Last year ended with a 30 % PhD seminar where I summarised my research on sound notation at this point, and what will be the next stage. The research can be studied further in these publications:
Sköld, M. (2019). The visual representation of spatialisation for composition and analysis. In Nordic Sound and Music Computing Conference 2019 (pp. 70-77).
Sköld, M. (2019). Visual Representation of Musical Rhythm in Relation to MusicTechnology Interfaces-an Overview. In CMMR 2019 (pp. 725-736).
Panariello, C., Sköld, M., Frid, E., & Bresin, R. (2019). From vocal sketching to sound models by means of a sound-based musical transcription system. In Sound and Music Computing Conference (pp. 1-7).
Sköld, M. (2018). Combining Sound-and Pitch-Based Notation for Teaching and Composition. In TENOR’18–Fourth International Conference on Technologies for Music Notation and Representation (pp. 1-6).
Sköld, M. (2017). The Harmony of Noise: Constructing a Unified System for Representation of Pitch, Noise and Spatialization. In CMMR 2017 13th International Symposium on Computer Music Multidisciplinary Research (pp. 550-555). Les éditions de PRISM.
The notation example shows one short sound notated using most of the spectrum-oriented symbols to specify its timbre, speaking of which, I will be submitting an article on the notation of timbre shortly.
Otherwise, future research efforts will focus more on the use of the notation system in various musical settings, beginning with a chamber music piece for four musicians with a mixture of acoustic and electronic sound sources.
This autumn has been filled with research oriented activities but also some new electroacoustic music. I presented an exploration of the notation of rhythm at the CMMR 2019 conference in Marseille, then a presentation on the notation of timbre at the music and research festival Between 2019 at KMH, then a paper presentation of the notation of spatialisation during the celebratory Bill Brunson session at the Nordic SMC 2019 conference at KTH. A conference paper on the notation of timbre will follow, perhaps finalising my studies on major notation parameters.
At the Between 2019 festival I also premiered In the beginning, a multi-channel electroacoustic work meant to work as an opening movement for my Creation oratorio. The sound in our (relatively) new 45.4 speaker dome at KMH is truly amazing.
Last night (2019-06-12) my latest oratorio, The Creation, was finally premiered and it was a joy to sit front row and hear the music fram start to finish for the first time. Though the music at times almost romantic and full of harmonic passages, the structure is not without difficulty for performers because of my fondness for time signature changes and non-traditional harmonic progressions. Regardless, the soloists and ensemble gave the piece a wonderful first performance. For anyone interested in hearing the music, Swedish Radio P2 recorded the concert for (Swedish national) radio broadcast 25th September and later also on www.sr.se for 30 days following the broadcast.
It’s soon time for the premiere of my Creation oratorio. It is written for three soloists (Soprano, Alto and Tenor), choir, brass sextet, percussion, synthesizer and electronics. The text was compiled from Haydn’s English creation oratorio libretto. The first performance takes place on June 12th 19:30 in the Eric Ericson Hall in Stockholm.
This fall has seen three anniversary-related performances of my 2002 choir piece, We Know Not Where the Dragons Fly: first the Swedish Radio Choir performing the piece for the celebration of the Swedish Composers Society’s 100th anniversary concert in Grünewaldssalen in Stockholm, then Mikael Chamber Choir performing the piece for the celebration of Gehrman’s Publishing Company’s 125th anniversary as well as Swedish choir conductor legend Eric Ericson’s 100th anniversary, and finally S:t Jacobs Vokalensemble performing the piece for the Swedish Composers Society’s actual birthday celebration at The Royal College of Music in Stockholm.
I am now in Hamburg overseeing the final projects of the second run of the international joint master program CoPeCo (contemporary performance and composition) which is a collaboration between music colleges in Tallinn, Stockholm, Lyon and Hamburg. A small class of 8-12 students study one semester in each city. For students interested in composition, performance, improvisation and new technology this program should be worth checking out. More info here.
I am now in Montréal for the Fourth International Conference on Technologies for Music Notation and Representation – TENOR 2018. I presented my case study with the hybrid notation system combining sound-based notation and traditional music notation. Everyone here is interested in working with new forms of music notation together with technology. Several systems presented so far use network protocols to distribute instructions and information to performers. There were also examples of animated scores, augmented reality interfaces for musical performance, and much more.
I’m also working on a new large-scale piece for choir, three soloists, instruments and electronics, using the English text from Haydn’s masterpiece, the Creation. I don’t know how soon I can finish this work because of teaching, research and all. Perhaps a year from now. It’s going to be 50-60 min of music, so it needs some time.
I have, along young composer Jacob Mühlrad, been awarded Musikföreningen i Stockholm’s annual scholarship awarded for contributions to Swedish classical music. Musikföreningen i Stockholm was founded in 1880 as an oratorio choir and was in 1928 reformed as a foundation, handing out one or two annual scholarships to composers, starting with Hugo Alfvén in 1936. I am much honored and humbled to accept this scholarship joining an impressive list of past recipients for whom I have great respect.
Beside the usual teaching at the KMH, I have been much occupied with getting my experimental notation research started at the Royal Institute of Technology, which includes performing a case study that will be presented in a conference paper some time in the first half of 2018. I have however found the time to do some Max patching (see synth image below), also expanding my modest Eurorack modular. So there are definitely some new electronic music tracks on the way. Ultimately the notation research aims to bring the acoustic and electronic music worlds closer together by finding a means of representation that does both worlds justice. So maybe there’ll be a piece for choir and modular synths in the future.