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PROGRAM


EASTN-DC at KMH, 8-13 November 2019
Art, Science & Technology
Digital Creativity | Artistic Research | Spatialisation | AI
Concerts, presentations, installations, workshops and exhibitions
– free entrance, open to all

FRIDAY 8 NOV 12.30-13.15 CONCERT 1: KMH STUDENTS
LILLA SALEN
 

Aleksandra Joanna Slyz: MICRO ERROR CODE (2019) 6’ 00”



Polish composer, sound artist/designer/engineer, living between Poland and Sweden.

Her works are primarily about connections between human, science, technology and art. Right now she is focusing on exploring the possibilities of a human body, using wide spectrum of electronic devices. She would like to think that her interdisciplinary art, in which she emphasizes the importance of sound space, could give an audience a sense of common ground and participation.



Adele Marcia Kosman: dancemusic (2019) 7' 20"


"Clap, woodblock, rhythm, space, bell, pattern, cluster.
Explore.

In the piece "dancemusic" I made a commitment to explore percussive iterations in relationship to rhythms, patterns and clusters. I explored the collective of iterations move in between these categories; hearing the collective timbre changing as the individual sounds remained the same."

Composer and singer Adele Marcia is currently studying electro acoustic compo

sition in Berlin and Stockholm. Her background consists of various engagements in music and arts, professionally starting year 2010 as an alto-singer in Testa Gospel Choir in Stockholm. Later writing and singing in electronic music group For BDK, 2012-2016, introduced music production and electronic experimental music. Later years have involved work with multichannel settings, ambisonics, live organ and vocals, supercollider, and music for moving picture.



Mikael Lindblad Ehnborg: Kitezh Bells (2018) 8’20''



In the construct of a functional condition there comes with time an agreement of matters falsity. The adaptation can be conscious or unconscious, the purpose necessary or fictive. This still state becomes the new normal, until it’s no longer functioning.

Everything is forever, until it is no more. Inspired by Svetlana

Aleksijevitj, Werner Herzog and Alexei Yurchak.


Mikael Lindblad Ehnborg is a composer and sound designer currently studying at the Royal College of Music in Stockholm. He currently works with projects focused on collective composition and sound for motion pictures.



Rikard Vilhelm Lindell: Mental Landscapes (2018) 8’31”


Photo: Joel Dittrich

Mental Landscapes is a spatialized excerpt of the compositions for Fanny Olla's installation Mental Landscapes, the Red Room, Blue Room and the Black Room. In Mental Landscapes we move from the Red Room for superficiality, self-awareness, perfection and demands but also shame, the room is about hiding your flaws and "sweeping something under the carpet" via the Blue Room for the longing, loneliness and sadness to the innermost Black Room. In the Black Room we face fear, anxiety and our inner darkness, where we hide our feelings and put them in cabinets and drawers, here is where we keep secrets that no one will ever see. In this spatialized excerpt, each room constitutes a compositional layer portraying each set of emotions. The layers have a spatial and a spectral relation to each other.

Fanny Olla's installation was displayed in the Spring Exhibition Master / CRAFT! - Ceramics and Glass at University of Arts, Crafts and Design May 2018 in Stockholm, and later the Momentum Biennial June to October 2019 in Moss Norway.
Rikard Vilhelm Lindell is a student in composition with focus on electro-acoustic music, an experience designers, a code artisan and a lecturer in computer science with research in interaction design.


Brenda El Rayes: Al Hayat (2019) 6’00” 


Life was never created for you and your families alone
For we also hunger life
And it is our right to live it

Lebanese born Brenda El Rayes is an electroacoustic composer, DJ and producer combining her Arab and Syriac heritage with Scandinavian and western aesthetic.

Adam Eriksson: Gitanjo (2017) 10’00”


Gitanjo consists of a guitar extended by means of preparations, electronics and other sounding bodies, most notably a banjo. These modules are connected in a feedback system to enable the extension of one by exciting another. At Between an excerpt of the longer piece will be played.

Adam Eriksson (b.1991) is a composer from Sundbyberg currently pursuing his masters in composition at KMH.






FRIDAY 8 NOV  14.00-17.00
PRESENTATIONS x 5
NATHAN MILSTEINSALEN
Presentations by: Lisa Bensel, Kim Hedås, Ricardo Climent, Houngshou Fan, Henrik Frisk

Lisa Bensel: The open access publishing project “From Xenakis’s UPIC to Graphic Notation Today”



The open access publishing project “From Xenakis’s UPIC to Graphic Notation Today” draws an extensive line from the historic development of the UPIC in the 1970s and its technique, social implications and educational aspects towards the translation of its idea into manifold software applications from the 1990 until today. The story of this groundbreaking tool for the development of experimental music as well as graphic notation from a today’s perspective is told through 26 personal and scientific essays. It is intended to publish the volume of +500 pages with images and listening samples online and free of charge in December 2019.

This talk goes into detail about the UPIC by presenting snippets of the yet unpublished material and draws connection to some examples of today’s software for graphic notation that are often developed open source. Subsequently, the interdependencies of this open publishing project are discussed and reveal the hidden structure consisting of problems, decisions, politics and changes of such an extensive undertaking – to make this knowledge publicly accessible.


Lisa Bensel, Research Associate at ZKM | Hertz-Lab
Lisa Bensel is a curator and researcher working at the ZKM | Hertz-Lab as a research associate since the end of 2018, following her employment as an assistant curator at the Staatliche Kunsthalle Baden-Baden. She previously was engaged as an independent curator and art manager working together with institutions and festivals like the Havana Biennale, the Marrakech Biennale, new talents – biennale cologne, the Ghetto Biennale, the Shanghai Academy of Art, Showroom MAMA, Goethe-Institut Rotterdam; directed the Cologne art space Q18, and initiated numerous independent and often interdisciplinary exhibition projects dealing with globalization, urbanization, artistic production, media history or social criticism. She obtained a BA in Fine Arts at the Dutch AKV St. Joost and a MA in International Art Management at a split degree program based in Cologne (a.o. KHM, HfMT and Kunstakademie Düsseldorf).



Kim Hedås: Underground Lakes to Visit: Spaces, Shiftings and Structures in Polyphonic Compositions


Foto: Andrea Hedås Schmidt

This presentation will comprise some thoughts on how to compose large-scale compositions – large with respect to extensive duration, polyphonic lines, rooms with varied spatial configurations, content, or all of these. I will share some experiences from recent projects, focusing on two of my works at the festival Between 2019: Visit for Ljudbänken and Lineages for organ and electronics, both composed in 2019. 



Kim Hedås is a composer, PhD, senior lecturer and researcher at the Royal College of Music in Stockholm (Kungliga Musikhögskolan, Stockholm). Her music has been performed by, among others, the Swedish Radio Symphony Orchestra, the Gothenburg Symphony Orchestra, the Symphony Orchestra of NorrlandsOperan, Gageego!, pëarls before swine experience, Kroumata, VOX, DalaSinfoniettan, and the Gothenburg Opera. She also works with electroacoustic music and collaborates often with other artists in theater, art and architecture. In recent years, her music has been performed internationally and also at Konserthuset in Stockholm, Göteborgs Konserthus, Moderna museet, Kulturhuset, Färgfabriken, the Architecture Biennale in Venice, Kivik Art Centre, Teater Galeasen and the Royal Dramatic Theatre in Stockholm. In 2013, Kim Hedås completed her PhD at the Faculty of Fine Arts, University of Gothenburg with the dissertation Linjer. Musikens rörelser – komposition i förändring (Lines: Music moving – composition changing).


kimhedas.se


Ricardo Climent: EASTN-DC Manchester Update



Detail: work in progress from EASTN-DC partner NOVARS Research Centre at the University of Manchester, comprising key research targets, artists in residence, creative aims, community sharing and the links with the creative industries.

Update on Noh Virtual http://nohvirtual.com/
Introducing creative aspects of Climent’s research under the umbrella of EASTN-DC and NOVARS.


Hongshuo Fan: Introduction and demonstration of Handwriting · WuXing

Detail: Introduction and demonstration of the Chinese calligraphy stroke gesture recognition system, alongside the visual and sound system designed for this work.

Hongshuo Fan is a Chinese sound artist and multimedia composer. He is currently doing his PhD at the NOVARS sound research centre (University of Manchester). He was a faculty of the Electronic Music Department at Sichuan Conservatory of Music and member of Sichuan Key Laboratory of Digital Media Arts. His research and creative interests include New Media Art, Interactive art and Multimedia Design. Hongshuo’s works have been selected to perform in China, United States, Poland, Netherlands, Sweden, Korea and many other international events. He is the winner of the 2015 Shanghai International Electronic Music Week "Best Works Award" and the 2016 ICMA (International Computer Music Association) Asia-Oceania Regional Award.


Henrik Frisk:  Machine (Un)intelligence: Aesthetics, interaction and improvisation
 


Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this presentation discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this paper, with limited intelligence and no real cognitive skills will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in the group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.

Henrik Frisk is an active performer (saxophones and electronics) of improvised and contemporary music and a composer of acoustic and electroacoustic music. He is professor at the Royal College of Music in Stockholm, and his research is concerned with improvisation, interactivity spatialisation and experimental electroacoustic music. Among other research projects he is currently involved with Musical Transformations, a project exploring musical traditions and change. He has contributed to the /Routledge companion to research in the arts and is the co-editor and contributor of /Acts of Creation/, an anthology on artistic research supervision.

Henrik has performed in many countries in Europe, North America an Asia including performances at festivals such as the Bell Atlantic Jazz Festival, NYC. As a composer he has received commissions from institutions, ensembles and musicians mainly in Scandinavia. He has made numerous recordings for American, Canadian, Swedish and Danish record labels and is currently a member of the collective Kopasetic Productions.


FRIDAY 8 NOV  17:00-18:00
RECEPTION
ERLING PERSSON ATRIUM
Welcome to Between 2019!


FRIDAY 8 NOV  19:00-21:30
CONCERT 2: ORGAN, PIANO & ELECTROACOUSTIC MUSIC
NATHAN MILSTEINSALEN
& LILLA SALEN


Sten Sandell, Henrik Frisk, David Granström, Kim Hedås, Johannes Landgren

Sten Sandell: borduna solenoid - akustisk levitation (2019)  24’ 10”

”Den andra berättelsen handlade om en straffånge som sedan många år försmäktade i sin cell. Den arme mannen var dömd till livstids fängelse och bevakades så strängt att han var säker på att han skulle få sluta sina dagar i fångenskap. Men en natt får han höra svaga knackningar i ena cellväggen. Han lägger örat mot väggen och urskiljer klart och tydligt avsiktliga knackningar i utförliga serier som upprepas med bestämda intervaller. Häpen som han blir tror han att det är en hallucination av det slag som åtföljer hans eländiga isolering. Men vid samma klockslag dagen därpå och varje dag därefter får han återigen höra knackningarna. Han lär sig dem utantill och börjar kreta ner det han hör på väggen bakom sängen. Då och då blir variationerna mer komplicerade, som om nya ”ord” förs in i koden av grannen på andra sidan väggen. Först efter flera månader finner han de första sambanden i knackningarnas hemliga väv, och först åratal senare har han lärt sig språket. Så börjar en dialog växa fram där fången svarar med samma kod (som han har uppfunnit tecken för, halvmånar, kugghjul, kors och trianglar som han ristat in i väggen). Grannen förstår honom och lägger fram en flyktplan, hisnande djärv och otroligt enkel. Så en natt efter alla nödvändiga förberedelser följer fången strikt alla instruktioner och kan rymma. Ett antal år senare, när han friserat sin levnadshistoria och blivit rik och berömd, begär han tillstånd att besöka fängelset för att äntligen få lära känna honom som han är skyldig allt och som han i sin tur vill försöka rädda. Han förs till cellen där han förspillt sin ungdom och frågar fångvaktaren efter fången på andra sidan väggen. Till sin bestörtning får han då veta att där inte finns någonting mer än himlen och havet. Väggen är en yttervägg tio meter ovanför vågorna som bryts mot strandens klippor…”

Utdrag från Mircea Cartarescu:  Solenoid

Music / Sound / Text / Image / Real-Time Composer

Piano/Voice/Clavichord/Organ/Electronics
Freelancer and Cooperation with Musicians/Composers including among others: Lotte Anker, Chris Cutler, Sverrir Gudjonsson, Nina de Heney, Sofia Jernberg, Sven-Åke Johansson, Paal Nilssen-Love, Evan Parker, Mats Persson, Jörgen Pettersson, Anna Svensdotter, Kristine Scholz, Carl-Axel Dominique, Mats Gustafsson, Emil Strandberg and Raymond Strid. Music Inside the Language (3 CD-box, part of PhD) was winner of Contemporary Sound in 2011 of the Journal Contemporary Music. Music and visual arts, including Inger Arvidsson, Katarina Eismann, Bo Samuelsson. Music and dance, including Bo Arenander, Ingrid Olterman, Jukka Korpi, Helena Franzén. Music and Drama including Karl Dunér, Stina Ekblad, Magnus Florin, Jörgen Gassilewski, Magnus Jacobsson, Willy Kyrklund, Fredrik Nyberg, Peter Oskarson, Rolf Skoglund and Lars Wassrin. Concerts, Performances and Seminars in Europe, North America, Australia, Singapore, Malaysia, Russia, Japan and South Korea 1976-2019. Doctor of Philosophy In Fine Arts in Musical Performance and Interpretation, University of Gothenburg, 2013.
stensandell.com


Henrik Frisk: Locomotion (2019) 19’



Locomotion is simultaneously an installation and a composition. It is a work in motion and is in continuous development. The main idea is to explore the tension between sound environments that have a clear connection to a place, and those that do not. This is related to the field of tension between virtual sounds – e.g. sounds that do not have an immediate relation to its source, such as some electronic sounds – and sounds the source of which is impossible to neglect. There are many aspects to why this may be interesting but at the core of this piece lies the search for the musical potential in each and every sound. Ultimately the listener should be able to approach the full sound, that is, the sound and its origin, and the musicality of the sound, and move back and forth between them. The hope is that this may challenge the perception of the spatial properties of the sounds as well as allow for transformations between the sound's and the listener's respective, and common, space.

This version of Locomotion is an installation insofar as the audience may move freely between the two halls, Lilla Salen and Nathan Milstein, and the space between them. The music is different in the different spaces, hence, the listener can make their own version by moving through the spaces.

The sounds are field recordings from the environments around the Royal College of Music, and also from inside the building. Apart from these recordings there are also synthetic sounds made from a physical model of a clarinet. The synthetic clarinet part departs from the sound fields but is also composed with purely musical ambitions. A next version of Locomotion could include a live clarinet part played along with the artificial, but also independently of it.

Henrik Frisk is an active performer (saxophones and electronics) of improvised and contemporary music and a composer of acoustic and electroacoustic music. He is professor at the Royal College of Music in Stockholm at the department for electroacoustic music composition, and his research is concerned with improvisation, interactivity, spatialisation and experimental electroacoustic music. Among other research projects he is currently involved with Musical Transformations, a project exploring musical traditions and change. He has contributed to the Routledge companion to research in the artsand is the co-editor and contributor of Acts of Creation, an anthology on artistic research supervision.

Henrik has performed in many countries in Europe, North America and Asia including performances at festivals such as the Bell Atlantic Jazz Festival, NYC. As a composer he has received commissions from institutions, ensembles and musicians mainly in Scandinavia. He has made numerous recordings for American, Canadian, Swedish and Danish record labels and is currently a member of the collective Kopasetic Productions.

David Granström: Obsidian (2019) 9’24” 
Magnetite II (2019) 4’33” 
Empty room (2019) 10’11”


These three interrelated pieces were composed 2019 during a residency at TNEC located at Ställbergs gruva (a defunct iron ore mine). The music revolves around a justly tuned chord including the 19:th natural harmonic, and features nightly field-recordings from inside the abandoned mine as well as re-amping of synthetic musical materials. The music has since been reworked into an Ambisonic version spefically made for Klangkupolen.

David Granström (b. 1987) is a composer and sound artist based in Stockholm, Sweden. His sound work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of both synthetic and acoustic origin. In 2014, he received a Master’s degree in Composition of Electronic Music from the Royal College of Music in Stockholm and has, since then, worked as a teacher of composition, sound synthesis and advanced spatialization, in part at the Electronic Music Studio (EMS) in Stockholm. Part of Granström’s practice consists in researching new methods for working algorithmically with real-time sound synthesis and precision-tuned harmony, a work which is technically realized by employing tools that he himself develops in the SuperCollider programming environment.

Kim Hedås: Lineages (2019) 20’


For organ and electronics in sixteen channels, spatialised into sixty loudspeakers.

Lineages is another word for origins. The title for this work has been chosen because the music here is pointing backwards to the extensive history for both organ music and electroacoustic music. Although following very different paths through history, these two have some similarities, not least in various experiments which explore and expand both space and time. By listening backwards, some lineages can be transferred from the past to my work, sometimes clear and recognizable, sometimes distorted and fragmented. Microscopic units of rhythms shape both polyphonic lines and alloys of sounds, and dynamically bind together what was previously unrelated. Other lineages emerge and are now woven together in the structure of sounding material.

Lineages
is a new work in a collaborative project between organist Johannes Landgren and composer Kim Hedås, and is aimed at fusing multiple sounds of organ and electronics. The project comprises several studies, laboratory work and historical excursions. Four main areas are to be explored further: alloying of sounds, alternative tuning, expanded polyphony and spatialisation. Lineages is a first result of these experiments with organ and electroacoustic music.


Kim Hedås is a composer, PhD, senior lecturer and researcher at the Royal College of Music in Stockholm (Kungliga Musikhögskolan, Stockholm). Her music has been performed by, among others, the Swedish Radio Symphony Orchestra, the Gothenburg Symphony Orchestra, the Symphony Orchestra of NorrlandsOperan, Gageego!, pëarls before swine experience, Kroumata, VOX, DalaSinfoniettan, and the Gothenburg Opera. She also works with electroacoustic music and collaborates often with other artists in theater, art and architecture. In recent years, her music has been performed internationally and also at Konserthuset in Stockholm, Göteborgs Konserthus, Moderna museet, Kulturhuset, Färgfabriken, the Architecture Biennale in Venice, Kivik Art Centre, Teater Galeasen and the Royal Dramatic Theatre in Stockholm. In 2013, Kim Hedås completed her PhD at the Faculty of Fine Arts, University of Gothenburg with the dissertation Linjer. Musikens rörelser – komposition i förändring (Lines: Music moving – composition changing).


kimhedas.se

Johannes Landgren: organ


Landgren studied at the Academy of Music and Drama, where he achieved Church music exam in 1985, Soloist diploma 1987 and choir pedagogy exam in 1990. In the year of 1997 he defended his PhD thesis on the Czech composer Petr Eben (”Music - Moment - Message. Interpretive, Improvisational, and  Ideological aspects of Petr Eben’s Organ Works”).

As organist and choir conductor he has toured in most countries in Europe as well as in Russia and USA (with international recognition through competitions and festivals). He has made numerous recordings for radio and has presented more than 30 CD-recordings with a great variety of genres represented (from the renaissance, baroque, jazz, contemporary music etc). Johannes served as Professor of organ and improvisation at the Academy of Music and Drama in Gothenburg as well as Pro Dean for the Faculty of Fine, Applied and Performing arts.

At present Johannes, besides being a freelance musician, works as a guest professor at the Royal Academy of Music in Stockholm, where he recently also was appointed as Pro Vice chancellor.


SATURDAY 9 NOV 9:00-12:00
ZIRKONIUM WORKSHOP
LILLA SALEN
Spatial Audio and Zirkonium + Zirkonium Hands-On Workshop
by Ludger Brümmer / Dan Wilcox

Limited number of participants. See www.kmh.se/konserter  for information.


This workshop provides an overview of Zirkonium 3.4, the latest version of ZKM |Hertz-Lab‘s sound spatialization software environment. A sound server, trajectory editor, and sequencer rolled into one, Zirkonium abstracts physical speaker layouts and automatically pans sound sources based on their position which can be moved over time, either through interpolation or direct control over a network connection.

The first part of the workshop is open to a wider audience. Within a lecture setting, both technical aspects and usability of the software as well as spatial audio as a compositional tool are addressed by Ludger Brümmer and Dan Wilcox.

The second part of the workshop puts emphasis on a hands-on use of Zirkonium. Up to 15 participants can register beforehand. They should bring their Apple laptops (macOS 10.10+) as well as headphones and pre-recorded
material they would like to try out on the Klankupolen.


Dan Wilcox (*1981, Orange, United States) is an artist, engineer, musician, performer who combines live musical performance techniques with experimental electronics and software for the exploration of new expression, often through themes of science fiction, space travel, cyborgification, and far futurism. He currently lives in Karlsruhe, Germany and is an artist, researcher and software developer for the ZKM | Hertz-Lab.

Ludger Brümmer (*1958, Werne, Germany) is a composer, professor of composition, and head of the research institute ZKM | Hertz-Lab since 2017. Since 2003, as head of the former ZKM | Institute for Music and Acoustics, he initiated the Sound Dome Project and important festivals on electronic music. The central focus of his music is the use of the computer both as an artistic means of composition and for electronic sound production. Brümmer has also realized a series of multimedia and interdisciplinary projects, experimental music pieces, compositions for dance and live electronics, and is interested in the interaction between acoustic instruments and live video.


INSTALLATIONS

PARTICIPANTS



ACROE, GRENOBLE, FRANCE
Claude Cadoz – Composer, Designer, Programmer

Nicolas Castagné – Programmer, Engineer


Annie Luciani – Researcher, Artist



CARDIFF SCHOOL OF ART AND DESIGN, CARDIFF METROPOLITAN UNIVERSITY, ENGLAND

Alexandros Kontogeorgakopoulos –  Ph.D. transdisciplinary artist-researcher in Art - Science - Technology & Senior Lecturer in Sound and Media Art


CITÉ DE LA MUSIQUE, ROMANS, FRANCE

Baptiste Pierre – Composer, Musician, Professor

Maxime Dangles – Composer, Electronic Music Producer


Doseo (Leghau) – Composer, Electronic Music Producer


5XL.IKS – Composer, Electronic Music Producer



CONSERVATORIO DI CUNEO, ITALY

Davide Ficco – Guitarist, Composer 

Azio Corghi – Composer, Professor Milano Conservatory and Accademia di Santa Cecilia in Roma


Gianluca Verlingieri – Composer, Professor


Giuseppe Gavazza – Composer, Professor 


Marco Barberis – Artist, Professor



EMS, ELEKTRONMUSIKSTUDION, STOCKHOLM

Daniel Araya – Composer, Studio Engineer

Jonas Broberg – Composer, Digital Archivist


Mats Erlandsson – Composer, Assistant Studio Engineer


Julia Giertz – Composer, Choreograh, Engineer


Pär Johansson – Composer, Librarian


Mats Lindström – Composer, Artistic Director


Lisa Stenberg – Composer, Education Coordinator


Francesco Torelli – Composer, Erasmus+ Intern



ZKM, KARLSRUHE, GERMANY

Ludger Brümmer – Composer, Professor

Lisa Bensel – Curator, Researcher  


Dan Wilcox – Composer, Programmer


Marcin Pietruszewski – Composer, PhD




LJUDMILA, LJUBJANA, SLOVENIE

Tadej Droljc – Composer, PhD student 



UNIVERSITY OF MANCHESTER, UK

David Berezan – Composer, PhD, Professor

Ricardo Climent – Composer, PhD, Professor


Hongshou Fan – Composer, PhD student


Manuella Blackburn – Composer, PhD, Lecturer at Keele University



KMH GUEST CREATORS & RESEARCHERS

Georgina Born – Professor Oxford University


David Granström – Composer, Programmer invited to KMH, Stockholm

Sten Sandell – Composer, Musician, PhD invited to KMH, Stockholm


Karin Hellqvist – Violinist, PhD student Norwegian Academy of Music, Oslo


George Kentros – Violinist invited to KMH, Stockholm


Benoit Baudry – Professor KTH Royal Institute of Technology


Björn Bjurling –  Senior Researcher, PhD
RISE SICS 

Roberto Bresin – Professor KTH Royal Institute of Technology



KMH, THE ROYAL COLLEGE OF MUSIC IN STOCKHOLM

Bill Brunson – Composer, Professor 

Henrik Frisk – Composer, PhD, Professor


Kim Hedås – Composer, PhD, Senior Lecturer


Mattias Petersson – Composer, Senior Lecturer


Mattias Sköld – Composer, Senior Lecturer 


Marcus Wrangö – Composer, Lecturer


Eva Bojner Horwitz – PhD, Professor

Johannes Landgren – Organist, PhD, Professor


Susanne Rosenberg – Folk Music Singer, PhD, Professor


Monireh Shirani – Project Coordinator



KMH STUDENTS

Adele Marcia Kosman – Student, EaComposition B 3

Mikael Lindblad Ehnborg – Student, EaComposition B 3


Rikard Vilhelm Lindell – Student, EaComposition B 3


Brenda El Rayes – Student, EaComposition B 2 


Aleksandra Joanna Slyz – Student, EaComposition M 1


Adam Eriksson – Student, AComposition M 2


Mattias Hållsten – Student, EaComposition M 1


Maria Lindström – Student, EaComposition M 1


Anna Björn – Student, EaComposition M 2


Theodor Kentros – Student, EaComposition B 2


Linus Hillborg – Student, EaComposition B 2


Viktor Sandström – Student, EaComposition B 2


Maria W Horn – Student, EaComposition M 2


Fredrik Mathias Josefsson – Alumni, EaComposition


Diego Ratto – Alumni, EaComposition 



+ KMH STUDENTS  

Kajsa Blom – Student, EaComposition B 1

Niklas Dahlquist – Student, EaComposition B 1


Serena K – Student, EaComposition B 1


Simon Söderberg – Student, EaComposition B 1


Jerker Österlind – Student, EaComposition B 2


Karl Johannes Jondell – Student, EaComposition B 2


Giovanni Onorato – Student, EaComposition B 3


Abigail Toll – Student, EaComposition M 1


John Chantler – Student, EaComposition M 1





















































































LILLA SALEN - KLANGKUPOLEN


A 100 seats concert hall with an immersive sound system that consists of 29.4 loudspeakers in a periphonic configuration.The floor is flat and the hall and walls are covered with acoustic panels that hide large amounts of technical equipment. The green color will bring to mind a forest, a growing ecosystem of musical experiments.

NATHAN MILSTEINSALEN



The hall is adapted for acoustic music and has a fixed stage at one end and an organ in the other. It can be furnished in two directions and accommodates around 100 people. Its undulating waveform has both aesthetic and acoustic function, and the inspiration for the interior comes from the Stockholm Archipelago.

KUNGASALEN 



A large concert hall with a 5.1 audio system and video. The walls are lined with acoustic panels in wafer-thin wood veneer. The red color symbolizes intensity and the outward activity of the hall. Red is also a KMH signature color.
The large grandstand is telescopic, and can be pushed into the wall to give a large plan, floor area. A platform can be raised to a scene in the middle of the room.

FOYER / VERTICAL ACOUSMONIUM
Situated in the great entrance hall of KMH
1D220 / MUSIC TABLE & WORKSHOPS
Situated in the main glass building, house D, entrance floor.
1D221 / EXHIBITION ROOM
Situated in the main glass building, house D, entrance floor.

EASTN-DC




The European Art - Science - Technology Network (EASTN) for Digital Creativity is a project that emerged from several European institutions involved in research, technology development, creation and education in the field of technologies applied to artistic creation. At European Level, this network is coordinated by ACROE (Grenoble, France) and supported by the Culture Program of the European Union. www.eastndc.eu


Vertical Acousmonium
KMH’s entrance foyer is four stories high and features three balconies which extend nearly the entire length of the building.

The Vertical Acousmonium is comprised of twenty-four loudspeakers with eight speakers distributed on each level plus at least two sub-woofers.

Works for the Vertical Acousmonium are played continuously throughout the day.

Ludger Brümmer: Gesualdo (adapted for Vertical Acousmonium) (2004) 19”42’

Carlo Gesualdo's "Canzon francese" (MS Add. 30491) serves as the starting point for a dramaturgy of virtual sounds in the work for tape "Gesualdo", in which the processing processes carried out with the computer lay themselves over the object itself like a patina, destroying it and reassembling it. The work is comparable to the work of a painter who, starting from a photographic sketch, begins his process of abstraction by reinterpreting and deforming elements of the object and continues to paint over the original object. It is unpredictable what kind of power the work develops over time. The tonal elements at the beginning form rhythmic modules that lead to repetitive phrases. The form of the work leads to a climax after a long prelude. It is a hypnotic process that creates an aura, as does Gesualdo’s composition.

Ludger Brümmer


Ludger Brümmer: Carlo (adapted for Vertical Acousmonium) (2004) 22”00’

The work "Carlo" is based on the examination of the madrigals of Carlo Gesualdo and represents the attempt to combine two completely different principles of composing music: on the one hand, the sound movement contained in the madrigal with a tonal or chromatic-harmonic form related to the vocal abilities and, on the other hand, contemporary structural ideas which are shaped by the technique of serial music and mathematical concepts of order. The latter arise from the attempt to discover new principles of form and to generate a contemporary structural movement with high complexity but easy accessibility.
The idea of using a Renaissance madrigal as a substantial moment for a contemporary composition seems to be the result of a postmodern thought. However, a distinction must be made between a postmodern citation technique and the heterogeneous integration of foreign material into a new context. In the composition "Carlo", this combination of heterogeneous elements is intensified into a question of existence: the new is constructed from the old. The old building becomes a quarry, or it is changed, extended, torn down and destroyed, as has always happened in architecture. But this work is also about attempting to answer the painful question of why this new should emerge at all.

Produced by ZKM | Institute for Music and Acoustics and Musicological Institute of the University of Cologne

Gianluca Verlingieri: Fontana reMix (2006-2009)
for multichannel tape


Premiered at Mexico City’s Musica y Escena Festival in 2006, Verlingieri’s Fontana reMix multichannel tape has been revised in 2008-9 for a for Wave Field Synthesis projection on 189 loudspeakers at the Casa del Suono in Parma, celebrating the 50th anniversary of Cage’s original Fontana Mix tape. Verlingieri’s work has then been performed worldwide in several speakers configurations, both as tape alone or simultaneously with a live performance of Cage’s Aria by the American bass-baritone Nicholas Isherwood, also issued on CD by the Swedish label BIS-Records.

The idea of reMix is not related to any elaboration of Cage’s original tapes, but rather lies in the attempt to metaphorically “mix-up” two aspects: first, a  composition process fully adherent to the set of tools and rules provided by Cage himself with the 1960 Peters score, and, second, the effort to go beyond the first process, giving back to the composer some decision-making responsibilities, mainly in terms of macro-form structure and kind and density of events, but also with regard to the categories of the sonic materials or the techniques to process them. The resultant kaleidoscope is, once again, a (re)mix between the acoustic properties of sound objects and their cultural meanings in the present society. This version has been appositely conceived for the 24.2 loudspeaker setup of the KMH Vertical Acousmonium at the Between2019 EASTN-DC Festival.

Marco Barberis: Q-Verch (2015) 5’ 30”

Marco Barberis’ fixed media piece Q-verchbring the listeners in an imaginary soundscape in which both sonic gestures and their perception play on the ambiguous border between natural sounds (e.g. water drops in a cave) and cultural sounds (e.g. ordinary and stringboard piano sounds), and their hybridations.
Music Table
Room 1D220

The Music Table consists of a variation of 1-15 desktop applications that disseminate several aspects of algorithmic electronic composition. For instance, there are programs like the Lindenmayer Explorer or the Pattern Machine that generate sounds and rhythms by applying a Lindenmayer algorithm respectively different kinds of patterns to sound notes. There are works like MusiCode with which users can create their own sound structures by playing with code fragments, or there are works like Rotating Scores or Rhythm of Shapes that disseminate contemporary methods of graphic notation in an interactive way.
It is a learning tool for users of all kinds of ages and education background. 

Works by, a.o.: Ludger Brümmer, Dan Wilcox, Chikashi Miyama, Götz Dipper.


Dan Wilcox (*1981, Orange, United States) is an artist, engineer, musician, performer who combines live musical performance techniques with experimental electronics and software for the exploration of new expression, often through themes of science fiction, space travel, cyborgification, and far futurism. He currently lives in Karlsruhe, Germany and is an artist, researcher and software developer for the ZKM | Hertz-Lab.




Ludger Brümmer (*1958, Werne, Germany) is a composer, professor of composition, and head of the research institute ZKM | Hertz-Lab since 2017. Since 2003, as head of the former ZKM | Institute for Music and Acoustics, he initiated the Sound Dome Project and important festivals on electronic music. The central focus of his music is the use of the computer both as an artistic means of composition and for electronic sound production. Brümmer has also realized a series of multimedia and interdisciplinary projects, experimental music pieces, compositions for dance and live electronics, and is interested in the interaction between acoustic instruments and live video.
Ljudbänken
Located in the outdoor courtyard of KMH.

Kim Hedås: Visit (2019) 55’ 00”

For Ljudbänken (the Sound Bench) and originally mounted at Fatbursparken, Södermalm, as a commission from Stockholm art and Audiorama, composed at EMS in Stockholm.

Visit (2019) is a four-channel electroacoustic work of fifty-five minutes, repeated continuously. The form is composed in five parts, and the material develops organically in sequences with units of five, eight, eleven, forty and fifty-five in an expanding structure of polyphonic lines. Fragments are combined kaleidoscopically; they appear, dissolve and disappear, recur in different shapes, interconnect in situations that slowly subside, reappear, change, fade away and disappear. Cyclical events can sometimes seem eternal, repetitively infinite, even if they are only temporary visits, momentarily short situations that soon disappear into history's fluid mass of events. Visit connects to the history of this particular place, Fatbursparken, where people's activities over thousands of years have developed and changed this location. Change will continue as new people visit this place.

Kim Hedås Visit is based on the history of Fatbursparken at Södermalm in Stockholm, and the people who have lived there for millennia. When the inland ice melted ten thousand years ago, a bay was formed in the then outer archipelago and through the land rise, the bay in the middle of the island became a large lake with fresh water and plenty of fish. Pollen analyzes indicate human presence here already three thousand years ago. The forests, meadows and beaches around the lake eventually become pastures and farms, with jetties and boats, farms, stables, windmills, workshops, ore farms, slaughterhouses, wood traders, marketplaces, breweries, rope mills, tile factories, dyeing plants, nurseries, weaving mills, theaters, taverns, health wells, pharmacies,, churches, poor houses, garbage dumps and palaces. The city grows, the orchestra plays at the beach edge for well-dressed café visitors, the garden association baths in the evening sun, the garbage is thrown into the lake which slams again and shrinks, mosquitoes spread malaria, trapped bears are trained to performances, the lake is ditched to give way to straight streets and when a railway station is to be built, the lake is finally filled again. The people who work and live here can no longer skate on the lake but the story continues; In the neighborhood, the old houses are demolished to give place for factories, schools, shops, cinemas, fire stations, hotels, concert halls, letterpresses, civic houses, car scraps, hospitals, garbage stations, subway and housing in arch with rounded park. The children grow up and the sausage factory is transformed into digital development. From the very beginning, through these changing centuries, people have passed by right here – day and night, during all seasons, with different errands, sometimes only on a short visit and sometimes every day throughout their lives. Right now, Fatbursparken is about to change again, railway tunnels have been blown under the island and the tracks are to be covered so that the park will tie together what has long been cut off, the new grows up and still underneath everything there are the beaches and the lake. The time layers exist simultaneously.








Ljudbänken will be stored in the Arctic World Archive. The Arctic World Archive will become home to world cultural treasures, among them Audiorama and Stockholm konst's sound art project Ljudbänken.

Kim Hedås is a composer, PhD, senior lecturer and researcher at the Royal College of Music in Stockholm (Kungliga Musikhögskolan, Stockholm). Her music has been performed by, among others, the Swedish Radio Symphony Orchestra, the Gothenburg Symphony Orchestra, the Symphony Orchestra of NorrlandsOperan, Gageego!, pëarls before swine experience, Kroumata, VOX, DalaSinfoniettan, and the Gothenburg Opera. She also works with electroacoustic music and collaborates often with other artists in theater, art and architecture. In recent years, her music has been performed internationally and also at Konserthuset in Stockholm, Göteborgs Konserthus, Moderna museet, Kulturhuset, Färgfabriken, the Architecture Biennale in Venice, Kivik Art Centre, Teater Galeasen and the Royal Dramatic Theatre in Stockholm. In 2013, Kim Hedås completed her PhD at the Faculty of Fine Arts, University of Gothenburg with the dissertation Linjer. Musikens rörelser – komposition i förändring (Lines: Music moving – composition changing).


kimhedas.se


Ljudbänken will be stored in the Arctic World Archive
The Arctic World Archive will become home to world cultural treasures, among them Audiorama and Stockholm konst's sound art project Ljudbänken.

https://www.stockholmkonst.se/aktuellt/ljudbanken-5/

https://www.stockholmkonst.se/aktuellt/ljudbanken-i-arctic-world-archive/

https://www.piql.com/publics-top-10-to-be-stored-in-the-arctic-world-archive/

https://www.audiorama.se/events/2019/ljudbanken-kim-hedas





NCS_Hypogean-City (2019)  
Located between Lilla Salen and Nathan Milsteinsalen. Plays continuosly.

NCS_Hypogean Cities (2019) by Ludger Brümmer, Yannick Hofmann, Dan Wilcox, Tomasz Ciotucha is continuously performed on a daily basis between circa 11:00-19:00 in the Lower Foyer by the entrances to Nathan Milstein Salen and Lilla Salen.
Multi-room Sound Installation
ZKM | Hertz-Lab, 2019


NCS_Hypogean-City is a multi-room sound installation of spatialized electroacoustic miniatures. The miniatures are transitioned using an AI style transfer. Their textual characteristics and dramaturgical progressions are built upon the sonification of timeline and geological data of the Italian city of Matera – a unique place protected by the UNESCO as World Heritage, being one of the oldest cities in the world with distinctive cave-like dwellings carved out of limestone. This soft stone consists mainly of calcium carbonate, a chemical compound of the elements calcium, carbon, and oxygen. Both the symbolic and numerologicalic aspects of those elements Ca (20), C (6), O (8) play a decisive role in the compositional process.

Matera’s unique setting is reflected in the entrance hall of the KMH through the dynamic placement of small-scale loudspeaker systems that stimulate the specific spatial acoustics of the venue.

The multi-room sound installation NCS_Hypogean-City was developed in 2019 for IN VITRØ - artificial sønification as part of the Interfaces Project, co-funded by the Creative Europe Programme of the European Union.





EXHIBITIONS

Zwischenraum (Interspace)

poster presentation, Julia Rommel, 2019

Zwischenraum (interspace) is based on an artistic exploration of an acoustic measurement of space. The work draws close connection between the cultural techniques of graphic notation and cartography.  
To gain a more precise overview of her daily movement routine, Rommel recorded every distance with at least a duration of 3 minutes for a period of exactly one year, with precise details of the duration, starting, and end points of the movement and the means of transport. Although this documentation was not originally created for the purpose of analysis, it became the starting point for reflecting on what overcoming distance – the interspace – means to her.

The interspace actually describes a temporal-spatial interval, which has to be traversed by subway, train, car, or airplane, in order to get from A to B. Even though this is a kind of by-product, the space in between becomes a kind of state of mind, of contemplation and distraction. Rhythm is the permanent confirmation of continuity. The space in between contains neither the past nor the future, thus no development, but rather the standstill in the present of passive movement.

In my curiosity to understand this very inspiring spatial configuration, Rommel started to document cartographically the interspace. Those graphic notations are the base for sonification with the graphical sequencer IanniX.


Julia Jasmin Rommel (*1979 in Mutlangen, Germany) studied visual communication and scenography in Berlin, Stockholm, and Zurich. Her work focuses on developing spatial concepts for contemporary music theater productions (Follies for Fontane, Brandenburg 2019; Match Cut Music Convention, Berlin 2017; Die Nachtigall, Berlin 2017; Into the Deep, Radialsystem Berlin 2017; Mockumentary Altus, Bremen 2014; Orlando UA Theater, Bielefeld 2013) as well as on scenography for classical opera productions (Dido & Aeneas, Cosi fan tutte, Acis & Galatea, Antwerp 2015/16; Kinderzauberflöte Berliner Philharmoniker, Baden-Baden 2013)     

Another focus of her work is creating orientation systems for buildings and public spaces (Elbphilharmonie Hamburg 2010 for Integral Zürich, Löwenbräuareal Zürich 2010 for Integral Zürich) and also corporate design and cartography. Furthermore, she is participating in a PhD program at the Offenbach University of Art and Design, where she explores the phenomena of ubiquity and space constitution in the contex of information and communication technology.



EASTN-DC at KMH


KMH organisation team for the festival Between 2019


Bill Brunson, Henrik Frisk and Kim Hedås


with Mattias Petersson, Mattias Sköld, Marcus Wrangö, Monireh Shirani, Cecilia Österholm, Jesper Tullback, Erik Metall, Björn Allevad and Per Sjögren.




EASTN-DC Events 2017-2019
Royal College of Music in Stockholm (KMH)

                          

The EASTN-DC project at KMH is centered in the electroacoustic music program of the Department of Composition, Conducting and Music Theory. Principal Creators are Kim Hedås, Henrik Frisk and William Brunson. In the following, we present our diverse activities with respect to EASTN-DC ‘s five Poles and central questions regarding digital creativity.  We believe that the vision of EASTN-DC can exert a transformative effect on KMH. Thus, in addition to reaching out to wider audience through workshops, lectures and concerts, we have endeavoured to integrate our research and artistic activities into the fabric of KMH, to involve both students and faculty.

Touring
· November 2017 Grenoble, France
· June 2018 NOVARS, University of Manchester, UK
· November 2018 Cité de la Musique, Romans, France
· October 2019 Grenoble, France

Residence/Immersion
At the Royal College of Music in Stockholm, larger EASTN-DC projects are arranged twice per year in November and March. These highlight different aspects of Five Poles artistic research combined with a wider public outreach.
· Spaces for Artistic Research (March 2018)
· Student project: Ljudbänken c/o KMH I (Summer 2018)
· November Space (November 2018)
· Dubbelkonserter I-III (March 2019)
· Student project: Ljudbänken c/o KMH II (Summer 2019)

Industry
· EASTN-DC at KMH has established contacts with several international companies, world-leading in technology for audio, for exchanges about technical and artistic audio practice.

Upcoming 2019
· Residencies – Fall 2019
    o  David Granström – composer, programmer
    o  Sten Sandell – composer, musician, PhD

· A museum in Stockholm has invited KMH to participate in the sound design of an exhibition. Production work will begin in the Fall 2019, and the two-year exhibition will open in October 2020. Six students from KMH will participate and contribute with new compositions.

· Between 2019is KMH’s EASTN-DC festival, which will be arranged 8-13 November 2019. From the call for works —
The digital world conditions our real-world experiences. Digital creativity employs tools, manifested virtually, that allow us to do things that we can conceive of, but which are difficult to execute in the analog domain, or can only be accomplished by digital means.

The festival seeks to bring imagination to bear on media and materials. The festival is an attempt to probe the themes of spatialization, digital creativity and public access through artistic and scholarly explorations of music and sound. These issues will be explored through concerts, performances, installations, workshops, presentations and informal discussions. We anticipate that interdisciplinary projects will focus on interaction, integration, communication, and experience.

Given the rapid, emerging impact of artificial intelligence across a multitude of fields — be they artistic, social, technical or scientific, etc. — we have decided to dedicate a thematic strand to this pivotal issue.

Invited Keynote Speaker: Prof. Georgina Born, Oxford University.

Upcoming 2020
· Residencies – Spring 2020-Autumn 2021: Composers, musicians, researchers.
· Format Week – March 2020: Companies, specialized in art, science and technology, are invited by EASTN-DC to meet at KMH in March 2020 for a week focused on exploration of formats. Presentations, concerts, installations and workshops together with composers, musicians, researchers and students.


Student project: Ljudbänken c/o KMH


Ljudbänken c/o KMH is a special event within the ambulatory art project Ljudbänken (the Sound Bench), aimed to create sound art for public areas outdoors all around Stockholm. The art project, initiated in 2017, is run by Stockholm Art together with Audiorama and has collaborated with Swedish and international artists to produce specially composed music played through Ljudbänken in parks and on squares. The bench is made of metal and wood and has a built-in sound system with four speakers. The music from Ljudbänken blends with the city's own expression and creates new, magical sound rooms – open to all people passing by. During the summer, the Traffic Office is conducting an initiative called Levande Stockholm (Live Stockholm) with a variety of activities on temporary summer streets and summer squares. The aim is to make the city's public space more vibrant, create pleasant outdoor environments and an attractive city life.
Stockholm art contributes four exciting art events, one of which is the collaboration project between Stockholm art and the Royal College of Music where students compose new works that are played during the summer months.

In 2018, four new works were composed for Ljudbänken by Bachelor students Mattias Hållsten and Maria Lindström together with Master students Daniel M Karlsson and Fredrik Mathias Josefson from the education in Electroacoustic Composition at The Royal College of Music, Stockholm (KMH). Ljudbänken ℅ KMH 2018 was placed in the very center of the city at Gustav Adolfs Torg, in front of the Royal Opera.

In 2019, four new works were composed for Ljudbänken by Bachelor students Mikael Lindblad Ehnborg and Adele Marcia Kosman together with Master students Anna Björn and Diego Ratto from the education in Electroacoustic Composition at The Royal College of Music, Stockholm (KMH). Ljudbänken ℅ KMH 2019 was placed on Hässelby square in the 1950s suburb of Hässelby, a 35 minute subway journey west from Stockholm Central.


https://www.stockholmkonst.se/konsten/konstprojekt/levande-stockholm-ljudbanken/

https://www.stockholmkonst.se/konsten/konstprojekt/levande-stockholm-ljudbanken-co-kmh/




Ljudbänken c/o KMH 2018
1 June 1 – 10 August 2018
Gustav Adolfs Torg, Stockholm (in front of The Royal Opera.)

Program
Mattias Hållsten: Tūla(2018)
Maria Lindström: The Inner Square (2018)
Fredrik Mathias Josefson: What Word Can I Say To Convince You That All My Happiness Is In Loving You? (2018)

Ljudbänken c/o KMH 2019
13 June 13 – 5 September 2019
Hässelby torg . Stockholm (a suburb).

Program
Mikael Lindblad Ehnborg: As the ground is giving way, we look for a place to land (2019)
Adele Marcia Kosman: For Dancemusic You’d Emit to Formless (2019)
Anna Björn: Bolmört (Hyoscyamus niger) (2019)
Diego Ratto: Intryck från Stockholm (2019) (Original title: Eindrücke Aus Stockholm
Dubbelkonserter: Orgel + ea
(Double concerts: Organ + ea) 

20-22 March 2019
The Dubbelkonsert/Double Concert series is part of a new collaboration at KMH: Organ + ea. Newly composed works for organ and electroacoustic music were presented in two concert halls with dual immersive sound systems and a total of sixty speakers.
At Dubbelkonsert I, new works were performed by Magda Mayas, Sten Sandell, Johannes Landgren, Henrik Frisk and Kim Hedås for organ, piano and electroacoustic music.
At Dubbelkonsert II and III, ten new works for organ, voice and electroacoustic music have been composed by students in electroacoustic composition and performed by organ students.

Magda Mayas, Sten Sandell and Johannes Landgren were invited by EASTN-DC at KMH for concerts as well as workshops and seminars.



Dubbelkonsert I / Double Concert I

Kim Hedås: Dense(2017) electroacoustic music in 8 channels
Sten Sandell: behind the piano (2019) for piano
Henrik Frisk: Locomotion(2019) for sixty loudspeakers
Sten Sandell:the language inside the organ (2019) for organ and electronics
Magda Mayas: Piano Mapping (2019) för amplified piano, objects and spatialization

22 March 2019 at 12:30 – Nathan Milsteinsalen / Lilla Salen-Klangkupolen

Dubbelkonsert II / Double Concert II

Linus Hillborg: Auguries (2019) for organ and digital reverb system                        Anton Linnerhed, organ
Theodor Kentros: Fractura (2019) for organ and electronics    
Fredrik Lundqvist, organ

Viktor Sandström: hyperorgel/hype-organ(2019) for fixed media in ambisonics-binaural playback
Maria W Horn: Konvektion(2019) music for organ four hands and electronics
Anton Linnerhed and Patrick Lindblom, organ

22 March 2019 at 19:00 – Nathan Milsteinsalen / Lilla Salen-Klangkupolen


Dubbelkonsert III / Double Concert III

Brenda El Rayes:Losing my mind (2019) for organ and electronics
Elias Fergin, organ
Mikael Lindblad Ehnborg: Drowning – Study I (2019) for organ and electronics
Ludvig Käll, organ
Adele Marcia Kosman: EMIT I (2019) for organ and vocals
Elias Fergin, organ
Adele Marcia Kosman: II (2019) for loudspeakers
Em Silén: skarri orre (2019)
Mattias Hållsten: For organ and VCS-3 (2019)


Spaces for artistic research

17-21 March 2018

Spaces for artistic research was a five-day event that combined concerts, performances, a symposium and a public PhD defense of Kent Olofsson's thesis Composing the performance. The ambition was to explore the ways in which research at KMH plays out, both within our campus, and in relation to the surrounding society. The hot topics and general spirit of EASTN-DC shaped the activities.
An open workshop in hörspiel composition attracted non-musicians and the general public. In this intense two-day course, the participants were divided up in two groups that each produced a short piece. The workshop was produced in collaboration with Audiorama, a concert space in Stockholm focusing on contemporary sound art, hörspiel and electroacoustic music. The workshop was also an introduction to Olofsson's dissertation, and the participants were invited to take part in the performances and the defense following the workshop.



In two concerts a wide range of Swedish electroacoustic music was presented in our special purpose hall Lilla Salen with its 29.4-speaker array, as well as in our large concert hall Kungasalen (5.1). We also presented two concerts with works by Kent Olofsson, the theatre performance Death to the Dogs of the Welfare State (by Teatr Weimar) and Hamlet: Exit G host, a hörspiel adapted for Lilla Salen.




November Space

19–22 November 2018
November Space 2018 was an international symposium focused on spatialised music and immersive sound. The center of this three-day event is KMH’s immersive 45.4 sound system Klangkupolen.



The symposium brought students and teachers together from The Norwegian Academy of Music (Oslo), The Institute of Electronic Music and Acoustics at University of Music and Performing Arts Graz and The Royal College of Music in Stockholm (KMH).

Visiting faculty Prof. Natasha Barrett, Prof. Gerhard Eckel and Daniel Mayer joined KMH counterparts Prof. William Brunson, Dr. Henrik Frisk and Dr. Kim Hedås, and Thomas Lund, Senior Technologist from Genelec, for workshops and lectures on ambisonics, composing for headphones, spatial techniques in SuperCollider as well as aesthetic and listening perspectives.

Three public concerts in Klangkupolen featuring electroacoustic works by students and faculty were presented.


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