Dimitriou Chryssi. Under the spotlight of observation.
In this PhD research, Chrissy Dimitriou examines what happens when we observe a performance. Experimentation in quantum mechanics proved that observer and observed are linked into a quantum dependency, where the observer is visually perturbing, influencing, and defining the state of the observed system. Considering the etymology of the Greek passive verb προ-βάλλομαι, meaning ‘to be projected,’ one finds that it is a synthesis of the prefix προ- and the verb βάλλομαι, literally meaning to be hit, affected, attacked. Confirming the quantum mechanics observer’s paradox, this implies that being observed means receiving the observer’s energy.
The concept of theatre reveals this visual-observing dependency between performer and spectator. In his book The Greek Summer, Jacques Lacarrière noticed that the word theatre comes from the verb “theomai,” to see and to be seen, and that it’s no coincidence that ancient theater architecture resembles the image of an Eye. The spectator’s gaze can be considered to integrate a basic mechanism with which we are equipped to navigate in life, shape our understanding of the world in a meaningful way, exert the notion of identity. What happens when we observe or when we are observed, how the pure observation of a performing body may become self-reflection on a stranger’s art, and what lies behind our capacity to create icons out of images?
Mora Luis. Metal-jazz: The use of contemporary progressive rock/metal practices to expand the contemporary jazz soloing idiolect.
With the assimilation of pedal techniques developed by progressive metal drummers, this PhD research by Luis Mora aims to expand the expressive capabilities of drummers in the rhythmically complex context of contemporary jazz. To this end, the researcher works on three interacting fronts: the development of a new vocabulary for footwork in line with the jazz tradition; the incorporation of recent playing technique developments from progressive metal practice; and the expansion of the jazz drum kit with additional pedals.
Piovesan Luca. The co-composition pendulum: Reevaluating the composer-performer relationship.
The accordion is a relatively new instrument in contemporary music. Consequently, composers can rely on little literature to understand the mechanic and sonic possibilities of the accordion. Moreover, the existing repertoire for accordion is very small. Therefore, as the researcher has experienced, collaborations with composers are strongly characterized by a close relationship between composer and performer whereby the performer often takes an active role in the creation of musical material.
There are many misconceptions circulating about how musical works are composed. In the classical musical tradition, the final work is usually attached to the name of the composer but experience shows that it is usually the result of co-creation between the (intended) performer and the composer, especially in the primary phase where raw sonic material is developed that serves as a breeding ground for the rest of the creation process.
This PhD research by Luca Piovesan aims to pry open the proverbial cracks in general opinion by further obscuring the accordion’s operation from the composer, including through the use of an array of electronic sound shapers. With this personalized instrument, the researcher will set up new collaborations with composers and analyze the results of the co-creative processes with the theoretical tools of semiotic and historical analysis.
Pirro Piergiorgio. Spectral techniques in jazz performance.
Spectralism is an attitude toward musical composition that emerged in 1970s Europe, particularly through the work of a group of French composers such as Gérard Grisey and Tristan Murail. Spectral music shifts attention from discrete musical categories towards notions of process, continuity, and the exploration of perceptual and cultural thresholds.
The aim of this doctoral research is to study the application of spectral techniques and attitudes into the compositional and performance practice of jazz, from the perspective of a keyboard player in the contemporary world of digital music. Piergiorgio Pirro has a particular interest in developing new sounds and harmonies that go beyond the capabilities of the equal-tempered piano, while exploring the ways that the change towards a spectral attitude affects the jazz ensemble as a creative collective.
Tosidis Kostas. Bow techniques for guitar playing: Arrangements of contemporary works for cello, violin and viola played on the classical guitar.
This doctoral research by Kostas Tosidis explores the importance of the bow in the guitar playing. In complete interaction with the repertoire of instruments such as the cello, violin and viola, it attempts to define techniques that until now have not been employed or extensively analyzed, with the central aim of optimizing the guitar playing. Much of the research focuses on documenting all these techniques and their application to modern guitar playing in a method that will include text and visual examples.
Reworking scores originally composed for these orchestral instruments poses a challenge for any guitar arrangement, especially when trying to find technical solutions for the use of the bow. One of the works that Tosidis arranges is the cello solo piece Sacher Variations by Witold Lutosławski (1975). Apart from the difficulties in the arrangement as far as the technical difficulties are concerned, there are also important problems relating to microtones and irregular intervals. The guitar’s repertoire is limited compared to that of other string instruments, and as a result, few prominent composers compose for the guitar. This research will not only expand the guitar repertoire with new compositions, but also test the technical possibilities of the instrument, including through commissioned works by composers such as Atanas Ourkouzounov, Marios Joannou Elias, Feliu Gassul, Marko Dottlinger, Giorgos Nousis, and Giannis Papakrassas.
Van Bergen Peter. Improvisation, interactivity and instability: Artistic transformations.
Unlike non-idiomatic improvisation with human improvisers, it is more difficult to create intense and surprising music when interacting with a computer. Also, the concept of improvisation as a musical dialogue is difficult for a computer to recognize. In this doctoral research, Peter van Bergen aims to translate his aesthetic views on musical improvisation and composition, as well as his musical experiences in interacting with human improvisers, into an environment where human musical improvisers and artificial improvisers (hard- & software personalities, computers) work together.
To this end, software for interactive and autonomous improvisation will be developed, in collaboration with programmer Johan van Kreij. These software tools can help to investigate the “true, unstable nature” of improvisation and composition and make it audible and visible in a practical context. The research should lead to new compositional improvisational work, unpredictable improvisations with their own aesthetic signature, a new personal instrumental and improvisational technique and syntax, texts describing artistic research, and theory on improvisation in relation to composition, computers, interactivity and instability.
Wessel Tomma. Instrument portrait: The recorder.
In this PhD research, Tomma Wessel focuses on the performance techniques and different types of the extended instrument family of the recorder. The acoustic properties, their repercussions on sound production and new sound possibilities are the focus. The processing of the results leads to a clear conceptual framework. Extensive sound and video examples serve to illustrate the in-depth research. The result will be a website accessible to composers and players.
Collective Creation
The research group Collective Creation explores and questions the contemporary functioning of creative roles inherited from the Western classical music tradition. Our activities develop along two tracks.
The first track consists of case studies of recent works. In these studies we investigate the relationship between composer, score, and performer in actual musical practice. We compare this practical reality to notions of authorship that might be present in the discursive context surrounding the work.
The second track is geared towards setting up collaborative creative structures that aim to move and potentially blur the lines between traditional roles like composer, performer, and audience. In so doing, we wish to examine the power structure these roles imply, and their effect on musical production.