Audio Paper A fuchsia-colored awning


A fuchsia coloured awning (Mayas, 2019) explores the qualities and function of sound, memory and materiality within the practice of musical improvisation from the viewpoint of musicians of different generations and backgrounds. Within the dialogical nature of the piece, musicians Andrea Parkins, Tony Buck, Mazen Kerbaj and the author discuss questions around structuring a composition in real-time and the thought processes and different systems and categories of sounds and techniques they have developed to facilitate that, as individual articulations of timbre orchestration and modes of listening.


Reflections on improvisation as an artistic practice and way of life are added through quotes from Cecil Taylor. The piece investigates the need to organize sonic experiences and the multilayered qualities of memory as a connecting force in structuring and composing with sound, as well as a reflective and transformative tool in music making. Further, the piece looks at relationships between sound and objects as material agents and the role they play in musical thinking and creating. The pre-recorded sounds consist of various Memory pieces as well as sounds taken from the sound catalogue created through the Performative Timbre study in chapters 4 and 5.

Additional to the interviews conducted by the author, the audio paper makes use of digital works by

Roc Jiménez de Cisneros,

Ron Mann and Bill Smith, Imagine the sound, 1981

Audio Paper Transmitting a listening


In the first audio paper, Transmitting a listening, I am mixing recordings of my own voice (text taken from the article Transmitting a listening*), with voices of other artists, including John Cage, David Bowie and Pauline Oliveros, pre-recorded sound material (from various Memory pieces) and a live piano performance. It is an introduction to my relationship to the piano, the role objects play in it and how I use amplification and multi speaker set ups to create immersive listening experiences. It engages with different philosophies and attitudes around listening and gives an introduction to Memory piece, as a way to explore spatial listening and memory as compositional approaches.



*Série Diálogos com o Som. Ensaios; v.4 Música, transversalidade, edited by Zille, J.A.B, 45–66. Belo Horizonte, MG: EdUEMG.

The audio paper makes use of digital works found here:

John Cage interview, 1991,, accessed July 2017

Pauline Oliveros, Ted Talk,,  accessed July 2017

David Bowie interview,, accessed July 2017, accessed June 2017, accessed June 2017, accessed June 2017

During the course of my research, I composed 2 audio papers: Transmitting a listening and A fuchsia coloured awning.

I find the format of an audio paper inspiring and close to my own artistic practice, where my main medium is sound. Both audio works are carefully composed musical pieces, and at the same time focus on topics of my research and translate them into artistic reflections between sound and language. Rather than separating a presentation or my writing from my research and performance practice, this gives me the opportunity to create a sound piece about topics of my research, within which I simultaneously perform. The listener becomes intimately part of the actual performing and working process while it is in progress. The audio papers are both presented as multi-channel pieces, within which I simultaneously perform.

C.  Audio Papers

Media Example C1

This is a stereo version of the audio paper which I first performed on the 14th of August 2017 in Gothenburg.

Media Example C4

This is a stereo Mp3 version of "A fuchsia coloured awning"

Media Example C5

This is a short stereo excerpt of  "A fuchsia coloured awning"

Media Example C2

Audio paper Performance at the University of Gothenburg, October 3rd 2017

Media Example C6

Audio paper Performance with Piano Mapping device

December 2018, Gothenburg University

Media Example C3

Audio paper performance in Aveiro, Portugal at the

" Hands on Research Piano" conference January 2018