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  • 1.
    Elblaus, Ludvig
    et al.
    Kungliga tekniska högskolan.
    Unander-Scharin, Åsa
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Unander-Scharin, Carl
    Karlstad universitet.
    Uncanny materialities: Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads2017Inngår i: Leonardo music journal, ISSN 0961-1215, E-ISSN 1531-4812, Vol. 27, nr 1, s. 62-66Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    n the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader (Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.

  • 2.
    Unander-Scharin, Åsa (, , )
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Unander-Scharin, Carl (, , )
    Karlstad universitet.
    Elblaus, Ludvig ()
    Kungliga tekniska högskolan.
    Calligrammes2017Kunstnerisk output (Granskad)
    Abstract [en]

    Commissioned by Swedish Radio

    The surrealistic poetry of Guillaume Apollinaire forms the background for the choral suite Calligrammes. The work was commissioned by the Swedish Broadcasting Union to be performed by The Swedish Radio Choir together with a dancer and a vocal soloist – all of which performed on custom-built digital musical instruments. These instruments have been developed by Åsa and Carl Unander-Scharin in collaboration with Ludvig Elblaus.  The innovative artefacts are created to allow for explorations of artistic interaction between physical movement, musical soundscapes and vocal performance.

     

    Performers:

    The Swedish Radio Choir

    Peter Dijkstra, Conductor

    - Carl Unander-Scharin, Composer, Opera singer, Professor

    - Åsa Unander-Scharin, Choreographer, Dancer, Professor

    - Ludvig Elblaus, Musician, Visual artist, PhD-candidate

  • 3.
    Unander-Scharin, Åsa ()
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Unander-Scharin, Carl (, )
    Karlstad universitet.
    Elblaus, Ludvig ()
    Kungliga tekniska högskolan.
    Il pleut/ Det regnar röster2017Kunstnerisk output (Granskad)
    Abstract [en]

    Commissioned by Berwaldhallen, Swedish Radio

    Il Pleut/ It’s Raining Voices

     

    “It’s raining women’s voices” are the opening words of Guillaume Apollinaire’s poem Il Pleut/It’s Raining. In this interactive musical installation visitors themselves can let both men’s and women’s voices rain through the air.  

     

    The container filled with water that is exhibited in the foyer of the Berwald Hall has been specially constructed and functions concretely as a doorway to a sound world where Apollinaire’s poem is recreated through the visitor’s interaction with the surface of the water. 

     

    Raining voices and undulating sounds are heard if ripples disturb the surface of the water. The way the water is treated is reflected in the sounds that are created – gentle, harsh, dripping or sweeping: everything plays a part in the sound that is produced. 

     

    When the surface of the water is touched a kind of synthesis of sounds arises, since the actual sound of the water blends with a collage made up of sound material recorded during the process of composing Calligrammes. Carl Unander-Scharin, Åsa Unander-Scharin and Ludvig Elblaus thus give us a glimpse of the creative process that precedes a première. 

     

    In this interactive musical installation we can hear tonalities and text fragments from the compositional process. Together with the concrete sound of the water they create a kind of soundscape with which the visitor can interact.  

  • 4.
    Unander-Scharin, Åsa ()
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Unander-Scharin, Carl ()
    Karlstad universitet.
    Elblaus, Ludvig ()
    Kungliga tekniska högskolan.
    Liens/Kopplingar2017Kunstnerisk output (Ogranskad)
    Abstract [en]

    Commisioned by Berwaldhallen, Swedish Radio

    The interactive musical installation Liens consists of four cords that are stretched from floor to ceiling. By pulling the cords the visitors perform an audio-visual piece that is heard through the loudspeakers and is also projected as a moving image on the wall – a kind of Gesamtkunstwerk inspired by Apollinaire’s figurative poems, and in this specific case by the poem Liens. The sonic material includes voices that sing passages from this particular poem. 

     

    The cords are rolled up on cushioned wheels that can sense touch to an extremely high degree. This makes them an excellent instrument for exploring small, subtle nuances, both in sounds and in images. Smaller or larger movements thus produce a variety of effects in the musical and visual expression. 

  • 5.
    Unander-Scharin, Åsa ()
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Elblaus, Ludvig ()
    Kungliga tekniska högskolan.
    Unander-Scharin, Carl ()
    Karlstad universitet.
    Un oiseau chante/ En fågel sjunger2017Kunstnerisk output (Ogranskad)
    Abstract [en]

    Liens/ Bonds - Commisioned by Berwaldhallen, Swedish Radio

    In this interactive musical installation three sculptural figures observe those visitors that choose to catch the eye of these observers. The observers analyse the movements of the visitors and transform them into voices that alternately whisper, whistle and sing fragments from Apollinaire’s poem Un Oiseau Chante. 

     

    The sounds of the observers’ answers vary in character depending on the nature of the movements observed. Large, vigorous movements give the sound more energy compared to small, slow movements. Visitors will notice that their physical movements result in different sounds – which in turn influence the visitors’ physical actions. It is thus a physical-musical interaction, not a one-way communication.     

    If the camera eye of the observers cannot detect any movement they stop playing and singing.  

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