How to blur the boundaries between contemporary Western art music and artistic pop music by the co-creation of intriguing interdisciplinary artistic work?
How to blur the boundaries between contemporary Western art music and artistic pop music by the co-creation of intriguing interdisciplinary artistic work? Initially the intention of this project was to fulfil the shortage in the repertoire for cello and live electronics, which represent a highly physical and sensual entity as well as an intellectual experience. However, the artistic research is better of when it is embedded in an interdisciplinary context. Therefore, co-creation will be a key process in the creation of artistic work. This research also questions aspects like spatialisation, virtual reality, visual content in live performance, live electronics and recording techniques. The outcomes of this artistic research project will be audio-visual performances, artistic artefacts (artwork, music film, installations) and a dissertation.
Research on nineteenth-century performance practice has become increasingly popular in recent years, and yet many areas in this field have remained unexplored. One such area is cello performance practice in late-nineteenth-century France, and this work will aim at shedding some light on it by placing the spotlight on one of the most prominent cellists of the period–Jules Delsart (1844-1900). Delsart was not only a central figure in the Parisian musical scene at the time, but also an influential teacher at the Conservatoire de Paris. Like many of his contemporaries, he published some music of his own, as well as a large number of arrangements for popular tunes, and these can provide invaluable information on his performance practice. Through an examination of his oeuvre, Delsart's performance style will be outlined thoroughly, and will eventually be used to facilitate a historically informed performance of music by his contemporaries.
Informed Phrasing will suggest a new way to incorporate analytical findings into musical performance. Focusing on phrasing, as one of the most important aspects of musical performance, the research will explore the influence of both the Schenkerian method of music analysis and the Temporal Gestalt Theory on the human perception of the phrase and subsequently, on the performance of the phrase. The general adjustment of musical performance according to a Schenkerian view on a piece of music has been discussed already by Heinrich Schenker himself, and later on by his successors. Nonetheless, the possibility and benefits of integrating the Temporal Gestalt Perception in this 'Schenkerian informed practice', so to say, is almost entirely unexplored. For that intent, my research will include side by side, the theoretical approach and the practical experience.
The Analytical-Reconstructive Process of the Reduced Orchestral Works in France from the Post-Lully Generation (1687-1744)
This research project is mainly focused on how to reconstruct the middle parts (videlicet haute-contres, tailles and quintes) from French orchestral pieces, which survived only in their reduced forms (featuring primarely dessus and continuo), according to historical examples. By analyzing orchestral excerpts which were edited or copied in both forms, a five voice reconstruction of these diminished works will be produced. Furthermore, there shall be an accompanying report on how those parts were added in the common practice at the time and its relation with current instrumentation (since the aforementioned instruments are not redily available today). In order to fully realize this, it is important to examine these filledout works in a 21st century performance setting. The period to be explored is the one after J.B. Lully’s death until the death of A. Campra, emcompassing the so-called post Lully generation, specifically from 1687 untill 1744.