Watch the sound – listen to the gesture

Kerstin Frödin

This artistic PhD project is based on the author’s practice as a recorder player and chamber musician in contemporary Western art music. Through an initial study of the embodied and tacit knowledge of chamber musicians and how it is articulated through gestural interaction during performance, the perspective of the thesis widens to explore how such qualities can be used as a creative resource in interdisciplinary collaboration. At its core, the PhD work has explored long-term collaborative processes in projects where a series of chamber music works have been brought to a staged context, but always keeping the qualities of chamber music at its centre. The research questions that emerge from these conceptual and artistic aims are: – How can I understand and transfer the communicative and embodied qualities inherent in chamber music playing to staged interdisciplinary contexts? – How can the concept of the gestural-sonic object, and the multimodal understanding of human perception which it implies, constitute both an analytical tool and a source for artistic experimentation? – How can musical interpretation be applied in the creation of staged interdisciplinary performances? The method and design of the project builds on collaborations with artists from the fields of composition, choreography, dance, theatre and visual arts. In the projects, the participating artists have aimed to explore and develop collaborative methods and staged formats where the artforms at the same time have been considered as autonomous and as part of a compound whole. The results of the artistic work are published online in the Research Catalogue. The project findings suggest that interdisciplinary approaches, such as experimental music theatre, composed theatre and choreomusical practices, may enable the liberation from traditional roles, hierarchies and predetermined formats and can lead to what can be described as a radical interpretation of the original score. Through a study of musical gesture – building on a theoretical framework grounded in embodied cognition and phenomenology – the thesis presents examples, both artistic and theoretical, of processes through which boundaries between artistic disciplines have been consciously blurred, thereby providing novel creative opportunities for the classical music performer.

Fragmente²

Dancer and choreographer Åsa Unander-Scharin's and my joint work on the recorder solo Fragmente by Japanese avant-garde composer Makoto Shinohara, has resulted in no less than three separate duo works. The latest, Fragmente², which is the focus of this exposition, is a choreomusical work created with the aim of exploring methods for composing and performing a work in which music and dance act on equal terms.

This page takes you to our co-written exposition Fragmente² published in the online journal RUUKKU, issue 21, with the theme Performing Artistic Research in Music – Performing Music in Artistic Research.

To enter the exposition, click on this link.

Figure 1 Kerstin Frödin and Åsa Unander-Scharin during the video recording of Fragmente² at Färgfabriken's art exibition space in Stockholm. Photo: Patrik Eriksson

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