| 1. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Singing Interaction : Embodied Instruments for Musical Expression in Opera
- 2014
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Ingår i: Leonardo music journal. - : MIT Press Journals. - 0961-1215 .- 1531-4812. ; 24, s. 7-12
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Tidskriftsartikel (refereegranskat)abstract
- In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performances, rooted in operatic praxis, allowing for heightened expressivity and emergent scenic subjects.
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| 2. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Uncanny materialities : Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads
- 2017
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Ingår i: Leonardo music journal. - Cambridge : MIT Press. - 0961-1215 .- 1531-4812. ; 27:1, s. 62-66
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Tidskriftsartikel (refereegranskat)abstract
- In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.
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| 3. |
- Eriksson, Sara, et al.
(författare)
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Dancing With Drones : Crafting Novel Artistic Expressions Through Intercorporeality
- 2019
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Ingår i: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. - New York, NY, USA : ACM. - 9781450359702 ; , s. 617:1-617:12
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Konferensbidrag (refereegranskat)abstract
- Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together.
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| 4. |
- Unander-Scharin, Åsa, 1963-
(koreograf, dansare, creator_code:cre_t)
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Calligrammes
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- Commissioned by Swedish RadioThe surrealistic poetry of Guillaume Apollinaire forms the background for the choral suite Calligrammes. The work was commissioned by the Swedish Broadcasting Union to be performed by The Swedish Radio Choir together with a dancer and a vocal soloist – all of which performed on custom-built digital musical instruments. These instruments have been developed by Åsa and Carl Unander-Scharin in collaboration with Ludvig Elblaus. The innovative artefacts are created to allow for explorations of artistic interaction between physical movement, musical soundscapes and vocal performance. Performers:The Swedish Radio ChoirPeter Dijkstra, Conductor- Carl Unander-Scharin, Composer, Opera singer, Professor- Åsa Unander-Scharin, Choreographer, Dancer, Professor- Ludvig Elblaus, Musician, Visual artist, PhD-candidate
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| 5. |
- Unander-Scharin, Åsa, 1963-
(creator_code:cre_t)
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Il pleut/ Det regnar röster
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- Commissioned by Berwaldhallen, Swedish Radio Il Pleut/ It’s Raining Voices “It’s raining women’s voices” are the opening words of Guillaume Apollinaire’s poem Il Pleut/It’s Raining. In this interactive musical installation visitors themselves can let both men’s and women’s voices rain through the air.The container filled with water that is exhibited in the foyer of the Berwald Hall has been specially constructed and functions concretely as a doorway to a sound world where Apollinaire’s poem is recreated through the visitor’s interaction with the surface of the water.Raining voices and undulating sounds are heard if ripples disturb the surface of the water. The way the water is treated is reflected in the sounds that are created – gentle, harsh, dripping or sweeping: everything plays a part in the sound that is produced.When the surface of the water is touched a kind of synthesis of sounds arises, since the actual sound of the water blends with a collage made up of sound material recorded during the process of composing Calligrammes. Carl Unander-Scharin, Åsa Unander-Scharin and Ludvig Elblaus thus give us a glimpse of the creative process that precedes a première.In this interactive musical installation we can hear tonalities and text fragments from the compositional process. Together with the concrete sound of the water they create a kind of soundscape with which the visitor can interact.
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| 6. |
- Unander-Scharin, Åsa, 1963-
(koreograf, dansare, kompositör, creator_code:cre_t)
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ISAGEL-suite
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- During spring 2019, we decided to create a new work based on Harry Martinsson´s long suite of poems, Aniara. This decision was informed by both the commission from the International Gothenburg Organ Academy and on the fact that we have been interested in Aniara during a long time. In 1956, Swedish poet Harry Martinsson wrote and published his overwhelming poetry suite that depicts a space ship that has lost is course, having left an earth devastated by war and environmental disaster. His audience was surprised to read this new kind of poetry by their beloved and quite rurally oriented poet. The poems formed the basis for the opera “Aniara” from 1959, with a libretto by Erik Lindegren and music by Karl-Birger Blomdahl. The opera was a huge success and toured internationally.In our adaption of Aniara, we chose the poems that depicts the female pilot Isagel. We wanted to find a way of picturing her relation to Mimaroben, a relation that is full of mutual respect and fascination for deep scientific thought as well as shared abhorrence for the cold, dark and lonely space outside of the ship. Also, they share concerns for the remaining few humans and their hopeless future in the vessel.The music is composed for tenor and organ as well as the combination of “Observer-system” and dance that we have developed for our artistic work. In our version of Aniara, the church organ is a metaphor for the “Mima” (today we would call that the computer), whereas the Observer system is a metaphor for the “Gopta”-table where Isagel carries out her work with the “Jender” curves. Today we would probably call those things the touchscreen and the machine code. We also make use of another of our systems “The Throat” in order to dynamically change and extend the voice of the singer.Furthermore, the music material is based on “astronomic tone series”, series of tones that are derived from astronomic numbers that can be discerned in Martinsson´s poem. Martinsson tells us that Aniara is headed for the Lyrae, far away. In 2015 – many years after Martinsson´s death – it was confirmed by Nasa that the planet Kepler 438 b in the Lyrae has a ESI (Earth similarity index) that is -0.88. This means that this planet, in fact, is the one with the closest similarity to Earth of all known planets yet. The Lyrae is 25.05 light years away from the Earth – and this number, together with other astronomic numbers, form the basis for the tonal series used in the work.Choreography, Music, Dance, Observer: Åsa Unander-ScharinMusic, Tenor, Throat: Carl Unander-Scharin Organ: Hans Davidsson Alto: Amanda FlodinBaritone: Karl-Peter Eriksson The Observer system and The Throat system are developed by Åsa Unander-Scharin, Carl Unander-Scharin and Ludvig Elblaus. In the system, recordings by Åsa Unander-Scharin (viola da gamba), Carl Unander-Scharin (harpsichord), Dorota Siuda (violin) and Hans Davidsson (orgel), are heard.
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| 7. |
- Unander-Scharin, Åsa, 1963-
(koreograf, dansare, designer, creator_code:cre_t)
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Lamento e più
- 2023
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Konstnärligt arbeteabstract
- I konserten framförs orgelstämman av dansaren vars rörelser och gester aktiverar Acusticum orgelns orgelpipor och ljudeffekter genom ny interaktiv musikteknologi som utvecklats inom det VR-finansierade forskningsprojektet: Den obestämda platsens musik: telematiskt framförande och komposition som väver samman fysiska och virtuella platser (LTU/ GEMM 2023-25)Lamento e più tar avstamp i ett textmaterial från tidigt 1600-tal av Ottavio Rinuccini. Texten var i sin tur librettot till den förlorade operan Arianna som tonsattes av Claudio Monteverdi. Det enda återstående musikaliska fragmentet ur denna opera från 1607 är den berömda arian "Lasciatemi morire" – också kallad "Lamento d ́Arianna" – och kring denna aria finns i librettot intressanta texter som Monteverdi en gång tonsatte för kör i den förlorade operan. Det historiska materialet som är utgångspunkt för den nya kompositionen ger möjlighet att vidareutveckla traditionellt utformad polyfoni. Därigenom kan verket utvinna nya tekniker för kontrapunktiska relationer mellan koreografi och musik.
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| 8. |
- Unander-Scharin, Åsa, 1963-
(creator_code:cre_t)
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Liens/Kopplingar
- 2017
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Konstnärligt arbeteabstract
- Commisioned by Berwaldhallen, Swedish RadioThe interactive musical installation Liens consists of four cords that are stretched from floor to ceiling. By pulling the cords the visitors perform an audio-visual piece that is heard through the loudspeakers and is also projected as a moving image on the wall – a kind of Gesamtkunstwerk inspired by Apollinaire’s figurative poems, and in this specific case by the poem Liens. The sonic material includes voices that sing passages from this particular poem. The cords are rolled up on cushioned wheels that can sense touch to an extremely high degree. This makes them an excellent instrument for exploring small, subtle nuances, both in sounds and in images. Smaller or larger movements thus produce a variety of effects in the musical and visual expression.
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| 9. |
- Unander-Scharin, Åsa, 1963-
(koreograf, regissör, dansare, creator_code:cre_t)
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ReCallasMedea : opera-robotika-tijelo-umjetnost
- 2019
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Konstnärligt arbete (refereegranskat)abstract
- ReCallasMedea is an interdisciplinary, interactive opera that aims to explore the relationship between opera art and new technologies, what are the strengths and weaknesses of that relationship. The main goal of this project is to encourage the audience to explore and learn operatic vocals in a different environment from what is present in more standard opera forms. "ReCallasMedea" intertwines and opposes opera, dancing, robotics, video, new music and human-artists in an unusual, hybrid form that, in addition to the platform for experiment, is an homage to Maria Callas, the greatest opera artist of all time.
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| 10. |
- Unander-Scharin, Åsa, et al.
(författare)
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Robocygne : Dancing life into an animal-human-machine
- 2016
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Ingår i: Leonardo. - : MIT Press. - 0024-094X .- 1530-9282. ; 49:3, s. 212-219
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Tidskriftsartikel (refereegranskat)abstract
- Robocygne is an artistic project that revolves around the development of a custom-built robotic bird, dancing to a remix of Tchaikovsky’s “Swan Lake.” The choreography was created through a process where movements were danced into the robot by the choreographer’s manipulation of the limbs, by hand, to the music. To enable this multi-tracking procedure, novel software was developed, allowing overlying recording of motions in synchronization with an audio-track. From an artistic perspective the authors discuss the search for choreographic and musical qualities and emphasize how material aspects of body and technology interrelate with emotional expression in Robocygne.
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