| 1. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Ljud och andra rum : Sound and other spaces
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sound and other spaces is a book about urban sound environments, sound art, acoustic space, and spatial aspects of sound. The texts in this book comprise personal reflections on sound quality and sound awareness, sound design and audio editing, technical solutions for artistic problems, and how sound can be composed and used in architectural design and city planning. In texts and images the authors present a number of projects performed within the artistic and interdisciplinary research group Urban Sound Institute (USIT). We hope that readers will find this book handy and easy to use and that it will serve as a bridge between specialists and an interested general public.
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| 2. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Ljud och andra rum
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Sound and other spaces is a book about urban sound environments, sound art, acoustic space, and spatial aspects of sound.The texts in this book comprise personal reflections on sound quality and sound awareness, sound design and audio editing, technical solutions for artistic problems, and how sound can be composed and used in architectural design and city planning.In texts and images the authors present a number of projects performed within the artistic and interdisciplinary research group Urban Sound Institute (USIT). We hope that readers will find this book handy and easy to use and that it will serve as a bridge between specialists and an interested general public.
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| 3. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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Sound and other spaces
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The book, edited by Catharina Dyrssen, draws on coclusions from two larger artistic research project on urban sound environments, sound art, acoustic space, and spatial aspects of sound. The chapters comprise reflections on sound quality ans sound awareness, sound design and audio editing, technical solutions for artistic problems, and how sound can be composed and used in architectural and urban design. In text and images the four authors discuss a number of investigative projects performed within the artistic and interdisciplinary research group Urban Sound Institute.
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| 4. |
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| 5. |
- Dyrssen, Catharina, 1949, et al.
(författare)
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The Sound Labyrinth Project: Catalyst for Creative Activity
- 2012
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Ingår i: Interference: A Journal of Audioculture. - 2009-3578 .- 2009-3578. ; 2012:2
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Tidskriftsartikel (refereegranskat)abstract
- Two large sound installations, developed by transdisciplinary sound art and research group Urban Sound Institute, created a meeting place for one year of artistic and pedagogic activity in a Swedish regional museum. The project involved a historic sound archive, a string quartet, a local radio station, pedagogic workshops, several schools, children’s groups and musical education programs. The installations created a complexity of interior spaces, and acted as huge musical instruments to be ‘played’ by professional musicians, dancers and visitors. Through advanced computer programming and careful composition, modeling and distribution of sounds as words, narratives, music, space, bodily experiences and memory, the Sound Labyrinth allowed for great variations, durability over time, and different forms of interaction. The article describes the project, and discusses the exhibition as a platform for collective, multiple interaction; as an expanded musical-architectonic composition; and as a contribution to artistic research methodologies relevant for sound spaces within so-called sound-making disciplines.
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| 6. |
- Hellström, Björn, 1959, et al.
(författare)
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Modelling the shopping soundscape
- 2011
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Ingår i: Journal of Sonic Studies. - Leiden : Leiden University Press. - 2212-6252. ; 1
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Tidskriftsartikel (refereegranskat)abstract
- This article’s pivotal theme is: “How to compose a site-specific sound-art installation for a commercial space in order to improve conditions, while taking perceptual, social, aesthetical, temporal and spatial criteria into account” The interdisciplinary, art-based research approach is derived from the concept of acousmatics, i.e. the process of apprehending any sound, the source of which is invisible. Acousmatic perception concerns the everyday identification process; when lacking visual contact with the sound source, we automatically seek references, such as social (what produces the sound and what is my relation to it?), aesthetical, spatial and temporal (e.g. orientation and demarcation). The acousmatic concept identifies phenomena based on individually, culturally and spatially conditioned experiences. Today, a shopping culture dominates urban space. Indoor malls expose us to all types of acousmatically perceived sounds: jingles, signals, music and muzak from public loudspeakers, mobile devices, etc. In this respect, one could claim that the soundscape of the shopping culture embodies an acousmatic environment. In 2009, the research and sound-art group Urban Sound Institute (USIT) created a permanent sound installation in a shopping mall (Gallerian) located in downtown Stockholm. This installation serves as a case study for the present paper. The artistic assignment involved the creation of a meeting place without material devices as well as the enhancement of the overall atmosphere. The research objective was to elucidate different qualities of the sound installation in regard to the acousmatics of the shopping mall, promoting discussions on the articulation of sound-space configurations in relation to time and site-specific context, issues on musical-architectural qualities as well as objective, subjective and inter-subjective interrelationships between the experience of the sound-art installation and the experience of the shopping mall soundscape. Other applied, interrelated concepts are metabolic environment and masking- and cutting effects.
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| 7. |
- Hultqvist, Anders, 1955
(författare)
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Beethoven och Albinoni i nytt ljus
- 2011
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Ingår i: Podiet, Göteborgs Symfonikers konsertmagasin. ; :1, s. 54-55
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Varför ser vår tolkningstradition ut som den gör inom konstmusiken? Och vem, eller vad, är det som sätter gränserna för det som anses möjligt i en musikalisk interpretation? Vad är det som gör att man till exempel inom teatern kan ha ett betydligt vidare tolkningsbegrepp än det vi har inom musiken när man tänker sig nya iscensättningar av den klassiska repertoaren? Så kallad absolut musik är också byggd kring en narrativ idé som utvecklar sig runt några centrala musikaliska idéer. Form och innehåll är givetvis nära förbundna med varandra, men det behöver inte betyda att det skulle finnas en, och bara en, lösning på hur dessa centrala musikaliska temata kan realiseras och iscensättas.
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| 8. |
- Hultqvist, Anders, 1955
(författare)
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Beethovens femte Symfoni i nyuppsättning av Anders Hultqvist
- 2011
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Ingår i: Göteborgs Konserthus 6/10 2011.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Varför ser vår tolkningstradition ut som den gör inom konstmusiken? Och vem, eller vad, är det som sätter gränserna för det som anses möjligt i en musikalisk interpretation? Vad är det som gör att man till exempel inom teatern kan ha ett betydligt vidare tolkningsbegrepp än det vi har inom musiken när man tänker sig nya iscensättningar av den klassiska repertoaren? En teaterregissör kan ändra, eller helt ta bort, en mening, eller i vissa fall till och med en hel scen, som framstår som gammaldags för dagens publik och därigenom kanske försvårar för pjäsens centrala budskap att nå fram. Jag ser idag ingen anledning till varför detta inte skulle kunna gälla även för musikaliska berättelser i form av partitur. Så kallad absolut musik är också byggd kring en narrativ idé som utvecklar sig runt några centrala musikaliska idéer. Form och innehåll är givetvis nära förbundna med varandra, men det behöver inte betyda att det skulle finnas en, och bara en, lösning på hur dessa centrala musikaliska temata kan realiseras och iscensättas.
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| 9. |
- Hultqvist, Anders, 1955
(författare)
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Disembodied
- 2012
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Ingår i: Kulturhuset i Stockholm 23 november 2012.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Disembodied är beställt och uruppfört av KammarensembleN inom ramen för festivalen Sounds of Stockholm november 2012. Även det äldre och relaterade verket Among travelling angels framfördes vid samma konsert. Instrumentation i Disembodied: Flute, Bb Clarinet, Trombone, Percussion: one player - Crotales Vibraphone (with string bow), Cymbal, Large metal plate, Bass drum, Low Log drum, Thai gongs (g, e, f#, a), Piano, Violin, Viola, Cello, and Double Bass.
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| 10. |
- Hultqvist, Anders, 1955
(författare)
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Komposition. Trädgården – som förgrenar sig
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- With the compositional practise as the point of departure the text discusses different topics around musical composition and its artistic, philosophical and scientific context. Some initial explorations were carried out through the use of spectral- and fractal based techniques and experiments. One question asked during the work was if the way in which we perceive music has some- thing to do with how we have learned to perceive specific sounds, and how this in turn connects to different general types of dynamic processes in nature? Is there a way to understand on which grounds we create, perceive and value the wholeness of larger informational structures? And if so, how can this be used as strategies for musical composition? The text also discusses the fact that the artistic work has its ground in two different and simultaneous conceptual fields. Or rather that one field con- cerns itself with concepts while the other makes itself known by more or less precise emotions, hunches and subjective purposiveness, to speak with Kant. The text is searching for some clues concerning how to describe the relation- ship between the two forms of knowledge. Are there any subterranean connections between them, or are these two cognitive domains totally sepa- rated? Some fifteen compositions have been the outcome in connection to working with the above thoughts and artistic ideas. Text and music comment on each other in a way that is similar to compositional work where the source material grows out of an oscillation between structural and intuitive perspectives. An important basis for the ideas around the compositional process and its general requirements has been the poem Alfabet by the Danish writer and poet Inger Christensen.
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