Felipe Caporali
Crossing universes: Improvisatie met de boog vanuit de versmelting van klassieke en jazzmuziek
Within jazz, the use of the bow for improvisation is considered an enriching technique for developing an instrumental idiom on the double bass. Throughout history, many bass players have developed their own approach to bow playing, but the lack of specific material dedicated to arco improvisation within improvised jazz and other non-classical genres means that this practice remains largely underutilized. This doctoral research aims to develop, based on artistic practice, a string method for double bass that combines elements from jazz and western classical music, with a focus on improvisation. The different ways of phrasing, the specific vocabulary and timbre, the need for flexibility to compose “on the spot” and to interact spontaneously creates inherent problems for which the tools provided in jazz and classical music training are not always sufficient.
Stéphane Galland
Cultural roots and interactions of contemporary rhythm in jazz
Stéphane Galland’s work is informed by over thirty years of research into rhythm across cultural, social, geographical, and philosophical contexts. He explores ways to deepen our understanding of rhythm and to provide universal access to its many expressions. Drawing on his dual training as a classical percussionist and jazz drummer, as well as his experience in diverse musical contexts—from jazz and contemporary music to funk and non-Western traditions—Galland has developed tools to decode the principles behind different rhythmic approaches. His ongoing intercultural practice enables him to identify the elements that connect seemingly distinct rhythmic systems, allowing him to move fluidly between rhythmic worlds, modes of thought, and expressive states. Through this research-driven practice, he uncovers the shared roots of rhythm and translates them into a practical framework for fellow musicians.
Piergiorgio Pirro
Spectral techniques in jazz performance
Spectralism is an attitude toward musical composition that emerged in 1970s Europe, particularly through the work of a group of French composers such as Gérard Grisey and Tristan Murail. Spectral music shifts attention from discrete musical categories towards notions of process, continuity, and the exploration of perceptual and cultural thresholds. This research project takes a spectral approach to music making in small jazz ensembles, exploring the implications of the cognitive and aesthetic paradigms that spectralism has to offer. Piergiorgio Pirro has a particular interest in developing new sounds and harmonies that go beyond the capabilities of the equally tempered piano, while exploring the ways that the change towards a spectral attitude affects the jazz ensemble as a creative collective.