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11	Mot händelsernas horisont : Att komponera improviserad musik med ljuddesign som metod Jonsäll, Hans Lennart January 2021 (has links) This Bachelor Thesis in composition explores an alternative compositional process for creating improvised music through the approach of sound design. The questions addressed in the thesis are concerned with how the soundscape can be controlled by the composer while still maintaining the expressivity of an improvised performance. Thus, the composer’s role as both sound designer, producer and performer is investigated using live electronics and score design. The theoretical framework for the thesis is to be found in the intersection between Anglo-American experimental music, electronic music, sound design and electroacoustic improvisation. Key influences include indeterminacy as expressed in the music of John Cage, Deep Listening practices pioneered by Pauline Oliveros as well as the aesthetical paradigms of electronic and electroacoustic music. The artistic methods revolved around the following steps: studio workshops with musicians (Fredrik Ekenvi and José Louis Relova Gallego) exploring timbres, playing techniques and music technology in real-time followed by associative discussions about the soundscapes created; composing audio and graphical drafts influenced by the workshops; designing diagrams for the electronics and compiling these to a design document; workshopping and performing the final piece (Towards the Event Horizon). Towards the Event Horizon (for bass clarinet, electric guitar and live electronics) is the final result of the work, comprising a score with accompanying design document as well as a recording of the original performance at Studio Acusticum in Piteå 20th of March 2021. The artefacts and associated documentation are presented in their entirety on the dedicated Research Catalogue exposition. Conclusions include how composition and sound design are tied together and cannot be considered as isolated processes, especially in the context of live electronics; the interrelationship between the improviser, the acoustic soundscape and the artistic associations that inform the improvisation; the importance of form as the defining element of a composition and lastly; how a score for improvised music can be devised in the shape of a blueprint of form and texture, setting certain technical, sonic and gestural conditions while leaving the performer to play freely within this frame. / <p>Konstnärliga artefakter presenteras via Research Catalogue: https://www.researchcatalogue.net/view/1250652/1250651</p> Composition Experimental music Electronic music Electroacoustic music Electroacoustic improvisation Graphical scores Live electronics Sound design Sound art Sound engineering Music production Digital sound processing Real-time sound processing John Cage Pauline Oliveros Deep Listening Indeterminacy Komposition Experimentell musik Elektronisk musik Elektroakustisk musik Elektroakustisk improvisation Grafiska partitur Live-elektronik Ljuddesign Ljudkonst Ljudteknik Musikproduktion Digitalt ljud realtidsprocessning John Cage Pauline Oliveros Deep Listening Indeterminacy Music Musik
12	Arbetarrörelsen inom den radikala konstmusikens tankekollektiv : En studie av relationen mellan det radikala musiklivet och arbetarrörelsen under svenskt 1960-tal / Labourism within the Thought Collective of Radical Art Music : A Study of the Relationship between the Radical Music Scene and the Labour Movement in Sweden during the 1960s Petersson, Tobias January 2014 (has links) Subject of this study is the evolvement of the radical art music scene in Sweden. In this development took the labour movement an active part during the 1960s. The purpose of this study is to examine how the relationship between the radical art music scene and the labour movement was constituted and what this relationship implied for the Swedish radical art music scene during the 1960s. During the 1960s radical music became an influencial part in the Swedish music scene of modern art music. In this development the artists’ society Fylkingen had a central position. In the early 1960s Fylkingen began to incorporate writers, engineers, scientists, sociologists, philosophers, economists, etc. in their work and a number of projects were initiated which interacted with common society. A proposal for a public record company was developed together with KSF (Social Democratic Association for Cultural Workers) and was presented to the Swedish parliament. In collaboration with ABF (Workers’ Educational Association) the first studio for electronic music was build in 1960 and the relationship between the labour movement and the radical art music scene was institutionalized as the Stockholm Electronic Music Studio Foundation. This thesis uses the terminology of Ludwik Fleck to examine the relationship between the radical art music scene and the labour movement. The concepts of Thought collective and Thought-style are used to draw conclusions about common values and objectives within the Thought-style. The radical art music scene and the labour movement are understood to be part of a common Thought collective with a common style of thought. Because of this relationship, projects initiated in the radical music scene came to emphasize the democratic and educational aspects of music. In the latter half of the 1960s it was conceived impossible to achieve these goals under the existing program, leading to the notion within the style of thought that technological advancement was a prerequisite for a democratic music scene. Art Music Electronic Music Electroacoustic Music (EAM) Fylkingen Elektronmusikstudion (EMS) Labour Movement Workers’ Educational Association (ABF) Thought Collective Thought-Style Karl-Birger Blomdahl Ludwik Fleck Gunnar Larsson Knut Wiggen Konstmusik Elektronisk musik Elektronmusik Elektoakustisk musik (EAM) Fylkingen Elektronmusikstudion (EMS) Arbetarrörelsen Tankekollektiv Tankestil Karl-Birger Blomdahl Ludwik Fleck Gunnar Larsson Knut Wiggen

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Mot händelsernas horisont : Att komponera improviserad musik med ljuddesign som metod