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Bröndum, Lars
Publications (4 of 4) Show all publications
Bröndum, L. (2019). Where Do We Go From Here?: The Future of Composers in the Post-Digital Era (1ed.). In: Ewa Mazierska, Les Gillon, Tony Rigg (Ed.), Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology (pp. 155-170). Bloomsbury Academic
Open this publication in new window or tab >>Where Do We Go From Here?: The Future of Composers in the Post-Digital Era
2019 (English)In: Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology / [ed] Ewa Mazierska, Les Gillon, Tony Rigg, Bloomsbury Academic, 2019, 1, p. 155-170Chapter in book (Refereed)
Place, publisher, year, edition, pages
Bloomsbury Academic, 2019 Edition: 1
National Category
Music
Research subject
Media, Technology and Culture (MTEC)
Identifiers
urn:nbn:se:his:diva-16527 (URN)10.5040%2F9781501338403.ch-007 (DOI)000482934200008 ()978-1-5013-3839-7 (ISBN)978-1-5013-3837-3 (ISBN)978-1-5013-3838-0 (ISBN)
Available from: 2018-12-21 Created: 2018-12-21 Last updated: 2019-10-07Bibliographically approved
Bröndum, L. & Kristensen, L. (2019). Work in Improvised Music: Playbour, Improvisation and Neo-liberalism. PARSE Journal (9)
Open this publication in new window or tab >>Work in Improvised Music: Playbour, Improvisation and Neo-liberalism
2019 (English)In: PARSE Journal, E-ISSN 2002-0953, no 9Article in journal (Refereed) Published
Abstract [en]

This paper is based on a combination of theoretical and practical research. The purpose of this paper is to discuss digitalisation and its effect on music in relation to the concept of “playbour”. It combines theories of games and labour with the practices of improvisation in live electronic music and economy. We observe similarities between these two research fields, one of which is rooted in the social sciences and philosophy and the other in artistic composition and creative methodologies. Although we make no assessment on a possible causality in the chain of events between theory and practice, we do want to investigate a cross-disciplinary field that combines improvisation, game studies and the organisation of labour. These three fields all use the notion of play to convey different outcomes, which are valorised differently according to the concepts of labour applied. The world of fine art and music composition has in the past been associated with that of game and play,1 and both have been seen as socially formative and educational for the participants. But, as we will argue, it is in our current digital economy that computer games, music production and organisation of work have converged as part of the neo-liberal economy. We will argue that the neo-liberal digital economy flattens the spectrum of musical performance so that it resembles modern play in computer games or in work life. As a consequence of this, improvised music in particular is devalued and the players degraded to immaterial labourers without wage compensation. Our aim is to question how improvisation is valued according to the digital economy, which does not duly compensate musicians for their labour. How can we see musical improvisation as a form of labour that is reduced to modern forms of play? What is it that produces wealth and value in improvised music?

Place, publisher, year, edition, pages
Göteborg: University of Gothenburg & Platform for Artistic Research Sweden, 2019
Keywords
work, music, playbour, neoliberalism, improvisation
National Category
Musicology Music
Research subject
Media, Technology and Culture (MTEC)
Identifiers
urn:nbn:se:his:diva-16876 (URN)
Available from: 2019-05-09 Created: 2019-05-09 Last updated: 2020-01-23Bibliographically approved
(2018). Chimera Cadence. Antennae Media
Open this publication in new window or tab >>Chimera Cadence
2018 (English)Artistic output (Refereed)
Abstract [en]

The Gothic concept originates from comments I often get when I play live, “You should write music for horror movies!”  Intrigued by the idea I composed this suite of music that is inspired by the moods of Gothic horror fiction, art and architecture. Imagery of crumbling medieval castles ornamented with bizarre chimeras.  In dimly lit chambers and dungeons, themes of the supernatural, horror, decadence and madness unfold.Inspired by Charles Baudelaire, William Blake, de Sade, Edgar Allan Poe, Goya, Clark Ashton Smith etc.

Place, publisher, year, pages
Antennae Media, 2018
National Category
Music
Research subject
Media, Technology and Culture (MTEC)
Identifiers
urn:nbn:se:his:diva-16681 (URN)
Available from: 2019-03-06 Created: 2019-03-06 Last updated: 2019-08-23Bibliographically approved
Bröndum, L. (2018). Graphic Notation, Indeterminacy and Improvisation: Implementing Choice Within a Compositional Framework. Open Cultural Studies, 2(1), 639-653
Open this publication in new window or tab >>Graphic Notation, Indeterminacy and Improvisation: Implementing Choice Within a Compositional Framework
2018 (English)In: Open Cultural Studies, ISSN 2451-3474, Vol. 2, no 1, p. 639-653Article in journal (Refereed) Published
Abstract [en]

The aim of this paper is to examine the use of graphic notation in relation to improvisation and indeterminacy in practice. The paper opens with a background context around terms and ideas about improvisation and indeterminate music pioneered by composers in the 20th century. The techniques the author used in the pieces Fluttering (Brondum 2015) and Serpentine Line (Brondum 2010) are examined and discussed in informal interviews with four musicians. The paper closes with a discussion and conclusions gained from the interviews and from working with musicians in the context of using graphic notation as a bridge between improvisation and notated music. Documentation of the author’s practice and research of these methodological and aesthetical issues may be of interest to composers and musicians that work with similar techniques. It may also add to theory by developing the understanding of a composer’s own approach, and in extension, to ask questions on how to develop these theories further.

Place, publisher, year, edition, pages
Sciendo, 2018
Keywords
composition, graphic notation, improvisation, indeterminacy, practice as research
National Category
Music
Research subject
Media, Technology and Culture (MTEC)
Identifiers
urn:nbn:se:his:diva-16579 (URN)10.1515/culture-2018-0058 (DOI)000459226100007 ()2-s2.0-85078949535 (Scopus ID)
Available from: 2019-01-22 Created: 2019-01-22 Last updated: 2020-04-28
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