Cosmic Journey; Exploring the possibilities of Harp and Live-Electronics

Kyra Frimout

Cosmic Journey; Exploring the possibilities of Harp and Live-Electronics by Kyra Frimout. Research Question: How do I adapt the Stellar Sonata by Caroline Lizotte composed for the electroacoustic harp to a traditional acoustic pedal harp? 'Cosmic Journey' is a performance that focusses on space-themed repertoire for the harp and live-electronics, combined with visual images of NASA to enhance the audience’s experience. It explores the use of improvisation to tell the story of Kyra Frimout's grandfather Dirk Frimout, who went on his mission to space in 1992. The centre piece of this program is the Stellar Sonata, which was the inspiration for shaping this project. This research investigates the integration of live electronics with the harp by analysing 'Stellar Sonata' by Caroline Lizotte and exploring its implications for new compositions and improvisations. The study is structured in three parts. First, an in-depth examination of 'Stellar Sonata' is conducted, including an overview of Lizotte’s compositional style, her inspirations, the narrative embedded within the piece, and a detailed analysis of its musical material. The second section focuses on the technical aspects of recreating the piece’s electronic effects, assessing the required equipment while addressing challenges in replicating the sonic landscape, with updated technology. The final section explores new creative avenues that emerge from this research, including the application of live electronics to existing harp repertoire and its transformative impact on improvisation and composition. By bridging tradition with technology, this study aims to make electroacoustic music more accessible to harpists by exploring affordable equipment and practical amplification options—particularly for those seeking to perform Stellar Sonata without requiring an electroacoustic harp—while also pushing the artistic boundaries of the instrument in contemporary music. Kyra Frimout is a harpist and singer with a passion for contemporary and electroacoustic music. She studied Classical Music at the Royal Conservatoire in The Hague, where she is now pursuing a Master’s in New Audiences and Innovative Practice. In 2024, she studied with harpist-composer Caroline Lizotte in Montréal, deepening her understanding of electroacoustic harp techniques. Kyra explores the intersection of traditional harp performance and modern technology, integrating live electronics to expand the instrument’s expressive potential. Through her work, she seeks to redefine the role of the harp in contemporary music, using electronic effects to open new creative possibilities in both composition and improvisation.

Acknowledgements

This research would not have been possible without the help of certain people. I am immensely grateful to everyone that has helped me a hand in the past year and a half.

First and foremost I would like to thank Caroline Lizotte. Thank you for inspiring me on this journey of space and music, and for your immense kindness during the whole process of it. From lending me your set-up to practice on and perform the Cosmic Journey on, to helping me figure out the details of your amazing music.

With that, I would also like to thank Caroline Lizotte's husband, Étienne Ratthé. Thank you for your willingness to help me with the technical things of the set-up. Explaining the pedalboard to me and taking the time to help me fix the things when it wasn't working.

Thank you to Tomasso Rolff for your time in helping me with Ableton Live and the effects, helping me learn to understand this crazy world of electronics. Your readiness to help out a friend is so appreciated.

To Samuel Ouellet Mata, for embarking on the project of the Cosmic Journey with me. For pushing me in the improvisations to search for new sounds, inspiring me to look further and letting my own voice speak. On the other side of the ocean, where at first I knew no one, your friendship made me feel at home.

Thank you to my brother Max Frimout, for helping me find the Valhalla Delay plug-in, without which the final and most important piece of the puzzle of the Stellar Sonata would not have been solved.

Thank you to Félix Rivest, for answering my questions on Ableton Live, giving me the tip of the equalizer plug-in and of course helping me with the studio recording of the first movement of the Sonata.

Thank you to Renee Jonker, for giving me feedback and direction in my research.

And finally, thank you to Caroline Kang, for guiding me as my research supervisor.

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Kyra Frimout - Cosmic Journey; Exploring the possibilities of Harp and Live-Electronics - 2025