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  • 1.
    Bröndum, Lars
    Högskolan i Skövde, Institutionen för informationsteknologi. Högskolan i Skövde, Forskningscentrum för Informationsteknologi.
    Graphic Notation, Indeterminacy and Improvisation: Implementing Choice Within a Compositional Framework2018Inngår i: Open Cultural Studies, ISSN 2451-3474, Vol. 2, nr 1, s. 639-653Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 2.
    Bröndum, Lars
    Högskolan i Skövde, Institutionen för informationsteknologi. Högskolan i Skövde, Forskningscentrum för Informationsteknologi.
    Where Do We Go From Here?: The Future of Composers in the Post-Digital Era2019Inngår i: Popular Music in the Post-Digital Age: Politics, Economy, Culture and Technology / [ed] Ewa Mazierska, Les Gillon, Tony Rigg, Bloomsbury Academic, 2019, 1, s. 155-170Kapittel i bok, del av antologi (Fagfellevurdert)
  • 3.
    Bröndum, Lars
    et al.
    Högskolan i Skövde, Institutionen för informationsteknologi. Högskolan i Skövde, Forskningscentrum för Informationsteknologi.
    Kristensen, Lars
    Högskolan i Skövde, Institutionen för informationsteknologi. Högskolan i Skövde, Forskningscentrum för Informationsteknologi.
    Work in Improvised Music: Playbour, Improvisation and Neo-liberalism2019Inngår i: PARSE Journal, ISSN 1611-1052, E-ISSN 2002-0953, nr 9Artikkel i tidsskrift (Fagfellevurdert)
    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?

  • 4.
    Bröndum, Lars ()
    Högskolan i Skövde, Institutionen för informationsteknologi. Högskolan i Skövde, Forskningscentrum för Informationsteknologi.
    Chimera Cadence2018Kunstnerisk output (Granskad)
    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.

  • 5.
    Bröndum, Lars ()
    Högskolan i Skövde, Institutionen för informationsteknologi.
    Double Helix Staircase: For 8-channel Surround2014Kunstnerisk output (Granskad)
    Abstract [sv]

    Double Helix Staircase komponerades 2014 av Lars Bröndum. Kompositionen har uppförts på följande konserter:

    - 16/11, 2014 (uruppförande) på ”Ljudbio 8-kanal konsert” i Uppsala.Kulturföreningen NEO

    - 21/6, 2015, New York City Elektroacoustic Festival (NYCEMF), New York City, USA

    - 23/4, 2016, VEMS kulturnatt konsert, Fylkingen, Stockholm.

    En stereo mix av Double Helix Staircase publicerades också på albumet Fallout 2016. Fallout är ett urval av verk av Lars Bröndum mellan 2011-2015. Albumet fick fonogramstöd från Svenska Kulturrådet 2016 och publicerades på CD av skivbolaget Antennae Media 2016 och på strömning- och nedladdningsstjänster som Spotify, iTunes och Amazon. Fallout albumet vann också första pris i kategorin "Experimentell" på Manifest Galan 2016 av SOM (Svenska oberoende musikproducenterna) 2016. Juryn bestod av medlemmar i FST (Föreningen Svenska Tonsättare). Releasekonserten för albumet var den 26 augusti 2016 på Fylkingen i Stockholm. 

    Double Helix Staircase utforskar idén av en klingande gestaltningen av en DNA-spiral skapat med huvudsakligen mikrotonala klustertekniker och analog syntes i ett åtta kanal surround sound system.  Denna variant som diskuteras här har slutligen mixats om till stereo.

    Double Helix Staircase komponerades i LAB studios i Stockholm och mixades på EMS (Elektronisk Musik i Sverige) i Stockholm, Sverige 2014.  En stereo mix gjordes 2016.

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