truths. That is what the owl of Minvera represents. Hegel's particular point was that it is only after the fact that we come to understand development. We reflect the most in the still of the night. In a similar vein, I prescribe to this notion that describing one’s own context in the present time is an arduous task. Piecing a puzzle together from within gives little overview. History tends to crystalise an artist’s context, and history does not lend itself to a higher level of credibility either. Time creates distance, removing us from the emotive, leading us to forget the drama and recall only its effects.
I can, however, draw conclusions based upon my influences, artistic/philosophical movements that I am inspired by; culture, upbringing, traditions and so on. A reflective observation of context.
Three Projects
I perceive the three projects that serve as the basis for this research project as stemming from these schools/styles:
Murmuration: A large ambient-free jazz/ contemporary western classical ensemble, working with open scores and improvisation.
Renewal Manifestation: Contemporary western classical chamber ensemble informed in the Darmstadt tradition. Open scores, fixed scores with alternative notation. Sound design and manipulation in live performance.
Although Changed I Arise the Same: Scandinavian new music with open scores notation. Bordering on sound art. Mostly verbal and written directions.
