INVENTIONEN'83                                                                                              Mittwoch, 9.2.1983
5. Konzert                                                                                                            21 Uhr
TU-Gebäude Ackerstraße (Wedding)


began as a trumpeter in a military band, later studying the trumpet at the State College of Music in Stockholm, where he also passed his pedagogic exam. He has also been a professional dance musician. For two and a half years he studied composition with Gunnar Bucht at the State College of Music in Stockholm and for 3 years electronic music with Lars-Gunnar Bodin. He has also worked with experimental film.


is composed for solo trumpet and electronic music tape, in which the trumpet is played against the tape without electronic treatment. The concrete material for the tape part has been trumpet and piano, later treated in different ways with the aid of tape recorder (transpositions) and Buchla synthesizer (frequency modulation, change of frequency and envelope treatment). The two parts have been produced simultaneously and are two independent parts intended to complement each other and form a coherent whole. The tape part was realized in the electronic music studio of the State College of Music in Stockholm.


INGVAR KARKOFF (geb. 1958)

in Stockholm. Studied composition with Gunnar Bucht and Par Lindgren at the State Conservatory of Music between 1978-82.


is my third piece for the tape medium. It was realized in the electronic music studio at the State Conservatory during Fall 1981. All sounds are derived from a single source-sound which is, in turn, a synthesis of 17 different abstract sound-objects. Several transformational processes have then been applied so as to extend and develop the source material.
THE DOGS is tripartite in form. Formal compositional decisions have been steered by the desire to surprise within developing organic context.
Duration = ca. 9' 30".


STEN HANSON (geb. 1936)

A poet, composer and sonologist, he has been active in the field of experimental music and art since the early nineteen-sixties. His output includes instrumental and electronic music, as well as multimedia works, music for dance, film and theatre works for television, performances and literary works. His first composition to be performed was "Sonnambulistic Fugue", a scenic work from 1961. Other composers and artists Sten Hanson has collaborated with besides Nino Monastra include Henri Chopin (Double Extension, an electronic work from 1972), Michael Smith (Conversations with Ourselves, 1978) and Charles Santos / Charlie Morrow (The Heavyweight Sound Fight, opera 1981). Hanson's most recent composition is "John Carte's Song Book", an intermedia work carried out with computers from 1981.

NINO MONASTRA (geb. 1936)

is a photographer and multimedia artist. He comes from Bergamo, Italy, but has been living in Sweden for many years. Monastra has published several books of photographs and has held many photographic exhibitions, most of which have to do with life and work in his home-district Emilia-Romagna.



is an intermedia work concerning the life, work and ideas of Marcel Duchamps. This audio-visual composition, composed in 1980, is an artistic commentary on Marcel Duchamp, especially on the world of ideas affecting the conception, completion and thoughts surrounding his major work, "La mariée mise à nue par ses célibataires, même". Other documents from Duchamps life and work are used. The music consists of Duchamps composition " La mariée mise à nue par ses célibataires, même, erratum musical", which has been simulated and generated by computers at the Studio of Electronic Music in Stockholm.
The work has been realized with the help of Fylkingen's photographic computer, and is part of a trilogy dedicated to the pioneers of experimental art. The other two works are "Take the Cage Train" (1978) and "La sera …" (1979). The latter is dedicated to F. T. Marinetti.



"Extension I" is the first in a series of works aiming to extend the sound quality of certain live-instruments. In this piece it is the cello. Its sound is manipulated in different ways - from a low degree of manipulation, e.g. transposition, to an extremely high degree, e.g. a combination of layerings of loops and permutations with help from a Buchla synthesizer. The manipulated sounds are then juxtaposed with some pieces of the original sound material, in order to give depth to our perception of the instrument.
The pieces was made at the Electronic Music Studio in Stockholm.


ÅKE PARMERUD (geb. 1953)

Er ist Komponist, Musiker und Fotograf. Seit 1975 komponiert er elektronische Musik und Multimedia. Parmerud studierte Musikwissenschaft und arbeitet zur Zeit auch als Dozent für Musiktheorie, Gehörbildung und zeitgenössische Musik. Sein Debut machte Parmerud 1976 mit der Ton-Textkomposition "Through Landscape of Glass" und etwas später mit dem Multi-Media-Werk "Suburban Night". Dieses Stück ist immer noch in Arbeit. Andere nennenswerte Stücke sind "Närheter" (Proximités), eine Text-Tonkomposition (1. Preis in Bourges 1978), "Time's Imaginary Eye" für Sopran, Tonband und Dias (2. Preis in Bourges 1980) und "Remain" für Orchester und Tonband.


Epilog is the final part of the multimedia performance FLODEN AV GLAS (The flood of glass) composed by Åke Parmerud.
The performance is based on a series of allegorical pictures that describe man and his relationship to the reality of life and all the circumstances and processes which may influence him and his conception of himself and his roll in life.
The EPILOG is an allegory showing the cultural collapse caused by the chaos of information produced by our society .
A brief description of the text;
A man is travelling through the compositions various allegoric landscapes and describes what he sees when he approaches the end of his underground journey. There is a "dome-shaped city " with houses and people. Everything melts together into one mass, like a vast flood of glass.
The destiny of the city is displayed on the huge dome and a constant war destroys everything over and over again. A war - not between people - but between man and his inability to control the process of the more and more complex system, a system which he originally constructed himself .
This allegorical war is described throughout the epilogue with a continuous increase of activity, with a flood of words so intensive that the text eventually becomes meaningless and indistinguishable from the chaotic sound masses of the music.

In the first two-thirds of the piece, the music is built around a series of short sections that wrestle with each other in abrupt juxtapositions. After an interlude based on a fragmented avant-garde jazz group, there follows a transition in which all the previous material is exposed simultaneously in a violent agglomeration that accelerates into the final section of the composition.
The screenplay, which is built up by 15 computer controlled projectors, consists - in the same way as the music - of contrasting elements ranging from the grotesquely exaggerated to the subliminally symbolic, the latter to prevent the piece from sinking into pure vulgarity. The tempo throughout is extremely high.
The EPILOG was composed in 1981 and first performed in Stockholm in December of the same year.
The music was made at Elektronmusikstudion (EMS) in Stockholm, and the programming work for the screenplay was done on a AVL graphic computer.

The EMS Stockholm (von Lars-Gunnar Bodin)

During the last four years the general activity at the EMS has expanded significantly. During this period a new modern analog studio for the professional electronic music composer ha s been installed.
The basic equipment are a MCI mixer with automatic mixdown and a 24 track MCI tape recorder. In addition there are a Buchla synthesizer and a number of sound modifying devices.
Very shortly the new computer music system will be inaugurated by the culture minister. This system is based on a VAX 11 computer and a FP 120B array processor. The VAX-system will be used in some different ways:
with A/D and D/A conversion in 4 channels, where directly or pre-recorded material can be processed.
Ordinary software sound generation wilt naturally be a standard working method. For this purpose the IRCAM-program CHANT, designed by Xavier Roder, has been installed in the new system among other programs which will be available.
EMS has developed and constructed a digital synthesizer with 256 oscillators which is capable of performing many FM-moods, for instance serial and parallel FM. This synthesizer will be controlled by the VAX-11 and will run in real-time.
The prime goal for EMS is to be a production centre for serious professional composers of electro-acoustic music. The EMS is open, with no charge, to both foreign and Swedish composers. In addition to this main purpose, the EMS also have an extended amateur program, which runs separately from the professional activities. The old analog studio is now exclusively used for amateurs and education, and the old computer system will more and more be used for the same purpose. Together with the composition class at the Royal Conservatorium in Stockholm these two will definitely be the "sources" for producing new composers of electro-acoustic music.
The amateur activity at the EMS has received a lot of interest among the public, especially the younger generations are very eager to come to the EMS.
This fact has also the "spin-off effect" of creating a wider audience for electro-acoustic music in Stockholm.

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