Background and activities
I work as an associate professor position at the music technology program at Norwegian University of Science and Technology (NTNU). I am currently study programme leader at the Music Technology Programme. In recent years, my courses have been Analytical and aesthetical perspectives on music and technology (MUST3054), Music technology in light of history (MUST1058), and Basic music technology 2 (MUST1060).
Research interests:
- Movement-sound interaction for users with and without disabilities
- Interactive dance
- Voice in electroacoustic music (PhD entitled "Experiencing voices in Electroacoustic Music" from 2010),
- Live-electronics from a performative perspective
- History and analysis of electroacoustic music
Artistic work:
I hav been involved in composition and sound design for exhibitions, installations, large scale multi-media events, in addition to doing live-electronics performances and working with computer instrument design for motion capture systems. In addition, he has recently composed several pieces for interactive dance that have been presented in Norway, Denmark, Germany, Austria, Greece, Italy, Canada and the US in collaboration with choreographer Robert Wechsler.
Reward:
Together with the MotionComposer team I received a special recognition award in the 2016 Guthman Musical Instrument Competition.
Personal home page:
http://folk.ntnu.no/andbe/index.html
Scientific, academic and artistic work
A selection of recent journal publications, artistic productions, books, including book and report excerpts. See all publications in the database
Journal publications
- (2018) Intermediality and Memory in the Tower Block - Post Mortem Project. THE INTERNATIONAL JOURNAL OF AESTHETICS AND PHILOSOPHY OF CULTURE. vol. 2 (2).
- (2016) Turning movement into music – issues and applications of the MotionComposer, a therapeutic device for persons with different abilities. SoundEffects. vol. 6 (1).
- (2015) Composing Interactive Dance Pieces for the MotionComposer, a device for Persons with Disabilities. Proceedings of the International Conference on New Interfaces for Musical Expression.
- (2015) Unheard Sounds: The Aesthetics Of Inaudible Sounds Made Audible. Journal on the Art of Record Production.
- (2013) The maximal-minimal model: a framework for evaluating and comparing experience of voice in electroacoustic music. Organised Sound. vol. 18 (2).
- (2013) Movement-Music Relationships and Sound Design in MotionComposer, an Interactive Environment for Persons with (and without) Disabilities. Proceedings of re-new Digital Arts Forum.
- (2012) Using a seeing/blindfolded paradigm to study audience experiences of live-electronic performances with voice. Proceedings of the International Conference on New Interfaces for Musical Expression.
- (2011) The Six Fantasies Machine – an instrument modelling phrases from Paul Lansky’s Six Fantasies. Proceedings of the International Conference on New Interfaces for Musical Expression. vol. 11.
Artistic productions
- (2018) Visning, første VIBRA workshop. Visning, første VIBRA workshop
- (2017) Forskningskonserten Lyd-Rom-Bevegelse. null
- (2016) Noisy Stuff. Noisy Stuff
- (2015) Jeu de modes II - Hi-dance version. Interactive dance for three performers. Jeu de modes II - Hi-dance version
- (2015) Jeu de modes III - NIME version. Interactive dance for five performers. Jeu de modes III - NIME version. Interactive dance for five performers.
- (2015) Jeu de modes IV - DAFx version. Interactive dance for solo performer. Jeu de modes IV - DAFx version. Interactive dance for solo performer.
- (2014) Jeu de modes. Jeu de modes - interactive dance for three performers
- (2014) Jeu de modes. Jeu de modes - interactive dance for three performers
- (2014) La dance II. La dance II
- (2014) Songshan Mountain. Songshan Mountain
- (2011) Høyblokka minneforestilling. Høyblokka minneforestilling, elektroakustisk lydkomposisjon
Part of book/report
- (2017) Issues and Strategies of Rhythmicality for MotionComposer. Proceedings of the 4th International Conference on Movement Computing.