Mi(my)crotonal Piano is a PhD project in artistic research
conducted by pianist Sanae Yoshida
at the Norwegian Academy of Music between 2017 and 2024.
日本語へは右上のボタンで切り替えてください。
I would like to express my deepest gratitude to all the composers and collaborators involved in this project.
This includes everyone mentioned on this site. Thank you all so much.
I also extend my heartfelt thanks to the many wonderful researchers I encountered in the field of artistic research, which was new territory for me.
Your inspiration and willingness to discuss this project have been invaluable.
Special thanks to:
- Audun Nedrelid and Eliot Moleba for their involvement in creating the animation film.
- Mr. Nakamura from Yokohama Noh Theater for providing opportunities to hear valuable insights
from Noh actors and musicians, including Mr. Bunzo Otsuki.
- Professor Tsuyoshi Hondou from Tohoku University.
- Pianist Aki Takahashi for sharing her knowledge about Scelsi.
- Willem Gram for his guidance in interpreting Deleuze's philosophy, and
Thorbjørn Eftestøl for enlightening me on the relationship between Grisey and Deleuze.
- The team of LAWO classics, Vegard, Thomas, Hege and Camilla.
- Gisle Daus for providing invaluable guidance on piano tuning, and to
Tone Røimål sharing her knowledge, providing comprehensive instruction on piano structure and
how to handle it with care. She also performed piano tuning including
microtonal tunings for concerts and recordings, for which I am deeply grateful.
In a similar manner, I extend my thanks to
Jan Haghus, who also contributed significantly.
- sdny for his help in creating this website.
- Mr. Murase for introducing me to several references.
- Those who assisted me in Bali regarding gamelan.
- The many people who showed me and taught me about Okinawa,
especially Mr. Matsuno from Henaji.
I'm grateful to the Norwegian Academy of Music, particularly KUST and
the NORDHEIM Center, for allowing me to pursue this project freely.
I owe immense gratitude to Mieko Kanno,
who guided me to many insights as an initial sub-supervisor, and to
Ellen Ugelvik, also an initial sub-supervisor who also collaborated as a performer.
I cannot express enough gratitude to my main supervisor,
Henrik Hellstenius, who consistently provided stimulation despite my slow progress,
always faced me with honesty, and illuminated the path forward at every stage of my journey.
My heartfelt thanks also go to Jennifer Torrence,
whose influence has been profound since our first encounter backstage at the old concert hall in Bodø.
Whether performing together, engaging in conversations, or
serving as a sub-supervisor in the latter half of the project,
Jennifer's impact has been immeasurable,
and my gratitude has only grown since that initial meeting.
I appreciate the extensive support from my mother and in-laws.
Lastly, I wish to express my deepest appreciation to my husband, Øyvind Mæland.
As a composer and fellow researcher, he has made significant contributions to this project.
On the home front, especially during the final two months,
he has taken on nearly all domestic responsibilities, including childcare.
Moreover, he has assumed the roles of manager for
both Ensemble Temporum, and myself as an artist.
Furthermore, our ability to engage in frank discussions about
cultural differences has been invaluable throughout this process.
「Mi(my)crotonal Piano」は、 ピアニスト、吉田紗苗がノルウェー国立音楽院に於いて
2017年から2024年にかけて行った芸術研究の博士号プロジェクトです。
ENTERから入り、ページ毎に言語を選んでください。
I would like to express my deepest gratitude to all the composers and collaborators involved in this project.
This includes everyone mentioned on this site. Thank you all so much.
I also extend my heartfelt thanks to the many wonderful researchers I encountered in the field of artistic research, which was new territory for me.
Your inspiration and willingness to discuss this project have been invaluable.
Special thanks to:
- Audun Nedrelid and Eliot Moleba for their involvement in creating the animation film.
- Mr. Nakamura from Yokohama Noh Theater for providing opportunities to hear valuable insights
from Noh actors and musicians, including Mr. Bunzo Otsuki.
- Professor Tsuyoshi Hondou from Tohoku University.
- Pianist Aki Takahashi for sharing her knowledge about Scelsi.
- Willem Gram for his guidance in interpreting Deleuze's philosophy, and
Thorbjørn Eftestøl for enlightening me on the relationship between Grisey and Deleuze.
- The team of LAWO classics, Vegard, Thomas, Hege and Camilla.
- Gisle Daus for providing invaluable guidance on piano tuning, and to
Tone Røimål sharing her knowledge, providing comprehensive instruction on piano structure and
how to handle it with care. She also performed piano tuning including
microtonal tunings for concerts and recordings, for which I am deeply grateful.
In a similar manner, I extend my thanks to
Jan Haghus, who also contributed significantly.
- sdny for his help in creating this website.
- Mr. Murase for introducing me to several references.
- Those who assisted me in Bali regarding gamelan.
- The many people who showed me and taught me about Okinawa,
especially Mr. Matsuno from Henaji.
I'm grateful to the Norwegian Academy of Music, particularly KUST and
the NORDHEIM Center, for allowing me to pursue this project freely.
I owe immense gratitude to Mieko Kanno,
who guided me to many insights as an initial sub-supervisor, and to
Ellen Ugelvik, also an initial sub-supervisor who also collaborated as a performer.
I cannot express enough gratitude to my main supervisor,
Henrik Hellstenius, who consistently provided stimulation despite my slow progress,
always faced me with honesty, and illuminated the path forward at every stage of my journey.
My heartfelt thanks also go to Jennifer Torrence,
whose influence has been profound since our first encounter backstage at the old concert hall in Bodø.
Whether performing together, engaging in conversations, or
serving as a sub-supervisor in the latter half of the project,
Jennifer's impact has been immeasurable,
and my gratitude has only grown since that initial meeting.
I appreciate the extensive support from my mother and in-laws.
Lastly, I wish to express my deepest appreciation to my husband, Øyvind Mæland.
As a composer and fellow researcher, he has made significant contributions to this project.
On the home front, especially during the final two months,
he has taken on nearly all domestic responsibilities, including childcare.
Moreover, he has assumed the roles of manager for
both Ensemble Temporum, and myself as an artist.
Furthermore, our ability to engage in frank discussions about
cultural differences has been invaluable throughout this process.