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This text addresses creative practitioners generally, but especially music composers, arrangers and educators who involve new mediums (in terms of alternatives to the traditional music instruments, music scores, music performers, performance spaces…) in their music activities. In a wider perspective, the ambition is to highlight and put focus on a new medium’s ability to affect a creative process; most importantly, how limitations in a new medium can be used as a desirable creative force rather than a limiting aspect of a creative activity.

As an artistic researcher, I explore new mediums in my work, in how a new medium can affect a creative process and bring to life unexpected sides of a practice. I am interested in new mediums’ ability to create a reaction in the artistic activity, which may help us define the content of a tradition, and even make way for the development of new traditions, practices and of course shape the artistic expression. In this presentation I will focus on a mobile phone orchestra concept entitled Mobile Phone Orchestra.com, which I have developed in collaboration with a programmer and a graphic designer, moreover, how a media ecology perspective have helped us in the development processes of these new music performance technologies.

This performance presents an approach to real-time animated notation in multiple parts for comprovisation concerts, including performers regardless of their musical backgrounds. In particular, a participatory Mobile Phone Orchestra concept, using the platform mobilephoneorchestra.com and its animated notation approach, is highlighted in the performance. The performance will be the world premiere of a new composition specifically for soloist Lisa Mezzacappa (upright bass) and Mobile Phone Orchestra (MPO). The MPO will be divided in multiple parts and conducted by animated notation, which will be partly improvised and performed in real-time by the composer Anders Lind. The performance will present a musical dialogue between the soloist Lisa Mezzacappa and the composer Anders Lind together with the generated electronic music of the MPO – A comprovisation performance for Upright Bass and a Polyphonic Mobile Phone Orchestra.

This presentation focuses on a Mobile Phone Orchestra (MPO) performance platform, - mobilephoneorchestra.com – developed for performances of polyphonic electronic music – to be performed as an orchestra. The aim has been to create a kind of philharmonic orchestra for electronic sounds that uses smart phones as instruments. Mobilephoneorchestra.com is developed for non-musician participation, with the aim to easily fascilitate a mobile phone orchestra performance including many performers, but also to new performance target groups into the world of contemporary art music. Mainly youths between 13-17 years old have been addressed as performers in various project, also since they generally could be seen as experts on handling the smart phone interface. Animated notation in multiple parts is giving performance instructions to the mobile phone orchestra during the performance. In this videopresentation I have highlighted a concert performance in Slovenia from 2020 where two compositions of mine including a mobile phone orchestra were performed. Voltage Controlled String Orchestra, music for MPO (approximately 60: 15-year-old non musicians), Slovenian Philharmonic String Orchestra and Soloist (Analog Synthesizer). Voyage One, music for stand alone MPO. This presentation shows some of the artistic possibilities and limitations with the MPO platform, from a composer perspective. Furthermore, an evaluation based on the experiences of the participating MPO performers at the Voltage Controlled String Orchestra performance, is presented.

The premiere live performance of a composition for Piano and Remote Pen and Paper Quartet, conducted by web-based animated notation. The composer Anders Lind is behind the piano in Marseille performing together with four people situated at their individual homes in Sweden, using pen and paper as their musical instruments. The composition is a part of an artistic research project entitled Home Participatory Orchestra initiated by Lind at Umeå University in Sweden. A Home Participatory Orchestra is within the project defined as; Four or more people performing in multiple parts, performers are situated at different geographical locations and performing in real-time over a network, performers are people regardless of their musical background, and everyday objects and home environment are used as musical instruments. The project aims to explore artistic perspectives of a telematic performance concept, using a participatory approach, low-frequency bandwidth, and animated notation. The animated notation for the performance is created by Jonathan Bell and Anders Lind using Drawsocket (Hajdu, 2019. Gottfried, 2019).

How can an easy-access Mobile Phone Orchestra (MPO) platform be developed to facilitate high-end, flexible artistic expressions suitable for concert hall performances? Moreover, what challenges and possibilities arise in the development process of a novel MPO platform embracing school children as performers? In this paper, we discuss potential answers to these questions, which were integrated in the development process of mobilephoneorchestra.com. In particular, we highlight the main challenge of developing a performance platform that is both mobile and artistically rewarding, but still easily accessed by schoolchildren. Mobilephoneorchestra.com was developed as a Web Audio API to enable large-scale concert hall performances of fixed polyphonic contemporary art music. It is a kind of philharmonic orchestra for electronic sounds that embraces school children as performers and uses smart phones as instruments. Through an autoethnographic approach, our research was carried out in multiple iterations, inspired by action research. In this paper, we present findings from three iterations that include performances of music involving MPO. Schoolchildren/youths between 10 and 17 years old were addressed as MPO performers. The findings reveal both the artistic challenges of the platform and the possibilities. We specifically highlight the use of mobile music interfaces in combination with animated notation as a novel approach for an MPO concept.

Networked Music Performance for “remote choir”. The 16 singers in the choir were performing from their physically separated individual homes around Hamburg. Animated notation was distributed as performance instructions in 4 individual parts by composer Anders Lind from Stockholm/ Sweden. Everything happened in real-time., Part of the Concert:Remote Choir Concert (1:05:00 in the concert). https://youtu.be/1sumbS_c8Y4?t=3900retrieved 2022.03.14

”A musical exploration and attempt to highlight sounds fromearly analogue synthesizers in combination with the traditionalstring orchestra. Meet the string orchestra extended with ananalogue synthesizer soloist and a new instrument group ofpreprocessed synthesizer sounds performed by a MobilePhone Orchestra. A musical interaction between tradition andinnovation, combined as one musical body.” – Anders Lind

Many contemporary performers and composers seek new sounds through extension of traditional instrument techniques. For the trumpet one such extended technique is valve rotation, the rotation of a trumpet piston valve within its casing to effect the timbral complexity of airstream effects. Intrigued by the possibilities, I have embarked on an exploration of trumpet valve rotation, a path which has become significant to my creative practice. When searching for resources to inform my exploration it was evident that there is limited: documentation referring to trumpet valve rotation; investigation into the application of trumpet valve rotation in improvisation and composition; and methods for the effective communication (both aural and written) of the technique. Through the creation of two original works for solo trumpet and the development of both a static and animated notation this practice-based research aims to address these gaps in the academic literature. In addition detailed description of the physical parameters, sonic characteristics and best practice when using trumpet valve rotation are included. The included creative works are: iMprov #13 (2017) — solo trumpet improvisation, and Minutiae (2017) – for solo piston valve trumpet.

The rhizome concept explored by Deleuze and Guatarri has had an important influence on formal thinking in music and new media. This paper explores the development of rhizomatic musical scores that are arranged cartographically with nodal points allowing for alternate pathways to be traversed. The challenges of pre-digital exemplars of rhizomatic structure are discussed. It follows the development of concepts and technology used in the creation of five works by the author Ubahn c. 1985: the Rosenberg Variations [2012], The Last Years [2012], Sacrificial Zones [2014], detritus [2015] and trash vortex [2015]. this paper discusses the potential for the evolution of novel formal structures using rhizomatic structures.

COLLECTIVENESS/ VOICES OF SUNDSVALL –Verk för Nordiska Kammarorkestern (2222, 3200, 1 slagverk, stråk), ett 40-tal Sundsvallsbor samt inspelade och elektroniskt bearbetade röster från Sundsvalls invånare under ledning av Animerat Notationssystem/ och Paul Mägi. Durata: 17 min. Ingick i konsertprogrammet ”SÄSONGSSTART” som framfördes i Tonhallen/ Sundsvall 2016-09-10., Music for Chamber Orchestra (2222, 3200, 2 Perc, Strings) + Citizens of Sundsvall + Electronics + Animated Notation.

Vickery, L. (2016). Rhizomatic approaches to screen-based music notation. Proceedings of the 16th International Conference on New Interfaces for Musical Expression. 16th International Conference on New Interfaces for Musical Expression. Brisbane: Griffiths University.