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Stipendiater

Institutt for musikk og dans har fem stipendiater, en universitetsstipendiat (Julia K. Leikvoll for perioden 2012-2016) og fire på Stipendprogrammet for kunstnerisk utviklingsarbeid.

Stipendiatene ved Institutt for musikk og dans har følgende prosjektområder:

Per Zanussi: "Komposisjon for improvisatører" (2012-2016)

Prosjektet med arbeidstittelen "Komposisjon for improvisatører" er et treårig kunstnerisk utviklingsarbeid i samarbeid med IMD og Stipendprogrammet for kunstnerisk utviklingsarbeid.

Utgangspunktet for prosjektet er et ønske om kunstnerisk fordypning i måter å organisere musikk med stor grad av improvisasjon.

Gjennom praktisk arbeid med improvisasjon og komposisjon, med inspirasjon fra bl. a asiatisk tradisjonell musikk og diverse former for moderne vestlig komposisjon, søker prosjektet å komme fram til nye innfallsvinkler til og perspektiver på organisering av improvisasjon.

 

Julia K. Leikvoll:  "Unge pianoelevers notelesing" (2012-2016)

Prosjektet har som mål å sammenlikne noteopplæringsmetoder i nybegynnerundervisning på kulturskolen med leseopplæringsmetodene brukt i grunnskolen i lys av effektivitet og forståelse. De aller fleste barna kan lære å lese flytende, mens notelesing blir ofte mye mer problematisk for mange kulturskoleelever. Kan en av grunnene være store forskjeller i tilnærmingsmåten til opplæringen? Hypotesen som skal verifiseres ble formulert på følgende måte: metodikk for lese- og skriveopplæring tilpasset (i form av blant annet å legge vekt på musikalsk forståelse) og brukt for noteopplæring på nybegynnernivå kan gi signifikant økning i ferdighetsnivå (notelesing). I den eksperimentelle delen av prosjektet vil en gruppe pianoelever bli undervist ved hjelp av en nyutviklet metodikk basert på en leseopplæringsmetodikk brukt i grunnskolen og tilpasset pianoundervisning på nybegynnernivå i en periode på 30 uker.

Prosessen med å tilegne seg notekunnskap vil bli fulgt ved hjelp av samtaler, notelesingstester og registrering av øyebevegelser hos 8-åringer som spiller prima vista. Aktivitetene brukt av lærerne på spilletimene samt elevens arbeidsinnsats hjemme vil også bli tatt med i betraktning. Resultatene vil bli sammenliknet med en kontrollgruppe som får undervisning ved hjelp av tradisjonelle opplæringsmetoder. Kvantitativ forskningsmetode vil bli brukt for å se etter korrelasjoner mellom ulike elementer i undervisningsopplegget, forståelse av et notebilde og ferdigheter knyttet til prima vista spill.

 

Friederike Wildschütz: “The Voice of the Piano” (2014-2017)

Performing early 20th century Lieder with Arnold Schönberg’s «Das Buch der hängenden Gärten» as central work

 

In my project, I want to explore the pianist’s role in Arnold Schönberg’s “Das Buch der hängenden Gärten” (The Book of the Hanging Gardens), Op. 15 in context of other German Lieder from the early 20th century.

In three concerts, I oppose this work with other Lieder by Arnold Schönberg, other Lieder with texts by Stefan George, and Lieder by other composers from the same time. Setting the work in different contexts and focusing on different aspects, I expect to get a better understanding of this repertoire and develop possible strategies for practicing and performing it as a pianist.

Interpreting and communicating the union of words and music in Lieder is one of the most important aspects of a Lied pianist’s work. Through in-depth analysis of the poetry and the music, together with artistic experimentation on the piano, I hope to enhance my ability to communicate this repertoire to an audience. In addition, I want to contribute to new insights on the work’s performance tradition by studying recordings and written sources.

Though the idea of expressing poetry in the accompaniment of Lieder is not new, research and performances concentrate mainly on Lieder from the 19th century, especially those by Schubert, Schumann, Brahms and Wolf. Tremendous developments in the composition of Lieder in the early 20th century make this period especially interesting. Due to new compositional techniques and aesthetics, interpretation models for earlier Lieder might no longer be sufficient.

Schönberg’s Opus 15 was selected for this project as it is the most important song cycle of the time. I hope to contribute to both giving other performers new insights and making this repertoire better known to a larger audience.

 

Kristian Thunestvedt Evjen: “Modernism in Norwegian”  Interpretation of Finn Mortensen’s piano music in an international perspective (2015-2018)

The Norwegian composer Finn Mortensen (1922-1983) was one of the leading figures in the Norwegian music life during the decades following the Second World War. Both as a composer, as professor of composition and as a leader of Ny Musikk and the Norwegian Society of Composers, he was particularly influential in introducing the internationally leading contemporary music to Norway. This lead to himself and some others turning away from the nationalistic tendencies that had predominately influenced Norwegian composers in the past, and instead they turned their focus towards the most modern musical styles and techniques at the time. As a result, many contemporary and later performers and critics have regarded his music as purely theoretical constructions, overlooking the expressive and aesthetic possibilities this music contains.

In this project, I intend to study and perform the piano works of Finn Mortensen together with the music that inspired him and influenced the direction his compositional processes took. This way, I hope to be able to draw parallels to Mortensen’s music, and explore how these influence the interpretations.

In such a project, there are central aspects that can only be touched upon from a performing point of view, testing and reflecting at the instrument will therefore be a large parts of the work. This project will also require a deep study of not only the music I will perform, but also the performance traditions and the aesthetic and philosophical ideas behind the music. I will therefore study numerous written sources as well as recordings that could influence how we view and perform Mortensen’s music.

It is my goal that this project will lead to a deeper understanding of the music and the musical context of composition, and in that way find a plausible foundation on which to base performances of Mortensen’s music. This, I hope, will help us overcome a pure constructivist view of his music, and lead to more interest in the expressive and aesthetic possibilities. I also hope that, for the first time, making a recording of his complete piano works available, I will make his music better known, and thus contribute to a new evaluation of his music, and challenge and nuance the view of one of Norway’s leading composers.

 

Johan Erik Jutterstrøm: Chorephonics (2015-2018)

In search of a new silence, I’m attempting to abandon the instrument. Instead I use the sound of moving, dancing bodies as music material. I believe that what the acoustic sounds of dance have to offer music is a more equal dialogue between the movements and the sounds, putting them in a closer relationship to human cognition and understanding. That the performance of music can be regarded as a choreographic practice is no longer a radical thought in western music, if it ever were. Guided by the artistic practices this has also become topical in the academic institutions for the arts.

Could using the sound of dance as music material be a substantial addition to the field of music and possibly change how music notation can be approached? Could it even change the actual music structure, beyond the point of how it’s communicated in notation; could the time or time measuring mechanisms of music change? Could it change the way we think of spatiality in music? The premises for an appliance of the acoustic sounds of dancing bodies in the field of music is not necessarily only of theoretical or speculative value. In my research I intend to approach these topics from within an artistic practice.