A fundamental mode of being in the world
Collaborative improvisation as a creative point of departure for studio production.
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Collaborative improvisation as a creative point of departure for studio production.
Critical examination of piano music through a psychological understanding of the act of performing.
An investigation of pianists’ independence from the score by comparing their tempo through graphs.
Exploring the master-apprentice relationship through artistic research methodologies and the staging of a Hörspiel.
Artistic environmental interaction and the notions of ‘fleshy listening’ and ‘multi-entity performance’.
Historically-informed recording research exploring the work of the amateur recording pioneer Julius Block.
On obsolescence, preservation, acoustic signatures and functions in the now closed Yerkes Observatory, Wisconsin.
Reflecting the practice of the medical technique for listening with a stethoscope.
Guitarist Mikkel Schou prefers the brand-new music composed today; his upcoming Debut Concert is a ‘thanks, but no thanks’ to institutional forces of habit.
At the Academy for Open Listening, Sofie Birch and My Lambertsen set out a new direction for the ASMR genre.
American composer Caroline Shaw drew criticism because she profited on Inuit throat singing, according to singer Tanya Tagaq.
Mathias Monrad Møller showed us an exciting creative vision at his official debut concert as singer and composer – a vision overshadowing dull questions of mere skill.
If we sought to go beyond the media reveal, what new practices of knowledge should emerge?
How does a sonic artist come to terms with the global effects of the tools of her trade?
How John Cage deconstructed the governed gallery experience and formed a new field of research.
A curatorial reading of Bruce Nauman’s sound installation “Für Kinder” calling for a post-medium approach to sound art.
A methodology of working with embodied sound and movement as an approach to creating open score pieces.
Video recordings of five RE:SOUND keynotes as well as a panel discussion on sound art curation.
How can a crowd of football fans use sound to protest a profit-oriented football machinery? By staying completely silent, apparently.
Two weeks ago, the German pianist Igor Levit took on an iconic marathon piece, fundamentally changing his own conditions as well as the listener’s.
Instruments struggle to voice themselves in the music of Christian Winther Christensen. His focus on small sounds and deep concentration is a perfect match for a time of silenced soundscapes.
Pulsar Festival 2020 took place under the shadow of Marcela Lucatelli’s ‘RGBW’. It’s time for a critical look at the systems of power.
Nature seems to have turned on us. That shows in Nordic contemporary music with sonic tales of decay, apocalypse, and protest.
With ‘Víddir’, a 60-minute composition of light and darkness, the Icelandic composer Bára Gísladóttir demonstrated the breadth of her imagination.
Neko3 is one of the most visionary ensembles at a moment where the contemporary music scene is changing rapidly.