(Un-) settling Sites and Styles

Einar Røttingen

(Un-)settling sites and styles: In search of new expressive means. Eight performers (voice, piano, violin, cello), one musicologist and one composer aspired to unsettle their habitual ways of working with musical interpretation of 20th century and contemporary Norwegian composers. By collaborating to develop new perspectives and methods, they investigated questions of style and how different sites influenced their rehearsals and performances. How do performers find new expressive means? How can intersubjective exchange within a research group contribute to articulating tacit knowledge? How can mutual unsettling approaches influence conventional or subjective attitudes of fidelity to a score or a performance tradition? How can novel sounds, musical material and musical meaning emerge beyond prejudiced conceptions or through improvisation? The three-year project was facilitated by the Norwegian Artistic Research Programme and the Faculty of Fine Art, Music and Design (Grieg Academy), University of Bergen, and resulted in texts, sound recordings, videos, and new commented score editions.

(Un-)settling sites and styles

- in Search of New Expressive Means

Introduction

Acknowledgements

Expressive means

Unsettling and unlearning

Unsettling sites and styles

Methological approaches

The individual projects

Results and documentation

References

SITE MAP

COMPOSER-PERFORMER COLLABORATIONS

Summary: A research project by Knut Vaage and John Ehde

The aim of this project was to develop new scores and expressions through dialogue between performer and composer. Instrumental means were investigated by mixing composition and improvisation with hybrid acoustic/electronic sounds.

Experiments with extended instrumental playing techniques led to a set of “etudes of improvisation”. They imposed a methodological restriction improvising strictly around one element at a time. This led to the development of a set of expressive sounds and compound sound patterns. These improvisational etudes gradually became a common language, allowing the musicians to make synchronized choices and spontaneous compositions whilst performing. The most interesting and useful expressions were recorded and added to a data base of hybrid sounds containing a wide spectrum of sound material. The aim was to reach a new level of expressivity.

With the resultant material, they developed new scores and expressions on a step-by-step basis through a close dialogue. Video recordings of improvised sessions were made and analysed; the best material was preserved and moved to the next level of expression. From solo cello etudes and pieces, different formats were added, such as duo, trio, and ensemble. Their process was opened up to include intersubjective exchanges with sound artists and other musicians, from both outside and inside the research group. The same method was applied in these exchanges.

By adding the use of hybrid acoustic/electronic sounds, improvisation, and visual media, they assembled a broad collection of playing techniques suitable for their needs. This material was systematically developed into different formats. In the end they invited the BIT20 Ensemble to make a multi-media concert with sound and video artists for sinfonietta and solo cello. There was blend of acoustic sounds, electronics, lighting, laser and video, creating a “Hybrid Spectacle”.

S C R O L L D O W N

composer-performer collaborations

further reading about the project

some thoughts on improvisation as method

a "comprovisational" conversation: an imaginary meeting

catalogue of cello sounds/new expressive means

biographical notes about John Ehde

biographical notes about Knut Vaage