Postdoc project: Live Electronic Music from a Performativity Perspective

Project period: January 2011 - May 2014

The project’s main aim is to gain an increased understanding of the interrelationships between performer, musical instrument, audience and context/situation in performances of live electronic music.

•    develop a methodology for empirically addressing the complexity of interactions taking place between performer, technology and audience combining quantitative and qualitative data material
•    contribute to an increased understanding of the processes involved in these performances and their relative importance for the performers and audience
•    provide an empirical foundation for a theoretical model of the performance situation of live electronic music, including performer, technology, audience and context/situation
•    to develop an interactive multimedia tool for presenting and analyzing qualitative as well as quantitative data material related to the performance situations (e.g. audio, video, control-data, motion capture (MoCap) data, qualitative data from performers and audience)
•    provide a basis for further artistic developments for the involved performers

The project currently consists of participation in 3 collaborative projects: Voice Meetings, New Forms of Interaction, and T-EMP.

PhD Project: Experiencing Voices in Electroacoustic Music

Project period: November 2003 - May 2010

This dissertation presents a framework for describing and understanding the experience of voices in acousmatic electroacoustic music and related genres. The framework is developed with a phenomenological basis, where the author’s own listening experience has been the main object of study. One component of the framework has been to group aspects that potentially can be attended to into experiential domains based on some common feature, relationship or function. Four vocal experiential domains related to the voice are presented along with three domains not directly related to the voice. For each of these domains, a set of concepts are introduced allowing for qualification and description of features of the experience. The second component of the framework, the maximal-minimal model, is partly described through these domains. This model presents maximal and minimal voice as loosely defined poles constituting end points on a continuum on which experienced voices can be localized. Here, maximal voice, which parallels the informative and clearly articulated speaking voice dominant in the radio medium, is described as the converging fulfillment of seven premises. These premises are seen as partly interconnected conditions related to particular aspects or features of the experience of voice. At the other end of the continuum, minimal voice is defined as a boundary zone between voice and non-voice, a zone which is related to the negative fulfilment of the seven premises. A number of factors are presented that potentially can affect an evaluation of experiences according to the premises, along with musical excerpts that exemplifies different evaluation categories along the continuum. Finally, the two frameworks are applied in an evaluation and description of the author’s experience of Paul Lansky’s Six Fantasies on a Poem by Thomas Campion.

The thesis can be downloaded here.

Voice Meetings

This project aims at developing and investigating a live-electronic performance with voice and technology as central elements, combining artistic and experiential research perspectives. The project started out from the performance Eugenie , which was developed around Åse's personal childhood memories, and explored the territories between straightforward narration, singing and experimental soundmaking, all dressed in multilayered sonic textures derived from sampled vocal material. By presenting the live performance for several audience groups, and collecting their responses through multiple methods, the project have attempted at gaining an increased understanding of the experiential processes of different audiences, thereby giving Åse guidelines in the artistic process usually not attainable for performing artists.


Tone Åse, vocal performance artist and researcher, NTNU
Andreas Bergsland, researcher, NTNU

Project Material:


Eugenie - English trans.

Video 1

Video 2

Guided written response sheet (translated)

Focus group interview questions (translated)