Below you can read about Ingvarsson's current and past research projects, dissertations and articles:
Helgi Rafn Ingvarsson. (2019). „Opnun óperunnar: dramatískur spuni, hin sígilda ópera og leikgleði.“ Þræðir - Tímarit um tónlist (4. tölublað). https://www.lhi.is/tolublad-4-opnun-operunnar-dramatiskur-spuni-hin-sigilda-opera-og-leikgledi
On-going development and delivery of a new Masters' level module, Music Theatre Lab, at Iceland University of the Arts. Start January 2019. This module is based on the principles of the NAIP: European Music Master programme, as well as Ingvarsson’s original research from 2018 titled Opening Opera.
Ingvarsson, H. R. (2018). Opening Opera: Developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas". London, England: Guildhall School of Music and Drama. http://openaccess.city.ac.uk/21324/
Ingvarsson, H. R. (2009). Kvikmyndatónlist: Frumleiki?. Reykjavík, Iceland: Listaháskóli Íslands (Iceland University of the Arts).
Music Theatre Lab
Dr. Helgi Rafn Ingvarsson currently leads and develops this new module at Iceland University of the Arts in Reykjavík. It is part of the 2 year European masters programme "New Audiences and Innovative Practice" (NAIP). More here: http://www.musicmaster.eu/
Music Theatre Lab is grounded in the study of cooperative creative processes, directed-improvisation and cross-arts practise. In other words: participants will hone some of the hands-on skills necessary to become an artistically flexible practitioner able to adjust to a wide range of creative contexts. Music-Theatre, as a meeting point for all the art forms, is a great platform for such study.
The group works together in creating a piece of music-theatre, with a very open-minded definition of that term, where different ideas come together and create a whole. During our creative process students will be asked to share their ideas, thoughts, insights and skills, knowledge and experience, on a peer-to-peer basis, ultimately informing our end of term production.
The cooperative creative processes we use to create our music-theatre might be familiar to actors and dancers, but are less known in music-driven contexts. One of the reasons for this is that having music as a focal point when creating collaborative, interactive and interdisciplinary theatre presents a different working environment, and even potential problems unless appropriate working methods are used. One of the main aims of the module is to introduce the participants to alternative creative methods that support ways of creating, documenting and performing music-driven collaborative and interactive works. Creation of music will happen simultaneously alongside other aspects of theatre, in an immediate, real-time, collaborative process where all art forms inform one another and develop together towards performance.
And here: https://www.lhi.is/en/node/12435
The following pictures are from Music Theatre Lab’s 2019 production “Kara-OK?”.
In April 2018 Dr. Helgi Rafn Ingvarsson completed his doctorate degree in music composition (DMus) at the world renowned Guildhall School of Music and Drama in London, generously supported by the Guildhall School Trust. The research is titled "Opening Opera: Developing a framework that allows for the interactive creative processes of improvised theatre in the productions of new music-dramas."
Below you can read the full commentary and view pictures from just a few of the projects, workshops and productions that contributed to Opening Opera in 2013-2017.
Opening Opera explores creative collaboration and dramatic improvisation in new music-dramas. Looking towards the art of improvised theatre, the aim is to achieve a dramatic process in opera which facilitates a flexible kind of dramaturgy, enabling singers and directors to lead and inform certain creative processes that are normally in the hands of the operatic composer and/or librettist alone. By developing particular unorthodox scoring methods, along with specific rehearsal schedule considerations that support these flexible processes, the composer attempts to create not improvised opera, but what could be called an open opera, where the compositional focus is working with a free vocal line with active accompaniment. This framework is one in which the composer provides the parameters and material for dramatic and compositional flexibility, and then ‘takes a step back’ during a collaborative and improvisational process, whilst retaining sufficient leadership and creative authority to realise the overarching structure satisfactorily.
In order to develop said unorthodox scoring methods and processes, the creative team explored and informed structural, dramatic, technical and musical aspects of new material, utilising the performers’ specialised training and experience in an interactive creative process. This exploration brought up questions such as: how to allow an open process such as this one while still attempting to retain overarching artistic control; what are the parameters that the composer will need to determine (i.e. keep 'closed'); and what are the parameters that he must allow to be spontaneous, improvised or open?
By opening up the process in this way, interesting genre specific problems were exposed that are more often than not left implicit rather than explicit by creators of opera. This exploration reveals knowledge beneficial to tutors, composers, librettists, singers, conductors and directors of music-dramas.
This inquiry is primarily grounded in several methods extracted and modified from improvised theatre, opera, and open-scored compositions of the mid-20th century.
What follows is Helgi Ingvarsson's BA dissertation (in Icelandic), published by the Iceland University of the Arts, Reykjavík, 2009. It is titled "Film music: originality?". The work was awarded a distinction.
The dissertation discusses different dramatic relationships between the visual and the musical in films. Ingvarsson introduces a possible (non-derogative) definition of "originality" for film music under the term "andstæðar tilfinningar", which could be translated as "polarised emotions". In short, with polarised emotions, possible hidden emotions of the drama are presented ambiguously to the viewer through music. This is opposite to "mickey mousing" where apparent emotions of drama are doubled by the music. This definition is elaborated on in relation to themes such as:
Originality between film and music.
Originality in musical material and arrangement.
Music as determination of overall dramatic information or environment.
The dissertation includes examples from works of composers such as Nino Rota, Howard Shore, Yann Tiersen, John Williams, and Bernard Herrmann.