Towards a natural sound amplification

Half-way through my composer-in-residence with Icelandic Caput Ensemble, a further two compositions will be forthcoming in 2020. Dealing with structural rubato, I will also be experimenting with a local, 360 degree amplification of the electronics. This is a spin-off from the larger 3D Sound Object that has recently been built in Copenhagen with 12” units. Whereas the larger model can work as a full PA or work in conjunction with traditional PAs, a personal 3DSO will be using smaller units for a local stage placement, next to the performer. But it will be an important step in integrating acoustic instruments with a similar sounding amplification of electronics, avoiding the classical procedure of separating instruments and electronics into two very separate functions.

My main areas of research is advanced music composition, real-time music technology and music cognition. I am particularly interested in the relationship between core emotions and score notation and performance features, as well as novel methods for generative real-time performance that are founded in non-expert music cognition.

Some years ago I was involved in the Nordic SUM project – Systematic Understanding of Music – and a large part of the project concerned the implementation into computer code of concepts from probabilistic melody generation for real-time performance.

This work has since found its way into several commercial releases and is today a constant presence in my live laptop performances, either in duo or small group formats with a variety of instrumentalists or as a solo performer.