Music & Practice: Volume 10, 2023
by Erlend Hovland | Read Full Text
by Anders Førisdal & Christina Sofie Kobb | Read Full Text
Emeritus Professor, University of Leeds, and Guest Professor Universität für Musik und darstellende Kunst, Wien | Read Full Text
Head of undergraduate programmes, The Royal Academy of Music, London. | Read Full Text
Professor of Artistic Research in Music Performance, Sibelius Academy, Uniarts Helsinki. | Read Full Text
Emeritus Professor of Music at King’s College London. | Read Full Text
Independent violinist and artistic researcher. | Read Full Text
Associate professor, harpsichord (1995-2023) at the Grieg Academy, University of Bergen. | Read Full Text
Senior researcher of the ORCiM research group, coordinator of the doctoral programme for artists at the Orpheus Institute in Ghent and the Royal Conservatoire in the Hague. | Read Full Text
Exploring artistic practices
by Barbara Lüneburg | Read Full Text
In this article, I write about knowledge production in artistic research and the opportunities and challenges the discipline offers, interweaving theoretical considerations with examples from practice. I consider what constitutes artistic research and how it differs from other academic disciplines or the process of art making itself. I am interested in the conditions necessary for the production of knowledge in artistic research and how, on the one hand, a multi-layered interpretation is fostered on research results expressed through art and artistic practice, but on the other hand, research results can also become ambiguous, making them vulnerable or sometimes questionable from the perspective of traditional academiaor even within the discipline.
Exploring Musical Togetherness –an embodied approach to relational interpretation in Maurizio Pisati’s Sette Duo
by Jessica Kaiser | Read Full Text
This article presents artistic research that explores the complex interpersonal dynamics in duo performance by adopting an embodied and enactive framework. The aim is an enhanced understanding of musical togetherness. In understanding duo performance as enactment of (musical) relationship, a consideration of the bodily dimension of musical interplay is essential. Experimental duo encounters with unfamiliar partners were centred around the Sette Duo for guitar and seven different instruments by Maurizio Pisati. In these case studies, artistic and interpersonal experiments were conducted that led to considerable changes in perception of intersubjective musical phenomena and informed the development of a relational interpretation.
by Inja Stanović and Jeroen Billiet | Read Full Text
This article presents one of the experimental case studies conducted during Inja Stanovic’s four-year research project (Re)constructing Early Recordings: A Guide for Historically-Informed Performance. In this project, various acoustic recordings were recreated in order to understand some of the musical, technical and historical contexts associated with early sound recordings. One of the case-studies was created with Jeroen Billiet, focusing on making the acoustic ten-inch disc for horn and piano. Through our observations about mechanical recording process, we hope to offer insights into romantic playing practices and historical recording techniques. We also supply digital transfers of our recordings of music for piano and horn.
by Mikael Bäckman | Read Full Text
In my ongoing PhD project, I examine how to transform a performers voice through a process of transcription and imitation. I aim to immerse myself in the tradition, or practice, of country harmonica playing by imitating the iconic Charlie McCoy. In the traditions of both country music and the blues, it is commonplace to learn the language of a musical style by transcription. In this article I present a way of finding a personal voice as a harmonica player based on transcription of recordings.
Artistic research as a challenge to the humanities. A meditation on the ruins of binary oppositional thinking.
by Erlend Hovland | Read Full Text
Artistic research is not only a challenge to but also for the humanities, and a challenge it must meet. The alternative is intolerable. By using the ‘method’ of meditation, the author of the article seeks to distance himself from entering the conceptual maze and the binary oppositional thinking that have hitherto characterized the debate on (or against) artistic research. The article discusses three cases that illustrate the infructuous use of binary oppositional thinking, beginning with the so-called ‘War on Early Music’. Then follows a discussion of the ‘old’ PhD programme at IRCAM, Paris, and a short discussion on Agamben’s critique of ‘conceptual art’.
The conclusion is that we need to develop our ability to comprehend art as activity, i.e., seeing art as constituted by acts through and in practice. The change from facts to acts as the molecular entity in research can provide a common theoretical and methodical ground for both academic research, artistic practices and artistic research.
Dr. Anders Førisdal, Norwegian Academy of Music, Oslo
Dr. Christina Kobb, Norwegian Academy of Music, Oslo
Dr. Erlend Hovland, Norwegian Academy of Music, Oslo