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The goal of this master project was to create reverberant sound worlds on the border between acoustic and electronic sounds. I approached this goal through the exploration of musical repetition, difference and timbre. These fields were approximated both through practical and theoretical work. This thesis gives insight into my practical work of solo piano playing, with specific focus on the combination of acoustic piano with electronic effect pedals and extended techniques. Reading about and translating concepts and ideas from the fields of minimalism and ambient music has led me to approaching repetition, difference and timbre through thinking-feeling texture. This thesis focuses on the music and concepts that arise in the in-between of these four fields: repetition, difference, timbre and texture. In addition, the text includes theoretical reflections on texture, repetition and listening modes from a conceptual and philosophical angle. This master project has given me new entryways to create music and changed my way of listening. I developed a new style and technique for playing solo piano, which includes a set up for electronically processed and prepared piano. Moreover, I developed several concepts that explain my musical driving forces as well as connect my musical work with visual art and serve as useful tools to share my artistic practice. Especially important are the concepts of uneven repetition, antipiano and texture-gesture continuum. / <p>Anna Wohlfarth – prepared piano</p><p>Marika Markström – electronic processing</p><p>"spatial magnets"</p><p>Solo:</p><p>Anna Wohlfarth – piano, effects</p><p>"3 improvisations"</p><p>Duo:</p><p>Anna Wohlfarth – piano, effects</p><p>Petter Norbäck – sampler, elektronik</p><p>"tonefloat; dark atmo // iceland memories; disintegration"</p>

This text explores the process of composing three compositions using harmonic processes. The purpose is to see which characteristics the music will have due to this way of composing. Central questions are how the overall structure, and the composition process itself, are affected by process-based harmony. The harmonic process in the compositions is built on the principle of changing one note to another at a time between two harmonies, a progress governed from sequences following a constructed bassline. As a point of harmonic reference, I have used Steve Reich´s Music for 18 Musicians. Concerning rhythmic elements linked to the harmonic processes, I have partly used isorhythmic techniques. The investigation shows that harmonic processes facilitate the creation of overall structure and uniformity in the compositions. The overall form, especially of larger compositions, becomes more manageable. Furthermore, the composition process itself is shortened considerably. / Denna text undersöker kompositionsarbetet i tre av mina verk som bygger på harmoniska processer. Syftet är att undersöka hur dessa processer påverkar mitt komponerande. Centrala frågeställningar är hur övergripande strukturer, samt kompositionsarbetet i sig, påverkas av processtyrd harmonik.  Den harmoniska processen i de aktuella verken går ut på att byta ut en ton i taget i övergången mellan två harmonier, ett förlopp som styrs av sekvenser utifrån en konstruerad baslinje. I arbetet använder jag mig av Steve Reichs Music for 18 Musicians som harmonisk referenspunkt. Rörande rytmiska element kopplade till harmoniska processer utgår jag delvis ifrån isorytmiska tekniker. Undersökningen visar att de harmoniska processerna underlättar skapandet av övergripande strukturer och enhetlighet i verken. Formen på framför allt längre verk blir överblickbar och mer lätthanterlig. Vidare kortas kompositionsarbetet påtagligt. / <p>Flow (2021), Andreas Nilsson, Musica Vitae</p><p>Shards of Time (2022), Andreas Nilsson, KammarensembleN</p><p>Accordeonkonsert (2023), Andreas Nilsson, KTHs Akademiska Kapell och Andreas Nilsson accordeonsolist</p>

In the last few years, the concept of lifestyle minimalism has gotten more and more attention. Since discussions about climate change and sustainability have gotten louder, negative aspects of consumption have surfaced. Minimalism seems to be the answer to the problem of consumption and its unsustainable aspects, so why is there so little communication about it when it seems to be a simple way to improve life and live more sustainably? This study examines how minimalism is communicated and defined by generations X and Z by conducting semi structured qualitative interviews within a framework in the areas of minimalism, sustainability, consumption, and well-being. The outcomes are that there is no difference in the perception of minimalism when it comes to the generations, but there are differences depending on how someone is already involved in topics like sustainability and minimalism. With these findings, a model was developed to visualize the “bubble process”, which explains how people find their way into the bubble of sustainability/minimalism and can extend it.

Many individuals in late modern society share experiences of an accelerating pace of life, time scarcity, and a pressure to keep up with the fast pace of change as well as a necessity to stay digitally connected. As a reaction to this, some individuals engage in attempts to disconnect from the online world and their digital devices as they seek to regain control and slow down the pace in life. This study examines deliberate disconnection through the experiences of individuals who engage in digital minimalism, referring to intentional, voluntary practices of paring back on technology in a long-term perspective. The purpose of the study was to explore challenges and benefits, and more specifically, to identify underlying motives and strategies for adopting digital minimalist practices. Analysing the above process, the thesis investigates also how these practices were negotiated over time and in what way motives were related to conscious counteraction of the overwhelming paste of contemporary life. The analysis was focused on the use of smartphones in everyday life. Qualitative semi-structured interviews were conducted with seven individuals adopting digital minimalist practices. The empirical data was analysed using concepts from Hartmut Rosa’s theory of social acceleration. The results from the study pointed out that digital minimalist practice was motivated in a strive to either reclaim or preserve control and rhythm. In line with this, motives were based in a strive to counteract unintentional actions, and therefore strategies mainly concerned attempts to increase the threshold to engage with the smartphone. Experience was marked by benefits of reclaiming control over time which fostered well-being, increased attention to social relations in real life and confidence, but also marked by challenges and ambivalence as the individuals struggled maintaining their strategies. Engaging in digital minimalism fostered those strategies and beliefs to be (re)negotiated as certain circumstances and shifts in life fostered digital availability to a higher degree.

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