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W e s ha l l no t c e a s e f r o m e x p l o r a t i o n
A nd t he e nd o f a l l o u r e x p l o r i ng
W i l l b e t o a r r i v e w he r e w e s t a r t e d
A nd k no w t he p l a c e f o r t he f i r s t t i m e

T.S. Elliot
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 M a y I i nt r o d u c e y o u t o o u r t i m e s .
W e a r e o n t he v e r g e o f a n e r a i n w hi c h
c r e a t i v i t y a nd i nno v a t i o n p l a y a u ni q u e a nd s u p r e m e r o l e .

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 IDEA
WHO? Ca l ling
WHAT IF? Res earch Question
TO WHAT END? Goa l s etting
Fi rs t s emester: course i n
Arti s tic Research design.
RESOURCES Ends with AR|1 exam:
the presentation of your
WITH WHAT? Medi a AR Propos al
WITH WHOM? Network

RECORD YOUR WORK

At l east one cycl e per

APPLY TO
INTERVENTION ORGANIZE FEEDBACK s emester.
YOUR PRAXIS INTERVENTION Feedback moments at
CYCLE nd
CYCLE end of 2 (AR|2) a nd
rd
3 s emester (AR|3).

DO RESEARCH

TO WHAT END? PERFORM Performa nce of artistic product

Fi nal exam AR|4. In
& fi rs t half of April
REPORT Expl a nation of research process 2015

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 IDEA
Remembering your dream, WHO you are : Moti va tion
Defi nes WHAT you a re going to research: Res earch Question
TO WHAT END you wa nt to a ccomplish this: Goa l s etting

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I am my biography

After performances and during interviews, tap dancer Marije Nie is often asked: ‘Do
you see yourself as a dancer or a musician?’ She had never thought about this
herself, but obviously people would like to have clarity about her role. Even after a
long period of thought she still cannot answer the question of ‘who she is’: “If you
want to know who I am, you will have to read my biography.”

Marije Nie (www.marijenie.com)

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Ar t ist ic vision

As a human being and a musician I have the great advantage of living in the world of
today. Above all, never before has a greater diversity of music been audible globally.
One grows up in a society where he or she is constantly and involuntarily – not in the
least sense because of all the media – brought into contact with many musical forms
and styles. Not only Western classical music, but also jazz, pop and non -Western art
such as Indian music are heard. Right because of this constant contact, I have
frequently wondered how it is possible for people to limit their musical language and
personality to just one sole type or style of music. After all, every piece of music,
regardless its style, highlights only an aspect of the human personality.
Because of this reason, as a pianist I have always been involved in performing musi c of
my own time from the age of fourteen, besides playing the traditional repertory. I had
the feeling to be able to identify with this music strongly. In twentieth-century classical
music I found the perfect coming together of the profundity and beauty of traditional
classical music with the sounds of everyday experiences such as complexity in traffic,
new harmonies as found in the sounds around us and fascinating rhythms as heard in
jazz and world musics.

Ralph van Raat (www.ralphvanraat.com)

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Inspir at ion

We believe one size fits nobody. This is 2013, Does it strike you too that more and
more cities and people look alike? It’s the same shops and international brands
everywhere. That street you do your shopping in could be Barcelona, Amsterdam,
Stockholm, Berlin or New York. At one point you’ll surely find a Starbucks. How
different this was in 1804: traveling took time and different cultures were divided by
geographical borders. The first piano was imported to ancient Iran by Napoleon
Bonaparte as a gift to the Persian emperor Fath-Ali Shah. The Persians stood in
amazement about what must have seemed a very machine-like instrument to them,
while at the same time, 2000 kilometres away, Beethoven used it to express his artistic
vision.
Being an improvising jazz musician and composer, l was hearing a different piano
sound in my imagination for many years, yet never found a way to express it in the Jazz
world. It was my love for the art music of Iran and the middle east that directed me
towards the possibilities of the Forte Piano, but then out of its original context. I hope
you’ll join me on my artistic trip; A young musician taking the Forte Piano out of its
context, composing a way into new directions. There are four things that interest me:
First, the fascinating things that happen when you play today’s contemporary music on
Mozart ’s piano. Secondly, to improvise on music that’s originally composed for other
instruments, like Bach’s cellos suites and cantatas. Then there is the challenge of
translating the beautiful sounds of the Iranian s antur and Arabic qanun on to the
European Forte Piano and finally, l want to compose new pieces for the historic Forte
Piano.

Rembrandt Frerichs (www.rembrandtfrerichs.nl)

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 www.i l l umi ne.co.uk/bl og/2006/07/pa ra l l el -proces s /

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1. Artistic research in Webern’s music

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2. Artistic research in Webern’s Passacaglia no.1
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3. Artistic research of the possibilities to perform Webern’s Passacaglia no.1
for orchestra on piano
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4. How can I translate the orchestra score of Webern’s Passacaglia no.1 for
solo piano?
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5. How can I create a solo piano version of Webern’s Passacaglia no.1 by
analyzing the orchestra score and translating it for solo piano performance?

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P osit ive affir m at ion

Positive affirmations are positive sentences and words that you use to state or
formulate your research goal. “I want to, I will, I am going to, I will do my best” are
some examples. Sentences or words like “I hope to, I will try to, if I have time” will
only affirm your doubt and are therefore not allowed in your Artistic Research
language. Artistic Research is taking positive action, directed towards a positive
personal development and goal.

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 O ne f inge r c an’ t lif t a p e b b le

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Not found is also a result

If you have thoroughly consulted libraries, discotheques, magazines and other

sources, it can happen that you will not discover any relevant material to either
your research question as a whole or a specific topic. This is also a result, and of a
special kind. It could mean that you are the first to show interest in this matter or
find it relevant, the first to stumble upon the topic, and therefore the first ever to
do research on this topic.

Based on van Keken (2004:74)

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The small world phenomenon is the hypothesis that the chain of social
acquaintances required to connect one arbitrary person to another arbitrary person
anywhere in the world is generally short. The concept gave rise to the famous
phrase “six degrees of separation” after a 1967 small world experiment by
psychologist Stanley Milgram. In Milgram's experiment, a sample of US individuals
was asked to reach a particular target person by passing a message along a chain of
acquaintances. The average length of successful chains turned out to be about five
intermediaries or six separation steps (the majority of chains in that study actually
failed to complete). Academic researchers continue to explore this phenomenon. A
recent electronic Small World experiment at Columbia University showed that
about five to seven degrees of separation are sufficient for connecting any two
people through e-mail.

From Wikipedia, the free encyclopedia

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The st icking fact or

The sticking factor is about making an impression on your partner by giving something
in return. This should not necessarily be a present, but rather a nice anecdote, a good
experience, a best-practice or a piece of information that you can share or exchange.
This will ‘stick’ in the mind of your partner, and will it bring not only you, but also
possible solutions and answers closer.

Source: van Ede & Partners

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 RECORD YOUR WORK

APPLY TO INTERVENTION ORGANIZE FEEDBACK

YOUR PRAXIS CYCLE
CLE

DO RESEARCH

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to discover useful information and suggestions, in order to support the decision that you have to
make: what will I apply to my praxis?

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If your research is on how to prevent physical problems related to playing the violin, you might want
to know how other violinists deal with this. You can use the questionnaire as a method to generate
data (answers to your question) and hand it out to all violin students and teachers at Codarts. You
can formulate close-ended questions to find out the percentage of violinists that experience these
problems and when these problems a rose for the first time. Open-ended questions can be used to
find out when and where these problems occur, and if the musicians developed warm up exercises
or other techniques in order to prevent these problems, etc.

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Refra cti on i n i nterpreta ti on, a s propos ed by Ri nk (i n Da vi ds on, 2004:48)

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The s tructure a s ‘s ha pe’ of Ri nk, i n thi s ca s e the Chopi n prel ude i n E mi nor. (Ri nk i n Da vi ds on 2004:46)

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parts of the interview techniques check

The beginning
Ma ke s ure the a tmos phere i s - Sta rt wi th an ordi na ry - The s ubject’s rea cti on i s norma l
rel a xed convers a ti on.
Introduction
- Expl a in the goal of the i ntervi ew. - Agreements were ma de
- Poi nt out the pos s i bi l i ti es of previ ous l y.
feedba ck a nd confi denti a l i ty. - Ma ke new a greements .
Ask the questions Evaluate
- Ma ke s ure the tone of the - Avoi d ques ti ons to whi ch the - Are the a ns wers rel i a bl e?
i ntervi ew i s ri ght. i ntervi ewee ca n res pond wi th - Are the a ns wer a ccura te?
- Moti va te and stimulate the subject ‘yes ’ or ‘no’; conti nue a s ki ng - Are the a ns wers rel eva nt?
to gi ve the ri ght i nforma ti on. when the a ns wer i s va gue; - Di d I a sk all the prepared ques ti ons ,
- Ana l yze the i nformation obtained. s umma ri ze the a ns wers per themes ?
theme, thus gi vi ng the s ubject
the opportunity to correct or add
i nforma ti on.
- Al l ow pa us es i n the
convers ation; this will s ti mul a te
the s ubject to a ssoci a te, refl ect
a nd conti nue ta l ki ng.
Conclusion Summarize and conclude
- As k the fi na l ques ti on a nd Put a wa y your pen a nd pa per,
s umma ri ze the i ntervi ew. a nd your recorder.
- Gi ve the i ntervi ewe e the
opportuni ty to a dd s ome poi nts .
The end Thi s i s the moment to a s k the - Check i f a l l a greements a re cl ea r.
question you didn’t want to pose
duri ng the intervi ew. Be s ure to
remember the a ns wer wel l . It
ca n ha ppen that the intervi ewee
wi l l spontaneously gi ve you some
i mporta nt i nforma ti on.

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