| 1. |
- Hultqvist, Anders, 1955, et al.
(author)
-
Hur låter Tapeshavet?/ What does Tapeshavet sound like? : Tapeshavet – Hörspiel
- 2020
-
In: Gränser och oändligheter – Musikalisk och litterär komposition. - Göteborg : Konstnärliga fakulteten. - 9789198517163
-
Book chapter (other academic/artistic)abstract
- We wanted to investigate the historical and sounding landscapes from which the book Tapesha- vet originated and made an expedition to some central places on Härnäset in Bohuslän. What were the “conditions” from which the poems had arisen, and what were the soundscapes that, at least partly, formed the basis for the “singing”? We visited the quarry in Ed, shell gravel slopes at Röe homestead, Fågelviken with its gunpowder store, and Näverkärr’s forests. The voices in the Tapeshavet Hörspiel (Hansson & Hultqvist, 2020) approach four different levels of narration: shorter (poetic) excerpts from Tapeshavet, documentary in situ comments and conversations, stories in and about special places, and to that some reflections on the research project in general. In terms of sound the material largely consists of ambient (environmental) sounds, micro-sounds (close-ups of natural sounds), performances on natural and created found objects in search of their sounding properties, as well as further processing of environmental and object sounds.
|
|
| 2. |
|
|
| 3. |
- Lützow-Holm, Ole, et al.
(author)
-
Traces of Oblivion Dialogue
- 2020
-
In: Gränser och oändligheter – Musikalisk och litterär komposition. - Göteborg : Konstnärliga fakulteten. - 9789198517163 ; , s. 164-177
-
Book chapter (other academic/artistic)abstract
- The text is a compilation of an e-mail dialogue between composer Ole Lützow-Holm and guitarist Stefan Östersjö. It contemplates a collaboration between the two, resulting in a musical composition for 11-stringed alto guitar named Traces of Oblivion. The dialogue format seemed coherent, since the entire composition and performance process was based on the principle of call and response. The conversation navigated by the concept of a stream of consciousness, pursuing no specific target other than that of being vigilantly awake in search of aspects, be they minor or major, that might (or might not) shed light on the transient repercussions engendered by our efforts to articulate another music.
|
|
| 4. |
- Lützow-Holm, Ole, et al.
(author)
-
Traces of Oblivion Dialogue (audio paper)
- 2020
-
In: Gränser och oändligheter – Musikalisk och litterär komposition. - Göteborg : Konstnärliga fakulteten. - 9789198517163
-
Book chapter (other academic/artistic)abstract
- The audio paper features a spoken, edited version of a dialogue between composer Ole Lützow-Holm and guitarist Stefan Östersjö, additionally published as a written paper in the same anthology. The voiced material – contemplating a collaboration between the two that resulted in a musical composition for 11-stringed alto guitar named Traces of Oblivion – is partly embedded in, partly punctuated by fragments of the music.
|
|
| 5. |
- Lützow-Holm, Ole
(author)
-
Winterreise Music: en miniessä
- 2020
-
In: Gränser och oändligheter – Musikalisk och litterär komposition. - Göteborg : Konstnärliga fakulteten. - 9789198517163 ; , s. 194-197
-
Book chapter (other academic/artistic)abstract
- The text reflects on the musical dramaturgy I created for a staging of Winterreise by Elfriede Jelinek at Theatre Galeasen in Stockholm in collaboration with actress Petra Fransson and director Christina Ouzounidis. A central issue was the concept of entropy and the idea that one might view it as a potential model for managing complex structures in musical composition. I imagined Jelinek’s uncompromisingly condensed dramatic texts to offer extraordinary conditions for that kind of exercises.
|
|
| 6. |
- Stefansdottir, Halla Steinunn, et al.
(author)
-
Let’s (be) play(ed by) an ocean : Of situated actions within ecological sound art
- 2020
-
In: Gränser och oändligheter - musikalisk och litterär komposition : 'compositional' becoming, complexity, and critique - 'compositional' becoming, complexity, and critique. - 9789198517163 ; , s. 73-102
-
Book chapter (other academic/artistic)abstract
- This chapter investigates participatory sense-making within ecological sound art. The field links to “a broader set of cultural practices in which the imperial power of ‘the human’ over the rest of the world is shifting in favor of what we might call a more eco-systemic engagement” (Hogg, 2013). In summer 2018, the project sent poet Gunnar D. Hansson, composer Anders Hultqvist and ecological sound artists Halla Steinunn Stefánsdóttir and Stefan Östersjö on a search for the sounds of the book Tapeshavet (Hansson, 2017), through the artistic method of activation. This chapter analyses the processes of such participatory sense-making, which springs out of an ecological-enactive approach. Based on this the author puts forth and argues for the concept of multi-entity performance (Rawlings, personal communication, May, 2019; Stefánsdóttir, 2019a) as a technique as well as analytical and conceptual stance, thus showing through doing that the ecological-enactive approach has the power of “providing one with new tools and technology and new understandings of processes, in any musical environment and its collaborative creativity, where things happen in the connection” (Stefánsdóttir, 2019b).
|
|
