Living in a world where machines are talking to us with synthetic voices, it is important to discuss questions of representation and aesthetics. Today most voices in devices and systems are designed to have binary vocal identities. This could be different. Our project aims to inspire a reimagination of the paralinguistics of synthesized voices, exploring how to train and develop the pitch, timbre, pace, and other vocal features beyond speech, based on vocal data from many different people, presenting the idea of a diverse and collective voice, initiating a reflection of the sonic appearance of future synthesized speech that goes beyond the binary.

This audio paper is based on research that accompanied my work on Intertidal Room, a site-responsive and time-specific soundwalk composition.* It was developed in summer 2020 to be listened to during low tides while walking along Vancouver's shoreline. The composition explores how the entanglement of historical, environmental, and cultural processes at the city's intertidal zones has been reflected in their present soundscapes. This audio paper focuses more closely on the part concerned with Vancouver and British Columbia's colonial history.

This audio paper reflects on and refracts the research process of sonically and sensorially engaging with public monuments and postcolonial sensibilities in the urban space. The auditory research methods from which this audio paper is created include embodied and situated listening as well as the recording and production of mediated sonic narratives. In the first part of the audio paper, snippets of an audio walk for the public monument I Am Queen Mary are presented, and the qualities and limitations of this format are reflected.

In this audio paper we bring together, in the shape of a montage, conversations taking place at two cultural heritage sites pertaining to the global, networked space of colonialism: the Danish West-Indian warehouse in Denmark and the rebuilt Frederiksgave Plantation in Ghana. We weave together narratives from these two geographically distant yet intimately linked locations in order to explore how relationality to sites of historical significance unfolds not just as a detached relation to textually documented historiography but as a sensual and affective meeting, on site and in sound, through the body (Massumi 2002).

Comprehending improvisation as a principal creative paradigm affects the way we make music, how we understand it, and how we listen to it. By reflecting on my own practice, I discuss the idea that improvisation exists not only in so-called improvised music but also in composition, in interactive computer systems, and in audio mixing. Presenting the case study Strings and Syllables, an album of duet improvisations I released in 2020, I create a discourse between indeterminate, interactive, collaborative, and co-authorial working processes, and the idea of the musical work (Goehr, 1992).

In classical music performance, if the only tool to sustain the great tradition may be seen to be perfectionism, it may hijack artistic expression and freedom. Possibly it will also limit the expressive potential of the performer. Taken together, the vast repertoire, the pressure to compete, and the institutional demands levied in order to make a career leave very little room for exploring new and radical parameters in performance or interpretation.

This paper aims to posit performers and performance (within the Western Art Music tradition) as a source of knowledge in a reconsideration of the musical work’s ontology. I argue that performance, when involving precomposed pieces, cannot be fully understood without an acknowledgement of a “relationship” between performer and work, and vice versa—that the work cannot be properly understood without serious consideration of performances. 

This polyphonic audio paper addresses the relation between master and apprentice in the music conservatoire, and gives voice to the central human and non-human agents in this context. We aim to explore the power structures that constitute a structural framework for these relations, with regard to the agency with which students shape their individual interpretations, and therefore also to the role of imitation in instrumental music teaching.

This audio paper draws on analysis of a case study within the field of artistic research. In summer 2018, the project sent poet Gunnar D. Hansson, composer Anders Hultqvist and ecological sound artists Stefan Östersjö and Halla Steinunn Stefánsdóttir on a search for the sounds of the book Tapeshavet (Hansson, 2017). The work links to the author’s Activation Series, which employs the artistic method of activation through a practice of performative responsivity to an environment. It therefore falls under the field of ecological sound art.

The term historically-informed has a long-standing association with musical performance. Indeed, for over half a century performers have been developing and describing strategies for delivering performances that are historically-informed, typically involving the use of period (or replica) instruments to present historic works, with some performers adopting performance conventions that were (ostensibly) used at the time such works were composed. There are, of course, many reasons for adopting such historically-informed performance strategies. For example, one might reason that historically-informed performances respect the composer’s intentions, or help to re-establish forgotten readings of musical texts, or even revive musical contexts, behaviours and customs that disappeared long ago. Whether these aims may be reasonably achieved, however, has been the subject of much debate among scholars, with critical notions of historical accuracy and authenticity taking centre stage.