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- Jullander, Sverker, 1951-, et al.
(författare)
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Room for Interpretation
- 2017
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Konferensbidrag (refereegranskat)abstract
- I projektet Tolkningsrum undersöks relationen mellan akustik och musikalisk interpretation genom inspelade framföranden. Inspelningssessioner har genomförts i konserthuset Studio Acusticum, Piteå, som har variabel akustik genom höj- och sänkbart innertak. Inspelningssessioner har gjorts med ensembler och solister i åtta olika instrument(sammansättningar). För var och en av dessa har tre inspelningar i olika takhöjdslägen gjorts under samma dag och med samma repertoar. De medverkande musikerna och forskargruppens medlemmar (delvis samma personer) har enskilt skrivit ner sina intryck, dels omedelbart efter varje inspelningssession, dels vid lyssning till inspelningarna. Inspelningarna har gjorts med mikrofonerna relativt nära musikerna, så att den jämförande lyssningens fokus blir själva gestaltningen snarare än skillnaderna i akustik. Ytterligare inspelningar har gjorts i vad som utifrån de skriftliga utvärderingarna bedömts vara en för det konstnärliga resultatet optimal akustik. Eftersom forskningen är bunden till en specifik lokal, lämpar den sig mindre väl för redovisning i konsertform. Uppspelning av inspelat material blir därmed central i presentationen av forskningsresultaten.
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| 2. |
- Jullander, Sverker, 1951-, et al.
(författare)
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Room for Interpretation : Musical Performance Interacting with Room Acoustics
- 2015
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Konferensbidrag (refereegranskat)abstract
- The research project ‘Room for Interpretation: Musical Performance Interacting with Room Acoustics’, funded by the Swedish Research Council, is conducted at the Piteå School of Music, Luleå University of Technology. The project engages researchers within musical performance, musicology and audio technology, most of them professionally active as performers. The objective is to investigate how musical interpretation is influenced by and can interact with room acoustics. Important goals are to develop new ways for musicians to work consciously with room acoustics, using acoustic properties for artistic purposes, to facilitate a more profound exchange of ideas on artistic aspects of room acoustics between musicians, and to increase the possibilities for taking into account the musician’s perspective in the planning of concert rooms. The core of the project is a series of performances in the concert hall Studio Acusticum, Piteå, whose ceiling can be raised and lowered, enabling variable acoustic conditions. Performances within the project include solo instruments, chamber ensembles, and a choir. Each constellation performs in different acoustics but otherwise under identical conditions. The result is evaluated individually by each member of the research team, in addition to measurements of dynamics and tempo. Questions dealt with include how acoustic-related interpretive strategies can be formulated, and how acoustics can be tailored to a particular interpretative idea. Preliminary results show significant differences between the performer’s immediate post-performance evaluation and after listening to a recording of the same performance. Possibly acoustic-related discrepancies between experienced and measured tempi have been found among both performers and listeners.
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| 3. |
- Jullander, Sverker, 1951-, et al.
(författare)
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Room for interpretation : methodological aspects of a music research project
- 2018
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Ingår i: Svensk tidskrift för musikforskning. - Uppsala : Svenska samfundet för musikforskning. - 0081-9816 .- 2002-021X. ; 100, s. 89-115
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Tidskriftsartikel (refereegranskat)abstract
- The artistic research project ‘Room for interpretation’ addresses questions concerning the influence of room acoustics on the performance of Western art music from the performers’ perspective. The empirical core of the project is a number of experimental performance sessions carried out in Studio Acusticum, Piteå, a concert hall with mechanically variable acoustics. The authors discuss issues relating to the project’s design and methodology; the focus of the article is thus the research process rather than the results. A presentation of the project, its preconditions, goals, design and methodology is followed by an overview of previous research, mostly in acoustic science, on the same or closely related topics. In the third part of the article, characteristics of the present project are compared to those of the previous studies. In the following part, ’Room for interpretation’ is related to the ongoing discussion on the purposes and means of artistic research. The authors argue that the project, while showing certain similarities to previous studies, differs considerably with respect to aims and important aspects of design, and that its characteristic features agree well with those usually regarded as typical of artistic research. The article concludes with a summary of the most important results concerning: differences between performers’ reactions in the live situation and when listening to their own recordings; differences between chamber ensembles, conducted ensembles and soloists as to the influence of the acoustics on the performance; and the prevalence of sound over other musical parameters in performers’ comments on their recorded performances.
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| 4. |
- Jullander, Sverker, 1951-, et al.
(författare)
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Time and Space : Musical Tempo and Room Acoustics
- 2017
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Konferensbidrag (refereegranskat)abstract
- In this presentation we discuss the influence of acoustics on temporal aspects of performance for different instrument constellations. In a concert hall with mechanically variable acoustics, professional soloists and ensembles each performed a programme of 3–4 pieces at three trials throughout the same day in the presence of an audience of experienced musicians–researchers. The instrument settings included solo instruments, chamber ensembles and a chamber choir. The trials were recorded for later analysis. The microphones were placed so as to minimize audible differences in acoustics between the recordings.For the solo instruments musicians tended to use slower tempi and allow themselves more agogic freedom in larger acoustics. A similar tendency, though less marked, was observed in conducted ensembles. For ensembles without conductor, the acoustics did not seem to influence the chosen tempi.When playing in larger acoustics, performers tended to feel more comfortable and relaxed – and more satisfied – which was often reflected in the choice of slower tempo as well as in a greater degree of tempo fluctuation. The listeners in the hall, on the other hand, did not always share the performers’ preferences. A different picture emerged in the evaluations of the recordings: here musicians viewed recordings made in drier acoustics, often using faster tempi with less fluctuation, in a more positive light. For some pieces in slow tempi, however, performances in larger acoustics were preferred. Generally, the preferences of musicians and listeners were more in agreement for the recordings than for the live performances.The results show that the room acoustic in many cases does seem to influence tempo and agogics, but also that this influence varies considerably between different instrument settings (especially solo vs. ensemble) as well as between individual pieces in different tempi and styles. Performers’ preferences may vary considerably between the live situations and listening to recordings.
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