Research Catalogue

In today’s age of information overload, it is all too easy to become constantly overstimulated. As both a composer and an improviser, I have found a new source of inspiration by exploring minimalism—especially Holy Minimalism—using simple materials, embracing a slower creative process, and diving into the music of Estonian composer Arvo Pärt. The introspective elements, structure and usage of space and silence in this music guided me towards a journey that has helped me reconnect with music in a profound way. Drawing from the composers of the ECM Record Label's New Series who specifically connect a certain image and sound, this thesis examines selected works by Arvo Pärt, whose Tabula Rasa was the starting point for the New Series. This research is to unpack the ideas behind these compositions, explore the thought processes involved, and discuss the underlying philosophies with external concepts that I find highly inspiring, all in search of fresh perspectives. As more artists turn toward simplicity, I believe that looking at this music and the philosophies behind it through both an improvisers and a composers lens can open up exciting new pathways for inspiration.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

Abstract The incentive for this research was to explore ways of integrating the physicality of singing into vocal education by means of the Musicality of Movement (MoM) approach. Musicality of Movement is a physical performance training program designed for musicians. Traditionally the importance of the physicality of singing is recognized, yet it remains underexposed in vocal training, which eventually can lead to inhibited vocal freedom and wooden or awkward performances. The Musicality of Movement approach (MoM) opens ways to freer, more imaginative stage presence, better physical awareness and more expressive singing. The working hypothesis was: Integrating the Musicality of Movement approach into classical voice education will offer singers tools to enhance stage presence, imaginative expression, clarity of performative skills and can create ways to find physical and mental wellbeing on stage. The hypothesis was confirmed by the results of the three interventions—consisting of MoM lessons and workshops—that were executed during the academic year 2023-2024, with three groups of voice students, in three different settings. Interviews and questionnaires were analysed to give an impression of how working with the MoM approach supported performative skills and stage presence. Positive results were obtained from relatively small groups of students which shows a need for future research over a longer period and with a larger research population. Most mentioned keywords to indicate what the MoM-lessons brought the students were body awareness, better breathing, performance skills and playfulness. The practicality of the approach was shown by the fact that participants mentioned to use the exercises in their individual vocal practice.

This research investigates the active role of light as a core compositional element in contemporary music performance by exploring the integration of light, sound, and movement in real-time environments. Traditionally, light has been treated as a secondary aspect of performance, primarily serving as a means of illumination or visual enhancement. However, this study examines how light can function beyond this conventional role, actively shaping musical structure and influencing perception. Through the analysis of live performances and hands-on experimentation with analogue oscillators, photoresistors, and DMX systems, this research explores how these elements function as both medium and material within a piece. My compositions, alongside works by composers such as Viola Yip and Hugo Morales Murguía, serve as case studies, illustrating light’s transformation in performance from a passive visual aid to a structural force. These works highlight how light, when treated as a compositional element, reconfigures performer agency and audience perception. By challenging conventional notions of light in music, this research contributes to ongoing discussions on multimedia composition and performance aesthetics. It proposes an alternative perspective in which light is not merely an accessory to sound but an integral component of musical structure, expanding the possibilities for interdisciplinary performance practice.

This visual essay explores images generated through AI-based expansion of a simple photographic composition. Without commands or prompts, the system infers human gestures, shadows, and presences — inventing what was never there. The project questions authorship, visibility, and the power of symbolic residue when language no longer mediates creation. It is not about representation — it is about refusal, inference, and the unsettling persistence of images beyond intention.

In a world saturated with sonic and social noise, this project positions listening as a deliberate, ethical, and relational practice. Through a series of interdisciplinary performances and compositions, I investigate how improvisation and spatial acoustics can cultivate human connection, challenge perceptual norms, and activate space as a responsive collaborator. Drawing on theories from acoustic ecology, performance studies, and architecture, particularly the work of Beatriz Colomina, Paulina Oliveros, Blesser and Salter, I explore how environments shape musical communication and identity. Improvisation functions not only as a musical technique, but also as a method of social engagement and shared authorship. This research embraces openness, embodiment, and collective presence as central to how music is created, perceived, and lived.