| 1. |
-
Trettiofem röster om covid-19 och kulturen
- 2020. - 1
-
Samlingsverk (redaktörskap) (populärvet., debatt m.m.)abstract
- Utdrag ur text:[...] En pandemi – ett svårt globalt utbrott av en sjukdom som kan leda till döden – är just en kris. I den här texten har jag tittat tillbaka på andra tider och hämtat exempel på hur historien utspelat sig i drömmar, sömn och sömnlöshet. Exemplen kommer från krigstider, vilket jag vill understryka skiljer sig från pandemins kris i och med det att kriget som sådant är skapat och kontrollerat av människor, av politisk och ekonomisk vilja. Men det går trots allt att se hur svåra tider tidigare påverkat människors drömmar och sömn.*Ett exempel på att drömmarnas världshistoria kan vara förbluande lik den som står i historieböckerna nner vi i Charlotte BeradtsDrömmar i tredje riket. Mellan 1933-1939, strax innan andra världskriget bröt ut, samlade Charlotte Beradt in tyska medbor- gares drömmar. Läser man de drömmar hon noggrant samlade in, kodade och sände utomlands för att långt senare sammanställa till en bok blir man förfärad: drömmarna berättar så när som på massmördandets omfattning en historia om det som skulle hända. Avhumaniseringen, rädslan, ugnarna, angiveriet, diktaturens snaror och tystnader. [...]
|
|
| 2. |
- Bröndum, Lars, et al.
(författare)
-
Work in Improvised Music : Playbour, Improvisation and Neo-liberalism
- 2019
-
Ingår i: PARSE Journal. - Göteborg : University of Gothenburg & Platform for Artistic Research Sweden. - 2002-0953. ; :9
-
Tidskriftsartikel (refereegranskat)abstract
- This paper is based on a combination of theoretical and practical research. The purpose of this paper is to discuss digitalisation and its effect on music in relation to the concept of “playbour”. It combines theories of games and labour with the practices of improvisation in live electronic music and economy. We observe similarities between these two research fields, one of which is rooted in the social sciences and philosophy and the other in artistic composition and creative methodologies. Although we make no assessment on a possible causality in the chain of events between theory and practice, we do want to investigate a cross-disciplinary field that combines improvisation, game studies and the organisation of labour. These three fields all use the notion of play to convey different outcomes, which are valorised differently according to the concepts of labour applied. The world of fine art and music composition has in the past been associated with that of game and play,1 and both have been seen as socially formative and educational for the participants. But, as we will argue, it is in our current digital economy that computer games, music production and organisation of work have converged as part of the neo-liberal economy. We will argue that the neo-liberal digital economy flattens the spectrum of musical performance so that it resembles modern play in computer games or in work life. As a consequence of this, improvised music in particular is devalued and the players degraded to immaterial labourers without wage compensation. Our aim is to question how improvisation is valued according to the digital economy, which does not duly compensate musicians for their labour. How can we see musical improvisation as a form of labour that is reduced to modern forms of play? What is it that produces wealth and value in improvised music?
|
|
| 3. |
- Einarsson, Anna, et al.
(författare)
-
Exploring the Multi-Layered Affordances of Composing and Performing Interactive Music with Responsive Technologies
- 2017
-
Ingår i: Frontiers in Psychology. - : Frontiers Media S.A.. - 1664-1078. ; 8
-
Tidskriftsartikel (refereegranskat)abstract
- The question motivating the work presented here, starting from a view of music as embodied and situated activity, is how can we account for the complexity of interactive music performance situations. These are situations in which human performers interact with responsive technologies, such as sensor-driven technology or sound synthesis affected by analysis of the performed sound signal. This requires investigating in detail the underlying mechanisms, but also providing a more holistic approach that does not lose track of the complex whole constituted by the interactions and relationships of composers, performers, audience, technologies, etc. The concept of affordances has frequently been invoked in musical research, which has seen a "bodily turn" in recent years, similar to the development of the embodied cognition approach in the cognitive sciences. We therefore begin by broadly delineating its usage in the cognitive sciences in general, and in music research in particular. We argue that what is still missing in the discourse on musical affordances is an encompassing theoretical framework incorporating the sociocultural dimensions that are fundamental to the situatedness and embodiment of interactive music performance and composition. We further argue that the cultural affordances framework, proposed by Rietveld and Kiverstein (2014) and recently articulated further by Ramstead et al. (2016) in this journal, although not previously applied to music, constitutes a promising starting point. It captures and elucidates this complex web of relationships in terms of shared landscapes and individual fields of affordances. We illustrate this with examples foremost from the first author's artistic work as composer and performer of interactive music. This sheds new light on musical composition as a process of construction-and embodied mental simulation-of situations, guiding the performers' and audience's attention in shifting fields of affordances. More generally, we believe that the theoretical perspectives and concrete examples discussed in this paper help to elucidate how situations-and with them affordances-are dynamically constructed through the interactions of various mechanisms as people engage in embodied and situated activity.
|
|
| 4. |
- Bröndum, Lars, 1961-
(kompositör, creator_code:cre_t)
-
Aleatoric Anthems and Palindromes : music by Lars Bröndum, performed by the Aleatoric Chamber Ensemble
- 2021
-
Konstnärligt arbete (refereegranskat)abstract
- Aleatoric Anthems and PalindromesAleatoric Anthems and Palindromes is a collection of music composed by Lars Bröndum 2020-2021. The music was performed by the Aleatoric Chamber Ensemble: My Eklund, Per Gärdin, Lisa Ullén, Lars Bröndum, Daniel Borgegård Älgå. The CD is selection of remixes from the 6 volume anthem suite and also features new music, such as, Three Variations on an Aleatoric Anthem and Palindromes.The idea behind the Aleatoric Anthem project was to create ironic anthems as a commentary on the unfortunate resurgence of nationalism during the Corona pandemic. New ironic anthems were generated for all countries in the world from a one page graphical score. The existence of national anthems thus becomes meaningless since all the anthems are variations on the same piece. Most of the pieces were generated using different aleatoric methods - either with a computer program I assembled entitled “Anthem Generator” or as indeterminate live performances. The piece Three Variations...” is a development on the anthem idea in a more extended format, and scored for live ensemble. The Anthems for Mauritius and Paraguay on this CD differ from the original suite, since they are here live recordings over fixed media. The original 6 volumes with aleatoric anthems can be found here : larsbrondum.bandcamp.com Palindromes“Palindromes” is a suite of ten short pieces. It is a graphically notated score with indeterminate elements in that the palindromes may be played in any direction. That is, original, inversion, retrograde or in retrograde inversion. The parts may be played in any order. Each palindrome has the duration of approximately 2 minutes. Here the suite is arranged for saxophone, live electronics and fixed media. It is here divided into two suites: Palindromes 1-5 and Palindromes 6-10.
|
|
| 5. |
- Bröndum, Lars
(kompositör, creator_code:cre_t)
-
Chimera Cadence
- 2018
-
Konstnärligt arbete (refereegranskat)abstract
- The Gothic concept originates from comments I often get when I play live, “You should write music for horror movies!” Intrigued by the idea I composed this suite of music that is inspired by the moods of Gothic horror fiction, art and architecture. Imagery of crumbling medieval castles ornamented with bizarre chimeras. In dimly lit chambers and dungeons, themes of the supernatural, horror, decadence and madness unfold.Inspired by Charles Baudelaire, William Blake, de Sade, Edgar Allan Poe, Goya, Clark Ashton Smith etc.
|
|
| 6. |
- Bröndum, Lars, 1961-
(kompositör, creator_code:cre_t)
-
Double Helix Staircase : For 8-channel Surround
- 2014
-
Konstnärligt arbete (refereegranskat)abstract
- Double Helix Staircase komponerades 2014 av Lars Bröndum. Kompositionen har uppförts på följande konserter:- 16/11, 2014 (uruppförande) på ”Ljudbio 8-kanal konsert” i Uppsala.Kulturföreningen NEO- 21/6, 2015, New York City Elektroacoustic Festival (NYCEMF), New York City, USA- 23/4, 2016, VEMS kulturnatt konsert, Fylkingen, Stockholm.En stereo mix av Double Helix Staircase publicerades också på albumet Fallout 2016. Fallout är ett urval av verk av Lars Bröndum mellan 2011-2015. Albumet fick fonogramstöd från Svenska Kulturrådet 2016 och publicerades på CD av skivbolaget Antennae Media 2016 och på strömning- och nedladdningsstjänster som Spotify, iTunes och Amazon. Fallout albumet vann också första pris i kategorin "Experimentell" på Manifest Galan 2016 av SOM (Svenska oberoende musikproducenterna) 2016. Juryn bestod av medlemmar i FST (Föreningen Svenska Tonsättare). Releasekonserten för albumet var den 26 augusti 2016 på Fylkingen i Stockholm. Double Helix Staircase utforskar idén av en klingande gestaltningen av en DNA-spiral skapat med huvudsakligen mikrotonala klustertekniker och analog syntes i ett åtta kanal surround sound system. Denna variant som diskuteras här har slutligen mixats om till stereo.Double Helix Staircase komponerades i LAB studios i Stockholm och mixades på EMS (Elektronisk Musik i Sverige) i Stockholm, Sverige 2014. En stereo mix gjordes 2016.
|
|
| 7. |
- Bröndum, Lars
(författare)
-
Graphic Notation, Indeterminacy and Improvisation : Implementing Choice Within a Compositional Framework
- 2018
-
Ingår i: Open Cultural Studies. - : Sciendo. - 2451-3474. ; 2:1, s. 639-653
-
Tidskriftsartikel (refereegranskat)abstract
- The aim of this paper is to examine the use of graphic notation in relation to improvisation and indeterminacy in practice. The paper opens with a background context around terms and ideas about improvisation and indeterminate music pioneered by composers in the 20th century. The techniques the author used in the pieces Fluttering (Brondum 2015) and Serpentine Line (Brondum 2010) are examined and discussed in informal interviews with four musicians. The paper closes with a discussion and conclusions gained from the interviews and from working with musicians in the context of using graphic notation as a bridge between improvisation and notated music. Documentation of the author’s practice and research of these methodological and aesthetical issues may be of interest to composers and musicians that work with similar techniques. It may also add to theory by developing the understanding of a composer’s own approach, and in extension, to ask questions on how to develop these theories further.
|
|
| 8. |
- Bröndum, Lars, 1961-
(kompositör, creator_code:cre_t)
-
Mirrors and Reflections : The Wall of Darkness
- 2022
-
Konstnärligt arbete (refereegranskat)abstract
- Mirrors and Reflections is a live electronic piece with a surround sound fixed media part composed by Lars Bröndum. The piece was performed live by Lars Bröndum on Theremin and live electronics at the New York City Electroacoustic Music Festival (NYCEMF) 2022 Thursday, June 23, 8:00-10:30 PM at the Loreto Theater in New York City. The fixed media part was recorded with modular synthesizers, while the live part is performed on a Theremin interfaced with a semi modular synthesizer and effect pedals. The piece is in two parts. Part one, "Mirrors", is improvisational and fluid in character and part two, "Reflections", is centered around asymmetrical rhythmical gestures using random voltages. The piece revolves around a Buchla bass line that behaves like a passacaglia, but is interrupted by short episodic parts. The piece is also featured on Lars Bröndum's album "The Wall of Darkness" published by Antennae Media 2022 (antennaemedia.se). Link to album on Spotify: https://open.spotify.com/album/5oNUS5HKb2MRMiWCoTdT0n?si=M4fdn1b8TGuKHH-GwFc33ALink to program: https://nycemf.org/2022-program-book/
|
|
| 9. |
- Bröndum, Lars, 1961-
(kompositör, creator_code:cre_t)
-
Möbius Loop
- 2022
-
Konstnärligt arbete (refereegranskat)abstract
- Möbius Loop komponerades med inspiration av multidimensionella möbiusband. I kompositionsprocessen experimenterade tonsättaren med olika tillvägagångssätt, både med notation samt med bandloopar. I den slutliga versionen valdes tekniken med bandloopar ur rent estetiska skäl. De instrument som huvudsakligen användes var analoga synthesizers och theremin. Stycket mixades slutligen i en stereoversion och i en version för 7.1-kanalig surroundljud. Verket uruppfördes 2023 på The New York City Elektronic Music Festival (NYCEMF) i New York City, USA. En stereo mix av Möbius Loop publicerades också på Lars Bröndums album The Wall of Darkness av skivbolaget Antennae Media.
|
|
| 10. |
- Bröndum, Lars, 1961-
(kompositör, creator_code:cre_t)
-
Subliminal Man - part 2 : The Dystopian World of J.G. Ballard
- 2022
-
Konstnärligt arbete (refereegranskat)abstract
- The music "Subliminal Man" was composed, recorded and mixed by Lars Bröndum. The recordings were made with mostly modular analogue synthesizers and audio equipment, Theremin and field recordings. The piece is in two parts. Part one (please observe that part one is posted in a separate DIVA post) and part two . Part one is centered around asymmetrical rhythmical gestures using random voltages with a Buchla synthesizer and frequency modulated sounds. Spring reverbs was used as percussive instruments and analog sequencers creates gestural patterns. The piece is interrupted by short episodic outbursts. Part two starts with crackling noises which evolve to irregular ostinato patterns. Microtonal webbs are created using a pitch ribbon and Theremin and are spun in layers by using a loop pedal. Feedback is used towards the end of the piece - filtered with low pass filters over a bed of short Buchla Music Easel sounds. The compositions are live in studio recordings and are improvised. However the improvisations has been remixed and shortened. Overdubs was also was done for the final release. The pieces are inspired by the science fiction short story "Subliminal Man" by J.G. Ballard. In the story the characters are manipulated into purchasing more and more and thus having to work more. The manipulation is done by the way of subliminal messages projected in their surroundings. Ballard’s Subliminal Man is a critique of consumerism.
|
|
