Papers by Petter Frost Fadnes
Studia Musicologica Norvegica, 2013
knut_toensberg_akademisering_av_jazz_pop_og_rock_en_dann? highlight=#highlight (Det kan vaere res... more knut_toensberg_akademisering_av_jazz_pop_og_rock_en_dann? highlight=#highlight (Det kan vaere restriksjoner på tilgang) UiS Brage http://brage.bibsys.no/uis/ Denne artikkelen er gjort tilgjengelig i henhold til utgivers retningslinjer. Det er forfatternes siste upubliserte versjon av artikkelen etter fagfellevurdering, såkalt postprint. Dersom du skal sitere artikkelen anbefales det å bruke den publiserte versjonen
In the paper, we investigate the following fundamental question. For a set K in L 0 (P), when doe... more In the paper, we investigate the following fundamental question. For a set K in L 0 (P), when does there exist an equivalent probability measure Q such that K is uniformly integrable in L 1 (Q). Specifically, let K be a convex bounded positive set in L 1 (P). Kardaras [6] asked the following two questions: (1) If the relative L 0 (P)topology is locally convex on K, does there exist Q ∼ P such that the L 0 (Q)-and L 1 (Q)-topologies agree on K? (2) If K is closed in the L 0 (P)-topology and there exists Q ∼ P such that the L 0 (Q)-and L 1 (Q)-topologies agree on K, does there exist Q ′ ∼ P such that K is Q ′-uniformly integrable? In the paper, we show that, no matter K is positive or not, the first question has a negative answer in general and the second one has a positive answer. In addition to answering these questions, we establish probabilistic and topological characterizations of existence of Q ∼ P satisfying these desired properties. We also investigate the peculiar effects of K being positive.
British Journal of Music Education, 2007
Academic study has become a more significant part of a conservatoire education in recent times, b... more Academic study has become a more significant part of a conservatoire education in recent times, but it has not always informed performance as effectively as it might. There is a need for further development of an academic curriculum that is specifically relevant to performers, in which the links between theory and practice are made explicit rather than expecting students to construct these for themselves. This article reports on research into the integration of theory and practice at Leeds College of Music, UK, using jazz improvisation as a case study. Pilot teaching sessions within two modules explored ways in which students can be encouraged to engage actively with an appropriate academic curriculum that is embedded within a holistic learning experience.
In Denmark, Norway and Sweden, jazz went from being seen as radically foreign to become a seamles... more In Denmark, Norway and Sweden, jazz went from being seen as radically foreign to become a seamless part of domestic culture. The conversation traces that development and displays how the national i ...
espanolA pesar de que la representacion sin guion previo es un metodo consolidado en el mundo de ... more espanolA pesar de que la representacion sin guion previo es un metodo consolidado en el mundo de la produccion cinematografica, el uso generalizado de la improvisacion como metodo de creacion de una partitura es, por otro lado, poco comun. Lo mismo le ocurre al uso de la pelicula cinematografica como partitura de una improvisacion en movimiento dentro de las practicas improvisatorias; cuestionando si los musicos son reticentes a participar en una ambiguedad audiovisual basada en los mismos argumentos que la industria del cine. EuskaraZinema ekoizpenean aurretiko gidoirik gabeko emankizuna errotutako metodoa bada ere, inprobisazioa partitura sortzeko modu bezala ez dago berriz oso zabaldua. Gauza bera gertatzen da inprobisazio praktiken barruan filma mugimenduan dagoen inprobi-sazio baten partitura bezala erabiltzeari dagokionez, eztabaidan jartzen delarik musi-kariek ikus entzunezko anbiguetatean parte hartzea saihesten ote duten zine industriak erabiltzen dituen argumentu berdineta...
Jazz-hitz, 2018
Although unscripted acting is a well-established method within the world of film production , a b... more Although unscripted acting is a well-established method within the world of film production , a broad use of improvisation as score-making technique is on the other hand quite uncommon. The same goes towards the use of film as moving improvisational score within improvisational practices; questioning whether musicians are reluctant to engage in audiovisual ambiguity based on the same arguments as the film industry.
Jazz Research Journal, 2012
Academic study has become a more significant part of a conservatoire education in recent times, b... more Academic study has become a more significant part of a conservatoire education in recent times, but it has not always informed performance as effectively as it might. There is a need for further development of an academic curriculum that is specifically relevant to performers, in which the links between theory and practice are made explicit rather than expecting students to construct these for themselves. This article reports on research into the integration of theory and practice at Leeds College of Music, UK, using jazz improvisation as a case study. Pilot teaching sessions within two modules explored ways in which students can be encouraged to engage actively with an appropriate academic curriculum that is embedded within a holistic learning experience.
Studia Musicologica Norvegica, 2016
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Papers by Petter Frost Fadnes
The main focus of the portfolio is a varied look at improvised music through the subjective input of my performance. Thus, although I view this as a phenomenological study of improvised music as an experienced phenomenon, where the recorded material becomes a case study of a highly individual approach to improvisation, the outcome also informs a more generic philosophy of improvised music.
I view musical performance – and specifically improvisation – as a highly individual sphere accessible only through the individual improviser. The topic is often viewed as elusive to general research, as musical improvisation always forms an intricate part of the subjective approach to performing, where the improvisational object cannot be separated from individual musical thought. However, by recognizing the individuality in musical performance and perception, and undertaking research based on my own playing, I arrive at a generic philosophical model to musical improvisation constructed around the individual performer at the core.
The study is an attempt to demystify improvisational elements in music, looking at the skill of improvising with an equally pragmatic and philosophical approach. The written commentary accompanying the recorded portfolio is therefore both a direct scrutiny of my improvisational approaches, as well as a phenomenological exploration of the improvisational elements in music.