Exposition

Sculpting Air In The Sub Habitat (2023)

Lotte Anker

About this exposition

Sculpting Air in The Sub Habitat (subtitle: Texture and Form in Composition for Larger Ensemble of Improvisers) is an exploration and unfolding of creative processes in composing for a larger ensemble (6+ musicians) of improvisers as well as the processes in the ensemble rehearsals and concerts. In Sculpting Air, I am both composer and performer. I work with an ensemble created for this project: Sub Habitat. Sub Habitat members are: Lotte Anker (DK), Mazen Kerbaj (GER/LBN), Katt Hernandez (S/USA), Nina de Heney (S), Sten Sandell (S), Andrea Neumann (GER), Burkhard Beins (GER) Sculpting Air grew out of a need to deepen, (re)examine and challenge my compositional practice (including aesthetic preferences and inclinations) within a larger ensemble of improvisers, and I went into the project looking for something: more or less vague, fragmented notions of particular sonic and textural qualities and structural concepts. Notions of a higher degree of connectedness between predetermined and undetermined elements in composition etc. The project is based on my own compositional work and 4 ensemble Sessions and Session concerts during 2020-22. It includes examples and reflections from these processes, and through them I try to articulate answers to the following research questions: Based on the concepts of texture, MODE and LIBRARY, how can I develop new compositional tools for a larger ensemble of improvisers in a music that reflects the sonic palette and expression of the individual musician, the expression and identity of the ensemble as an entity, and my artistic intention?  Including: How can these tools be deployed as sculpting materials in a large form piece, where the predetermined and indeterminate elements mutually reinforce each other and thus help to extend the musical space? How can I explore the sonic potential of the ensemble in dialogue with the musicians? How does the ensemble's overall expression inform my compositional work and vice versa? In score form, how can I develop a specific vocabulary, concepts and notational forms that clarify my artistic intention and convey the balance between the predetermined and indeterminate elements of the composition? 
typeresearch exposition
keywordsgraphic notation, Graphic score, improvisation, ensemble improvisation, experimental composition, Experimental music, RMC staff
date05/05/2021
published03/03/2023
last modified03/03/2023
statuspublished
share statusprivate
copyrightLotte Anker
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/1249876/1249877
published inRhythmic Music Conservatory, Copenhagen
portal issue4. Staff Publications 2023
connected toRhythmic Music Conservatory, Copenhagen


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