by Anders Flodin Introduction According to the general doctrine of music theory prevalent today there is a basic rule which reads as follows: “The musical note has four elementary properties; pitch, volume, timbre and duration.” Traditional music theory holds that these properties are valid as independent dimensions of sound perception; they are held to beContinue reading “Understanding Noise-Pitch Continuum in Timbral Music”
Category Archives: Okategoriserade
Urban space as a resonance room – a sitespecific concert
by Anders Flodin H+ is the largest city renewal project in Helsingborg during modern times. By 2035 the old harbour- and industrial areas, around one million square meters in size, will evolve into a mixed city. The H+ area will make room for the new and existing city districts Oceanhamnen, Universitetsområdet, Husarområdet and Gåsebäck, whichContinue reading “Urban space as a resonance room – a sitespecific concert”
No man steps into the same river twice
by Anders Flodin Putting sound and images together into one unit has had an explosive development and led to major changes in the established art scene. Consequently, more and more young artists have chosen to express themselves through sound, music, video, digital images and animation. This text is based on a performance at the 6thContinue reading “No man steps into the same river twice”
Analysis of Turkar Gasimzada’s “There were noises and tiny bluish – yellow lights”
by Anders Flodin What follows is an analysis of There were noises and tiny bluish – yellow lights (2020) for prepared piano and midi keyboard/electronics by the Azerbaijani composer Turkar Gasimzada. This composition should not be mixed up with the composer’s previous composition with a similar title noises and tiny-bluish yellow lights (2014). Introduction MostContinue reading “Analysis of Turkar Gasimzada’s “There were noises and tiny bluish – yellow lights””
Åt helvete med alla oljud
– mina minnen av Sune Smedeby (in Swedish) av Anders Flodin ”Käre Anders! Det blir inte många rader idag, eftersom jag är partiellt (men övergående) förlamad i en högerhandsnerv efter kranskärlsoperationen, som jag genomgick den 19 mars. Jo, den blev av till slut, även om jag drog mig i det längsta. Det är mer änContinue reading “Åt helvete med alla oljud”
What happens to the words denominations when a composer turns to composing music in a language other than his or her native language?
by Anders Flodin Language is an important part of musical composition, especially in the art of combining music and text. But what happens to the words denominations when a composer turns to composing music in a language other than his or her native language? How does the language affect the composition process? Velimir Khlebnikov wasContinue reading “What happens to the words denominations when a composer turns to composing music in a language other than his or her native language?”
Numeral and Symbolic representation when coding in Estuary: Browser-based Collaborative Live Coding
by Anders Flodin Abstract. This paper focuses on the laboratory work in the art of live coding and in the use of Estuary, a browser-based collaborative projectional editing environment built on top of the TidalCycles language for the live coding of musical pattern. The paper explore the manner in which notation with numerals and symbolsContinue reading “Numeral and Symbolic representation when coding in Estuary: Browser-based Collaborative Live Coding”
Daniel Chudovský – Zvlnĕné hranice pro violoncello a symfonický orchestr
by Anders Flodin A Jewish prayer occupies a central position and wrapped into the composition Zvlnĕné hranice pro violoncello a symfonický orchestr (2018) by Daniel Chudovský. This article sets out to describe the composition from different angles; the historical and aesthetic background as well as a few remarks. In this essay, descriptive sections alternate withContinue reading “Daniel Chudovský – Zvlnĕné hranice pro violoncello a symfonický orchestr”
Anders Flodin 