Anders Vinjar: List of Works

2020ForkastningarElectroacoustic Video. Binaural 3d rendering. Acoustic Space: Studio 1 @ IRCAM, Paris. Virtually located there using Binaural Room Impulse Responses from each of the 24 speakers in the Studio 1, captured by in-ear microphones to yield a hyper realistic experience to the listener of actually 'being there'.

Format: Electroacoustic video, binaural

2020Fivrelda drøymer


Once, Zhuang Zhou dreamed he was a butterfly, a butterfly flitting and fluttering about, happy with himself and doing as he pleased. He didn't know that he was Zhuang Zhou.


Suddenly he woke up and there he was, solid and unmistakable Zhuang Zhou. But he didn't know if he was Zhuang Zhou who had dreamt he was a butterfly, or a butterfly dreaming that he was Zhuang Zhou. Between Zhuang Zhou and the butterfly there must be some distinction! (oversetting: Burton Watson)

«Fivrelda drøymer» (eng. “The butterfly is dreaming”) is a musical reflection about questions such as: What does it mean that something is? When is something true? Can we trust our senses while experiencing nature? This work is partly a meta composition, by carefully placing elements from another work - «I Dreamt I Dwelt in Marble Halls» (2015) - into new musical and spatial considerations - which work are we listening to? Perhaps somewhat like we are dreaming of dreaming, and are not able to say anything securely about what is true Does the butterfly exist? Can we trust nature when our senses become unsure?

Format: Electroacoustic, Higher Order Ambisonics

2020Più mosso“Più mosso” exploits the extreme virtuosity inherent in expert musicianship. This work explores the bio-mechanical, gestual, the musical awareness within 2 musicians and live electronics, the physical touch of the musicians fingers and the material making up the musical instruments. Always in the hope of creating an as musical as possible result, and to a lesser degree a piece of concept art.

The work moves forward along dimensions for musical entropy or degrees of predictability, from patterns and the immediately recognizable, to areas where the listener has to search to find potential answers. The title of the work --- “Più mosso” is a reference to the forward-leaning aspect of this search. The structure and material is composed by the aid of AI-based search and classification algorithms. These are developed as part of composing this piece, and are used to classify extracts of analysis of sound material, and amongst others, transcribe these to bio-mechanical models - physical models of strings, chords and the musicians interactions with their guitars.

The work is for 2 guitarists and live electronics. The guitars are close-miked, the most subtle sounds resulting from the instruments and the musicians interactions, which otherwise would be too faint to hear, get amplified and made perceivable and used in the composition. This happens through 2D or 3D spatialization in the concert hall, and as material for the live electronics. Fingers barely touching strings, pluckig, scratching, dampened, twitches - often more than cleanly played tones, often prescribed in dynamic areas such as n.->ppp in the score.

Format: Guitar Duo and Live Electronics

2019Olea infinitas“Olea infinitas” explores musical space: rooms, geometry, placement, size, movement - how composed sonic material can build and maintain the space we're in. The piece was conceived as a meditation around presence, focusing on one piece of music representing here and now, but during the composition process ended up as a movement along 4 paths, the 4 paths making up the basic form of the piece. “Olea infinitas” was commissioned by the Bernaola festival in Spain

Format: Electroacoustic, Higher Order Ambisonics

2019The Music is the WaveCommission from Notam. Financed by Norsk komponistfond. “The Music is the Wave” is composed in 5th order 3D Ambisonics, and explores musical potential in 3d space. One of the main esthetical inspirations is Italo Calvinos novel “Palomar”, and the title is a reflection of one of the techniques used in this fabolous book, where the reader can simultaneously follow 3 layers of explicit discourse: Mr. Palomars sensations and observations as described by the author, the book being written by the novelist, and the readers self-conciousness while reading it. Both synthesized sound and field recordings have been used as basic material to sculpt the piece from, and many layers of editing, signal processing and recombinations have provided the resulting sound in the music. The composition work is done using OpenMusic, using specially programmed Lisp functions to analyze sonic features, and extract symbolic qualities and musical potential from these. All the composition work for this piece is done using interactive AI based techniques developed to explore my own creative workflow in an artistic way. This work is done as part of an ongoing Artistics Research Residency at IRCAM in France.

Format: Electroacoustic, Higher Order Ambisonics

2017BalansefugeCommission from Poing trio. Financed by Norsk komponistfond. “Balansefuge” is composed using techniques for analysis/resynthesis of musical structure, where a rich raw material consisting of audio and musical structure is analysed and filtered using self learning algorithms. During the process the algorithms steadily improve their own accuracy, resulting in the music getting more predictable. At given stages in this process towards decreasing entropy new, overlapping material is introduced, representing errors, and the process continues in new directions. The live electronics is programmed using the same principles, but is pre-trained before the actual performance to recognize and understand musical situations occuring while performing the piece, and deliver relevant response. The electronics is controlled solely through the musicians playing their instruments, and the sound coming from their instruments.

Format: Accordion, Double bass, Alto Saxophone, live electronics

2017Feberdigte“Feberdigte” (eng.: Fever poems) is a chronological musical search amongst 100 years of creative music history from Norway. This work was created as part of EAUs project “NKFi100” to celebrate the 100-years anniversary of the Norwegian Society of Composers. The bits and pieces used as material in the composition are chosrt excerpts from works premiered during the years from 1917 to 2016.

This work is one of eight works, each using 100 years of creative musicianship from various regions of Norway as theme. All the 73 individual composers behind the material in this work are from the region around the capital. The chronology of the material is reflected in the form of the composition, while some parts have been used as counterpoint or building larger phrases in combination with other parts.

An interesting part of the work was diving into the archive material, and developing a timbral understanding of the evolution of musical style over a period of 100 years."

Format: Electroacoustic, Higher Order Ambisonics

2016Le camere invisibiliIn “Le camere invisibili” the music moves around in sounding constructions of rooms of many forms. The piece elaborates large and small rooms, strange and common rooms, rooms inside rooms, non-existent rooms - invisible rooms, unlikely rooms, impossible rooms, real rooms. And what happens when audio meets boundaries where space breaks down - walls, ceiling, floor, furniture, objects? The title is a rephrasing of Italo Calvino’s masterpiece “Le cittá invisibili”. This composition is partly inspired by Calvinos book, both thematically and in structure. LCI is made on a laptop running Linux, using GPL’ed software CLM/Snd, Faust, SC3 for DSP, and Ardour for stitching things together.

Format: Electroacoustic, Higher Order Ambisonics

2015I Dreamt I Dwelt in Marble HallsAs with many of the songs, writings and parodies based on it - this version of “I Dreamt I Dwelt in Marble Halls” has only a tiny little bit to do with the original aria of the same name from Michael William Balfes opera. Balfes gypsy girl dreams about a life in the upper class, with riches and luxury. This piece is also about dreaming, however this dream is even further from reality - not being about anything concrete as such. Nevertheless it takes place in various rooms and spaces, and is full of voices - singing, talking, teasing, shouting, playing and other sound. Dreams can go on for a long time, even if they only occur in a brief moment. The musical manifestation of this dream is also rather short, lasting slightly longer than 5 minutes. The material is recordings of a choir, the space in la Madelaine in Paris, busy merchants out in the street, synthetic sounds and phrases, large spaces and tiny sheds. This material is moulded, twisted and bent, and built upon in new combinations.

The original aria is said to bring misfortune, especially if one whistles or sing along in a theater. Legend has it that it was being played aboard the Titanic at the time it struck the iceberg. It’s still too early to say whether this new tune has this same quality.

Format: Electroacoustic, Higher Order Ambisonics

2014Aria ex AriaThe composition explores compositional structures for high level control of spatialisation and the geometry of sound objects - placement, direction, size, form, mass etc.

New techniques for visualization and interactive control of geometrical structures were developed in OpenMusic as part of this composition. This development work was the start of a lasting collaboration with IRCAM about developing the programming environment OpenMusic.

The piece was premiered at MULTI-2014, during the Avgarde festival in Bergen.

Format: Electroacoustic, Higher Order Ambisonics

2012Triple PointThe “Triple Point” is a state in nature, where material starts to behave a bit strange. Water can exist simultaneously as ice, liquid and gas, and minimal influence kan make it change from one state to the other, and back. Typically, this phenomenon occurs at places human beings normally wouldn't wander, like in the extreme pressures under big glaciers or at the bottom of the largest ocean depths.

This piece of music is an attempt to use sound and acoustic space to provide for the listener a sense of being physically attached to the musical objects. When the musical state of matter shifts, the listener perceives a similar change. When the musical matter moves, the audience moves with it.

This work is my first attempt at using Ambisonics techniques in all stages of the workflow - coding, sculpting, selection and composition. The work will be one in a series of works, which all will explore Ambisonics technology and 3D audio, and exploit the same aesthetical theme.

This work stays rather low in the terrain.

Format: Ambisonics, Electroacoustic

2012Modelling Musical MechanicsThis work is one in a series called “Modelling Musical Mechanics”. These works explore the use of physical models as compositional algorithms to develop material, structure and form. In this piece the models explored are biomechanical models of parts of human-body physics. The models are used to control parameters, and are somewhat inspired by George Lakoff's exploration of “Human-Sized Basic Level Categories” in linguistics.

In this piece for guitar and live-electronics, phyiscal models are programmed in Common Lisp and Scheme to model archetypes of the act of musicianship - the interplay between guitarist and instrument, physical possibilites and limitations and different modus operandi for the interplay between hands, fingers, strings, fingerboard - and is an extension of the tablature tradition in guitar music.

Format: Guitar, live-electronics

2011Mesa plana (foreløpig tittel)“Mesa Plana” is one in a series called “Modelling Musical Mechanics”, which all explore the use of physical models as compositional algorithms to generate and control material, structure and form on a meta-level.

Format: Piano, Percussion, Flute, live electronics

2010MOMBI 2010Live streaming web based composition. Commissioned by Jon Balke and Tone Myskja, for their “Mombi project”.

The work is a never-ending process, material is continuosly generated and fed to the composition through infinite synthesis processes and feeding of signals from microphones. The form of the work is partly confined by the material which exists at a certain time and by the audience interacting with the work by observing it. The contact with the audience is both observing the work, but at the same time determining the form of the work, in a non-controllable manner. Time, interactions and choices the audience make in confronting the work are registered, and has an effect on the DSP and processes selecting and presenting the material. These factors all make up a loop, where all elements affect each other mutually, a “poly logue”.

This work is a remake of my work “PolyLogue” from 2002, with emphasis on real-time-safe interaction and processing, this time using the SuperCollider language.

Format: Live stream web art

2009One less than a Perfect SquarePart of the “North South Project”, an exchange-project between composers from Latin-America and the Nordic Countries. «One less than a perfect square» makes three attempts in four minutes at understanding foreign sound material from the other side of the Atlantic Ocean in a context where a small child learns himself how to speak. This triangulation process involves two unknowns and one known. Recordings brought from far away places in South-America; the small child singing the world - wanting to comprehend his environment by putting sonic structure into it and observe any response; and the processing and structuring of the material in a musical composition. All 3 have the same shape.

Format: Electroacoustic

2009Det brukar gå braMusic composed for a movie with the same title. “Det pleier å gå bra” (eng: It usually works out) is a beautiful story about the writer Beate Grimsrud whose cat gets lost a summerday. The search for the cat involves various characters, and a lot of thinking, and out of this comes the novel “Søvnens lekkasje”. A rare self-portrait.

Format: Movie music

2008Spor Stier MerkerElectroacoustic work. The work «Spor stier merker» is composed out of traces after musical objects, signs of appearing sound-objects, potential phrasings, ambivalent harmonics, diffuse soundfields and similar ill-defined things. Its built on what’s left after impact, as well as signs bearing promises of something appearing, setting up a structure where sound-objects are placed, taken away, and moved around in whats left. While working on the piece ive explored physical modelling techniques to control processes on musical levels associated with traditional composition-tasks: pitch, rhythm, harmony, polyphony, texture.

Format: Electroacoustic

2006Baobab RegisterThe composition Baobab Register is based on recordings of clarinettist Hans Christian Bræin and his clarinets. Baobab trees tend to grow large and get complicated, and from time to time it may be difficult telling up from down on a tree. It can grow very old, is usually a nice place to sit and listen to tales and stories, and keep large volumes of life-sustaining water inside its trunk. Its origins are from Madagascar, but has since spread out, and is also reportedly observed on small planets nearby.

Format: Electroacoustic

2006Om bading i Biscaya“Om bading i Biscaya” (eng: Of Bathing in the Bay of Biscay) is a tense physical and rhythmical performance, where the good old laws of nature are provoced by the forces, structures, sounds and gestures a percussionist, a dancer and live-electronics display before the audience.

The artistic material and musical processes sets up a virtual universe with dynamically changing nature-laws, a universe the performes relate to in their efforts to understand, control, at times adjust or question - perhaps adapt to - parameters like time, gravity, friction and heat.

The performance uses advanced sensor-technology connected with the dancer and percussionist to control the acoustic and visual environment on stage.

Format: Percussion, dancer, live electronics

2005Språkets hus“Språkets hus” (eng: House of Language) is a house you can enter and meet language. In there you will hear sound compositions from 1500 school children from Bærum, Norway, making use of NRKs vast archive of broadcasted material. If you also present utterances while staying in the house, the words and sound will be integrated and made part of the ongoing composition. “Språkets hus” is programmed in SuperCollider.

Format: Interactive installation

2004Osh bazaarWe were told tales about caravans on the Silk-Road, bringing treasures to Europe, about camels loaded somewhere in China, wandering for weeks through dangerous landscapes, ending up in ancient Europe, if they were not demolished by robbers. Along came a new number, zero, and the art of book-printing.

A travel to Kyrgyzstan gave the composer the possibility to rediscover the Silk-Road as something different and still richer: a widespread and multifaceted structure of cultures, cities, oasis - spread out over rich soil and dry deserts - a gigantic and dynamic network of peoples, transports and cultural exchange in time and space.

In 1995 our world celebrated the origin of the Turkish national epos “Manas” one thousand years earlier. In the year of 995 the Silk-Road had already existed as a network exchanging trades and culture for 1500 years. It continued to prove decisive for the development of our world for 500 years to come.

The title “Osh Bazaar” is lent from a gigantic bazaar in the capitol of Kyrgyzstan. In this centre the whole world meets, traders from near and far, peasants, citizens, politicians, youngsters, tourists. A chaotic mosaic of goods, smells, colours, tongues, sounds.

Actual sounds, impressions from the market, laden history, and the dynamics in structures like the Silk-Road in time and space have helped form this piece.

Format: Electroacoustic

2002PolyLogueInteractive web art. “PolyLogue” exists as a Common Lisp process running on a machine connected to the internet. Amongst other tasks the process also functions as a web server, listening to http-requests from web clients and other species out there, and yields responses based on the premises programmed into it. All information streamed out to http clients - sound, image, text, structure, an interface for the audience, links, various http entities and datastructures - gets generated dynamically.

That part of “PolyLogue” which is a web server is dynamically modified while the functions reacting to the audience's http-requests changes. In this way “PolyLogue” is partly controlled by patterns in the audience's way of using the work, and partly by premises built into the program itself.

“PolyLogue” contains a chat room, and fragments from whatever enters here gest mixed with what you hear and see. You will also see musical structure as graphics in addition to hearing the audio, while images turn into audio. And you may see musical notation and play along on your favourite instrument.

The act of listening to or watching “PolyLogue” also entails that the work gets modified, nothing can leave the server in the same way more than once.

Format: Interactive web art

2001Potential Music“Potential Music” works with classical problems related to human communication and the boundaries surrounding a work of art. The work balances on a narrow line between order & chaos, where messages on one side is in danger of being appreciated as too obvious and general too be interesting, and on the other hand being totally incomprehensible out of lack of common references. This piece of art gets its form as it wanders along the communication-chain: Composer -> Interpreter -> Audience, the receiver's (audience's) role in defining what constitutes a piece of art at a certain place in space & time is focused on in particular.

While performing “Potential Music” the performer is totally responsible of what happens. Every sound passing her lips, every movement she makes on stage, is registered by the electronic system and is used to control the response given by the audio and video-setup. However, the live electronics is deterministic at a metalevel, with a certain distance - both in time and the way parameters are mapped - to what is readily and directly comprehensible at the output, thus making it impossible to control the system by setting up a plan etc.

Both the output of the processed audio and the video is projected back on stage, making up a multilayered polyphony and a recursive scenography for the performer to further build and act upon during the enfolding of “Potential Music”.

Lyrical extracts are from Beate Grimsrud’s authorship, and concern levels of understanding, complexities of communication, uses of misunderstanding, absurdity within everyday language and such.

Format: Soprano, live electronics

2000Régla-materialet“Régla - the material” is a collaboration with Norwegian performance group “Verdensteatret”. Material from their performance named “Régla” was transformed and developed using CLM and CM, and recreated as an installation.

Format: Live electronics interactive installation

1999+/- (Plus/Minus)This work generates and move around in various levels of entropy.\ Entropy being a measure of the degree of uncertainty in a system, its greatest antidote perhaps being redundancy -- the repetition of elements within a message to insure communication of information.

Negative entropy may occur in instances in which incomplete or blurred messages are received intact because of the ability of the receiver to fill in missing details and to recognize, despite distortion or a paucity of information, both the intent and content of the communication. "+/-" was commissioned by SISU, and the composition was supported by the Norwegian council for cultural affairs.

Format: Percussion trio, live electronics

1998Ups-Downs-Ins-Outs vs. Popeyes“Ups-Downs-Ins-Outs vs.Popeyes” was inspired by modern society's ways of handling information. It guides material from a small fugue based on “Popeye..." through various manipulations, making it turn out as fragmented, refined, distorted, biased, restrained, rephrased, nervous etc. All material in the piece is recycled from the Popeye song in a rather old-fashioned way: intervals, modality, phrasing, rhythm etc. I've used various kinds of chains - deterministic and nondeterministic - to build the composition and handle sound material. Most notably rewrite-systems and markov-chains (however interrupted at times...). The piece evolves moving in and out of more or less defined musical situations - spectral planes, rhythmic and modal structures - and proceeding towards others.

This music was made with CM/CLM software on SGI-workstations. An improvisational approach towards the software is responsible for all the strange signal-processing techniques applied in this piece, dynamic spectrum-controlled formant-filters, strange cross-synthesis techniques, obscure waveshaping-techniques, odd reverberations, impossible room-simulation-models, physical modelling etc. etc. In particular, typical “layout”-processing, like reverb, mixing, compressing, filtering etc., are used as musical statements and musical material just as much as refinements in the final mixing-stage of the work.

Format: Electroacoustic

1998Parafrase «Lykkehjul»

Format: Electroacoustic

1998Parafrase «Solitaire»

Format: Electroacoustic

1998Lost FacesThe absence of an expected object, person, plant, or animal in a picture or the absence of all pictorial representation may also represent the holy or divine. Ancient Christian art often depicted an empty throne on which perhaps lay a folded purple robe or a book as a symbol of the invisible presence of God. In mosques the empty prayer niche represents the presence of Allah. Buddha apparently was not iconically represented in early Buddhist art in accordance with the theory of emptiness”and the radically negative transcendence of the aim of salvation, Nirvana. The rejection of a picture as a means of representing the holy also is a symbolical way of positively asserting the presence of God. “Lost Faces” explores the musical possibilities of objects without any clear physical appearance.

Format: Electroacoustic

1997OIOIThe electroacoustic video OIOI uses a technique called lagged embedding to map samples to coordinates on a plane. The most interesting thing in this work is perhaps finding a graphical representation at a musical phrase-level coupled with the soundwave/spectral charachteristics of the ongoing sound.

The principle is straightforward, and can be homebrewed with most fast computers. To draw a point on the plane you map the amplitude-value of the sound at a certain position to the x-coordinate, and map the amplitude-value of a delayed version of the sound to the y-coordinate. Repeat this in a sample-loop going through the whole sound, and youve got yourself a movie!

An easy way to extend the technique used in OIOI would be to map further delayed versions of the sound to coordinates in 3D-space or whatever.

While fiddling about with the delay-values, the figures formed by the technique changes from circles through ellipsoides, to squares, (yes, that's waveshaping, clipping at a certain amplitude!), stars, pointillistic scenes, whatever. Whats would normally be considered a phrase in electroacoustic music is represented quite well in this rendering process, since both the soundwave and the spectral evolution of a sound is rather efficiently represented graphically.

OIOI is done using Common Lisp Music (CLM) and Common Music software. The pictures (zillions of them!) making up the movie are direct engravings from 10 channels in the music, in the fashion described above.

Format: Electroacoustic video

1997Transparence - Cohérence“Transparence Cohérence” is an investigation along the line between reality and fantasy, always secured in a correspondence between physical gestures and a dream-like world created from the evolution of the actual sound of the piece. The sound plays along the noise-tone axis, building up transparent layers interacting with other such layers. The techniques which have been effective in sculpting the piece are largely various classes of cellular automata, 2nd. and 3rd. order Markov-chains and a few other deterministic algorithms. The sound is built up in a multi-layer fashion, assembling together thousands of small bits and pieces, forming gestures and phrasings, using cross-synthesis and filtered-noise controlled by dynamic spectrum-measurements to gain control over the macro-layers of the sound.

Format: Electroacoustic

1996CoilThe title “Coil” suggests something about the construction of the work. The piece attempts to lead the listener on a travel which unravels present and distant perspectives on space and time. This modeling of space has been a fascinating experience for the composer, how various aspects of sound - spectral evolution, and placement in time and strength — can give a constantly changing experience of space. The piece tries to draw paths through space - at times close, at times distant. “Coil” won a price in EBU's International ROSTRUM for Electroacoustic Music 1996.

All work is done with Bill Schottstaedts CLM. Amongst the techniques which have formed this piece are various types of cross-synthesis, modulation and granular signal processing. These techniques aid in forming the piece by threading out musical characteristics, notes and phrases, from something which started as a collection of dull noise-type sounds. The composition plays along the borderline between noise and tone.

Format: Electroacoustic

1994Superstruktur for SentralbadetMusic for dance in a swimming pool.

Format: Tape

1994Sublimis Deus

Format: Organ, tape

1994Song BeCommission from the Music Factory festival, for a concert with scottish pianist James Clapperton.

Format: Electroacoustic, piano

1993HvileskjærCommission from NRK (Norwegian State Broadcasting) for the opening of the new NOTAM in 1993.

Format: Electroacoustic

1992Oppspent lineOppspent line (eng: Tensioned Cord) was premiered at Music Factory. It was the result of the first grade in computermusic at a Norwegian university.

Format: Electroacoustic

1990Adobe - OICS 1990Music for dance and sculpture, for a performance and installation as part of “Oslo International Cheramics Symposium” i 1990.

Format: Electroacoustic, dancer, sculpture