Your search for keyword 'performance practice' returned 10 results in 'Projects'.
An artistic research on the implementation of the free-bass system on accordion within jazz (-related) music
The list of accordionists working within of close related to the field of jazz music and improvisation isn’t long. Also, the development of the instrument and repertoire is still in progress and have had an impressive spurt in the last 70 years, although the research literature is limited and related to jazz even absent. The lack of using the highly developed free-bass system within jazz music, and seeing the harmonic and melodic potential of this invention, became my motivation for this research.
Michele Del Prete
My research focusses on site-specific compositional and performance practices of music for organ and electronics and their musical-spatial values. I will compose and perform as electronic performer music for organs and electronics particularly focusing on instruments of the Renaissance-Baroque Dutch and North German/Hanseatic School. The compositional output will consist of tape music based on recorded organ sounds, works for organ and live electronics and works for sound environments of multiple organs and electronics. On the occasion of this research I will investigate the relation between organ and electroacoustic music clarifying which are the explicit and implicit references of electroacoustic practices to much older models, outlining an understanding of electronics as contingent, essentially non-reproducible post-digital practice.
The research is focused on the development of the interaction between a live coder and an acoustic musician with focus on the pianist in particular.
Though they are generally regarded as invaluable traces of late-Romantic style, early twentieth-century recordings make for uncomfortable bedfellows with modern norms for the performance of certain nineteenth-century repertoires and the canonic identities protected by those norms. Nowhere is this truer than in Brahmsian spheres, where the version of Johannes Brahms communicated by the recordings of the Schumann-Brahms circle of pianists stands in stark contrast to constructions of his 'Classical' identity and its underlying aesthetic ideology of control.