Improvisation for saxophone and computer

Program note (EN)

These improvisations are each exploring one possible range of sounds on the saxophone. This being the only limitation, the computer part is designed so that it will work with a limited set of sonic real time permutations on the input. The computer ‘performer’ is deriving all control data from the audio input.

Although in some of these improvisations the computer may play a somewhat independent part, my main intent with using the computer in this context is to expand the range of possible sounds on the saxophone. Using mainly Max/MSP I am aiming at designing an interface between the saxophone and the computer that is as transparent as possible - to myself as the performer as well as to the listener.

Opposite of Black Noise

Piece for solo laptop performer, voice and eight speakers

First performed 2014-06-11

Program note (EN)

Opposite of Black Noise was premiered in Berkeley, California in June 2014. The sound source consists exclusively of white noise and the piece is mainly a structure within which indeterminacy is the organizing power. To survive is to navigate the chaos.

Programkommentar (SE)

Opposite of Black Noise framfördes första gången på Berkeley, Kalifornien i juni 2014. LJudkällan är uteslutande vitt brus och styckets struktur bygger på oförutsägbarhet. Att överleva är att navigera kaoset.

Att konceptualiser glömskan

Improvisation for voice and instrument.

First performed 2014-10-24


Program note (EN)

Knowledge, intuition, inspiration, understanding, insight, learning, teaching, explanation. Hypersensibility and conditions for learning.To learn and re-learn.

Programkommentar (SE)

Kunskap, intuition, inspiration, förståelse, insikt, lärdom, att lära, förklara. Hypersensibilitet och förutsättningar för kunskap. Att lära och återinlära. Jag är full av kunskap men aldrig fullärd. Kunskapen står ivägen för intuitionen. Vanan står ivägen för känsligheten.

Improvisation VII

Notes english

A piece in the loose sense of the word that I performed many times in the first decade of the 2000. It featured pitchtracking and various types of live manipulation of sound. This was my proof of concept for my PhD.