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Ribbons of Visible Air is a work of about twenty minutes duration for soprano saxophone, violin, cello, piano, one percussion, and live digital sound processing. Though the work unfolds as one continuous movement, it is conceived as being in several sections, each lasting from approximately one to four minutes. The primary ideas behind the form of Ribbons of Visible Air originate in the concerto principle (with the saxophone in the role of soloist) and variation technique; these ideas influence not only the large-scale form, but also the organization of material in respect to the different instruments and the relationship of the ensemble as a whole to the electronic processing. This composition explores a number of harmonic techniques related to the harmonic series, as well as the rhythmic possibilities inherent in multiple levels of pulsation. Of particular relevance to this work is the incorporation of extended techniques of the soprano saxophone, especially the alteration of pitch and timbre through unorthodox fingering patterns. / Arts, Faculty of / Music, School of / Graduate

This paper examines the speech-based musical realization of "The Surface" and its attempt to assimilate the poem at the structural, sonic, and expressive level. The software and analysis/re-synthesis techniques used to create timbres heard in the composition are discussed in detail. In addition to technical and structural issues, the common elements of the two art forms are considered within the context of the digital domain.

The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.

My thesis covers the materials and methods of my composition, The Passion According to the Gospels of Matthew and John. It features an extensive analysis of Penderecki's Passio et mors Domini nostri Iesu Christi secundum Lucam. The research also covers some history of the Passion genre and its development. The second half of the paper presents a background and analysis of my work. It details many of the creative processes and methods I employed.

Two compositions, live electronic music for instrument and computer, have been analyzed in the essay to reflect one of my aesthetics principles, content-driven composition, and the solutions that the I have applied to solve the problems which have occurred in practice. By content-driven, I mean that compositional process, material, mood, and affect are expressions of content drawn from visual art, literature, nature, religion, traditional aesthetics and other non-musical sources. During the journey of exploration, I was often deeply moved and inspired by a historical moment, a real-world story, a film, a poem, a statement, an image, a piece of music, or a natural law. In content-driven works, these elements play a major role in the creative processes.

The purpose of this project has been to compose and arrange music to be performed by an ensemble using electronic instruments such as synthesizers and samplers. The goal has been to try to create an electronic music ensemble that utilizes improvisation while staying true to the sound of modern electronic music in terms of rhythm, harmony and melody. I have also been investigating how to incorporate the electric bass in this type of music, that most often uses synth bass. This could be done through the use of various effect pedals. I have also done a comparison on how or if jazz improvisation differs from improvisation in electronic music. The type of electronic music that we aimed for sounded better with the use of a more minimalistic approach to improvisation. / <p>Låtlista:</p><p>1. Låt 1</p><p>2. Jungle Fever</p><p>3. Rhubarb</p><p>4. Gömböc</p><p>5. Till Mamma</p><p></p><p>Alla låtar skrivna av Olle Adell.</p><p></p><p>Medverkande:</p><p>Courtney Duck - Sång</p><p>Emil Lennstrand - Synthesizer</p><p>Olle Adell - Elbas &amp; synthesizer</p><p>Sammy Hsia - SPD-SX &amp; synthesizer</p>

I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.

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