Our objective is to explore the performance and the performers of Early Modern Music (c. 1400–1750). We seek to reconfigure how the music may be understood by and communicated to a present-day audience and improve, develop and discover new methodological approaches to how the music can be studied. Central to our approach is the artistic practise as an active part of the empirical foundation. We undertake to:
- Explore the interaction between period music, performer and audience focusing on communication. We look particularly at the realisation and performance of Early Modern music and its relation to historical evidence, but with special interest in how various meanings are perceived and communicated to present audiences with varying degrees of previous knowledge.
- Improve, develop and discover new interdisciplinary methodological approaches to how we study Early Modern music. By strengthening the interdisciplinary bonds between artistic research and -practise and more traditional academic research practices, we seek to generate methodologies governing the practising performer and the perceiving audience as well as the scholar.
- Identify and present strategies and perspectives that can contribute to generate new audiences and performers nationally and internationally. By developing a better understanding of Early Modern music’s communication strategies, designs and social function, we argue that we can better customise performances that provoke interest according to the premises set by today’s music markets. This stretches beyond superficial concepts such as playing Baroque music in a bar or having Renaissance nightclub DJs, but rather focuses on establishing communication strategies, self-expressive acts and mediation opportunities in close relation to the music itself.
This group is part of the interdisciplinary research-platform Arts in Context. The group members are engaged in academic research as well as in artistic research
- EMPRISE: Early Modern Performance Research to Improve, Surprise and Engage (PI: Robin Rolfhamre)
- ECEMO: Emotional Communication in Early Modern Opera (Project Leader: Robin Rolfhamre)
Publications in Selection
- Rolfhamre, R. (2018). Informed play: Approaching a biology and concept of tone production on Early Modern lute instruments (Norway: Cappelen Damm Akademisk/NOASP, 2018). [Open Access] URL: https://press.nordicopenaccess.no/index.php/noasp/catalog/book/38
- Rolfhamre, R. (2018). Ta ansvar för ditt musicerande. Gitarr & Luta, Vol. 51, No. 2, pp. 7–10.
- Rolfhamre, R. (2018). ‘Caprice de chaconne’ (1671): Symmetry and proportions in Francesco Corbetta’s work for Baroque guitar. Early Modern Culture Online, vol. 4, no.1. [Open Access] URL: https://boap.uib.no/index.php/emco/article/view/1513/1285.
- Rolfhamre, R. et. al. (2017). Norway across the centuries. In concert programme: Northern Winds, Nordic Early Music, 1140–1810. UCLA Early Music Ensemble, 03.06.2017, Powell Rotunda, p. 6.
- Rolfhamre, R. (2017). Lutmusik som berättar — tankar efter en doktorsavhandling. Gitarr & Luta, Vol 50, no. 1, pp. 15–17.
- Rolfhamre, R. (2017). The language of Early Music performance: A proposition on how to connect words and instrumental music. c. Musical Times, Vol. 158, no. 1938, pp. 81–92.
- Rolfhamre, R. (2016). Embellishing lute music: Using the Renaissance Italian passaggi practice as a model and pedagogical tool for an increased improvisation vocabulary in the Baroque style. Danish Musicology Online, Special Edition: 17th Nordic Musicological Congress, pp. 119–138. Invited article.
- Anthology. Working-title to be announced
Associated Research Fellows
- Inga Marie Nesmann (MMus; MA), 2017–2020. Title: ”Reconfiguring Dido”. (PhD), Faculty of Fine Arts. Supervisor: Robin Rolfhamre, co-supervisor: Roy Eriksen.
- Daniel Henry Øvrebø (MMus), 2017–2020. Title: ”New music — New audience?”. (PhD), Faculty of Fine Arts. Supervisor: Robin Rolfhamre, co-supervisor: Arnulf Christian Mattes.