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Research
1. Introduction
1.1 Background
1.2 Artistic project and focus
1.3 Methods and theories
1.3.1 Artistic research and the practice
1.3.2 Language as a processual tool
1.3.3 Theory in artistic research
1.3.4 Intertwined theories, practical work, and the outline of my critical reflection
1.3.5 Transparency, language and form of the critical reflection
1.4 Research goals – what is “new”?
1.5 Background and context
1.5.1 Musical background
1.5.2 Contextualising in a practical field
1.5.3 The field of modern jazz
1.5.4 The vocal performance art scene
1.5.5 Other influences
1.5.6 Other artists – and me
1.6 Closing comments
2. Instruments, techniques and choices
2.1 Technical setup
2.2 The electronic devices and their functions as instruments
2.2. 1 Mixer, Mackie Onyx 1220
2.2.2 Lexicon MX 400 Dual stereo/Surround Reverb Effects Processor
2.2.3 Electrix Repeater Loop Based Recorder
2.2.4 Roland SP 555 Creative sample workstation
2.2.5 The SSL Compressor Clone
2.2.6 Computer, Ableton Live and MIDI-controllers
2.3 Choice of instruments
2.3.1 The role of music technology in music/the role of music in music technology
2.3.2 The electronic instrument as a contributor to new music
2.3.3 Development and use of instruments within genres
2.3.4 Premises for the use of technology in music
2.4 Closing comments
3. Voice and live electronics; new musical parameters
3.1 The voice as an instrument
3.1.1 Electronics and freedom with distance
3.1.2 Bergsland’s maximum – minimum model
3.2 The voice as a communicator of meaning and emotion
3.2.1 Challenges
3.2.2 Possibilities
3.2.3 Playing with zones
3.3 Words as meaning and words as sound
3.4 Sound quality as a musical parameter
3.4.1 Experiential categories of processed voice sound
3.5 Sampled sound/sampling as a musical parameter
3.6 Concluding comments
3.7 What does “new musical parameters” mean?
4. New roles for the electronic vocalist
4.1 The singer’s traditional role
4.2 Musical roles – a simple categorising model
4.3 Experiencing and observing roles in various settings and music
4.3.1: BOL
4.3.2. BOL + Hans Magnus “Snah” Ryan and Stian Westerhus
4.3.3 Åse /Strønen Duo
4.3.4 Åse /Duch Duo:
4.4 Conclusions
5. Electronics in a vocal interplay, a project report:
5.1 Trondheim Voices and Stagetracker FX
5.2 The working process:
5.3 Concert/presentation
5.3.1 Final setup
5.3.2 Experiences and observations, second session
5.4.Closing remarks and outlook
6. Combined aesthetics: challenges in modern and genre-crossing improvisation
7. Voice Meetings: short story of sound
7.1 Background, motivation, research question and artistic idea
7.2 Research collaboration and methods
7.2 .1 Working methods
7.2.2 Researching a performance – some challenges
7.3.1 First session – findings and artistic developments
7.3.2 Second session – findings and artistic developments
7.3 Findings and observations
7.4 The visual expression
7.5 Integrity and audience research in an artistic process
7.6 Further development
7.6.1 Other stories and audiences
7.6.2 Nature is not Beautiful
7.7 What new and useful knowledge has come out “Voice Meetings”?
8. Summary and outlook
8.1 Research model and summary
8.2 Relevance
8.3 Outlook: Major artistic achievements and ideas for further artistic development
8.3.1 Major achievements:
8.3.2 Did I reach my goals?
8.3.3 Open questions and ideas for further artistic development:
References
Appendix
1. List of activities
2. Voice Meeting: Narrative, Norwegian and English version
3. Voice Meeting: Questionnaires
4. Voice Meeting: Article for NIME 2012
5 Technical setup
Download full research text
11/01/2017
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Bol&Snah video: Briefing by Andrea Hovik Haugerud
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