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Materiality of sound – the information sound carries of the conditions of its birth – in acoustic, empathetically experienced music.
1. Studies on Empathy (2016) for quartet – physicality of sound production as a governing category
2. Habitus (2017) for orchestra – orchestra as a corporeal, physio-sosiological body (with surtitles)
3. (seepings) (2017) for ensemble and sampler – life-forming music seeping, with its materialistics, into the composition
4. EMBODIED: Triple Solo (2018–) – corporeality of three solo instruments capable of seven variations of solo/duo/trio
5. [Sonata for Bicycle] (2019–) – material possibilities (multi-art?) of and for a non-instrument in sonata allegro form
6. [work for soprano and ensemble] (2019–) – corporeal side of words (economy jargon) in phonetic, ironic whirlwind
7. [work for string orchestra with or without soloist] (2020–) – bodily experience of playing, in photorealistic zooms
8. [work for large ensemble or an orchestra] (2022) – all of the above, in a virtuosic, collective apotheosis 8 sävellystä eri kokoonpanoille (ks. engl. tiivistelmät)
My thesis will take a survey of 'materialism' in other art forms before contextualising my work in the music composition landscape. In various essays, I will elaborate on the choices and studies made during the composition process of my 8 doctoral works.