COMPOSING IN THE FIELD OF A RELATIONAL, PROCESSUAL AND INTERMEDIAL PRACTICE
Erik dæhlin, norwegian academy of music
My main focus is to investigate a relational and process-based compositional practice. This will take place as a tracery of my compositional musical practice and strategies from performing arts, leading to hybrid and intermedial forms of musical works.
Three key concepts will be guiding this work: ownership, investment, quest and risk. This as an understanding of the importance of letting the performers take part in the process of the making of the composition. Through the whole process investing oneself and questioning the work together and at the same time keep it left open and in search, is crucial for both the quality of the work as well as the aspect of sharing. This exposure through the process as well as in the actual performance puts something at risk. What is in front of us, heard as well as witnessed, becomes real and therefore owned as well as shared.
It may seem as an opposition and may also be one; On the one hand the openness as a result of the processual focus. On the other hand the notion of composing as fixating. The research will dwell into this matter finding new paths of compositional knowledge.
Through this artistic research programme, I will create three hybrid musical works together with three different performers and some other artists from other disciplines. When working with these projects I will investigate how the four key concepts can challenge me as a composer, in relation to and also challenging the performers, leading to a more conscious, precise and dynamic way of working – creating a plastically, compound and process-based compositional method. This research will be encircled by these question:
- How can knowledge about musical composition be brought together with process-based strategies from the performing arts and together create a dynamic compositional method?
- How can this knowledge be developed together with the performers and become a crucial part of the artistic prosess as well as the shared performance?
- How does this influence my own practice as well as the roles and room for maneuver of the other contributors, and finally the artistic result?