This database contains published articles from 2004 to the present as well as my PhD dissertation from 2006 Gesture and Emotion in Interactive Music: Artistic and Technological Challenges. A number of the articles were made on various aspects of interactive music compositions such as the interactive opera La Quintrala, the installation The Sound Glove II as well as several works for a single player and interactive computer. Projects that then found its way into publicised form as the basis for my PhD, and there is also a report on my work with sonifying the outcome of a dedicated algorithm that measured strengths and conflicts within a family owned business as an outline of future challenges. I have not undertaken further work of this kind since 2008.

For several years I collaborated with Anders Friberg of The Royal Technical University (KTH), Stockholm on probabilistic melody generation as part of the SUM research project. Our work is in some ways a continuation of David Temperley’s earlier probabilistic model of melody perception and is partly inspired by David Huron’s work on musical cognition.

The code I developed for the tests and experiments we made, later found its way into the max performance patch I use for my real-time electronica performances. This patch has since then been developed in capabilities and complexity, and there are very many examples of the artistic outcome on the recordings page. With Anders Friberg we also attempted to use the functionalities for transforming real-time music according to emotion labels, such as those used by the KTH rule system. Finally, the Score Emoter is also in part based on this work, linking features of score notation and performance to emotion labels.

I have not included aural presentations, newspaper articles or televised interviews and similar more informal publications. Selecting the title on the left gives you the abstract and a link to download the entire publication as a pdf document.

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.