12/19/17 “06f Polymodularitet (quasi-flamenco + kvartstonsackord), snabba skiften
12/19/17 “03c Randomisering av ackorden + effekter”
12/18/17 “08 Fri impro, blanda in elektronikspår + choices (Decelerator)”
Lab Days #8 – Black Box, Royal College of Music
Victor Lisinski (born 1987 in Vaxholm, Sweden) is a Swedish composer of contemporary instrumental and electroacoustic music, with a background in free improvised music. Also being an aspiring mathematician, he is currently pursuing a doctoral degree in Mathematical Logic at the University of Oxford.
Victor’s instrumental music mainly evolves around the idea of composing generative systems for musical improvisation. A form of algorithmic composition where improvisers are realizing algorithms through various amount of improvisation.
Since 2013 Victor’s electroacoustic has been focusing on recorded sounds from all over the world. In 2013 he traveled one lap around the world without flying, recording sounds on the way. For each place he made an electronic piece of music, using only sounds from that place [sea and land].
“Of particular interest to me for our collective work was Victor’s “Choices and Obligations” score. The way this procedure introduced a very ordered path through a set of determined choices created a very specific kind of music with very little information. Rather the ordering itself, and the looping possibility of choosing silence, accomplished a specific result. This work inviting me, as an improvising musician interacting with it, to an opportunity to reflect on how choices are made in the moment when playing. By stripping away all but the most narrow and specified material choices, one is confronted with questions about compositional form in the context of the unfolding music. Since the mid-range sounds in the piece is limited to non-pitched sounds, all sounds are in the quiet to the very quiet range, and everything makes either a slow crescendo or decrescendo, the material world of the piece remains static. This means the players must create interest in the choices they make about compositional form, instead of materials. The art of creating interesting, complex and engaging compositional forms in improvisation is, for me, the highest manifestation of the form. We have engaged with this through material using Klas’ modules. To engage with it very limited, determined material means was, then, a fascinating alternative viewpoint.”