The Ever Changing Instrument
(2024)
author(s): Anders P. Jensen
published in: Rhythmic Music Conservatory, Copenhagen
The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.
points of no return
(last edited: 2025)
author(s): Marco Döttlinger
This exposition is in progress and its share status is: visible to all.
'points of no return' is a composition for 7 performers with mini-synthesizers and live visuals
This work was created for the 10th anniversary of the NAMES Ensemble, commisioned and premiered at Klangspuren Festival 2024 in Schwaz, Tirol Austria.
The title “points of no return” attempts to describe several perspectives: on the one hand, it references the generative nature of all components involved, be it the live visualization in the form of a particle system or the play with seven mini-synthesizers, which resist an exact, repeatable reproduction of a musical text by design.
The score is the result of a practice based research and experimentation process as a subproject of Spirits in Complexity - Making kin with Experimental Music Systems (funded by the Austrian Sience Fund FWF AR-821).
MIRAC 2019
(last edited: 2020)
author(s): Per Anders Nilsson
This exposition is in progress and its share status is: visible to all.
A point of departure in this project is to investigate man – machine interactions with the improvisation group Natural Artefacts that features a mix of acoustic and electronic musical instruments. The main questions are: is it possible to program electronic instruments, such as sequencers, samplers, and synthesizers in such a way that an organic “groove and feel” of jazz occurs? And is it possible to perform with them in a live context retaining a “true” jazz feeling?
