The thesis



Indy500: seklernas udde

Hamlet II: Exit Ghost

A Language at War

Arrival Cities: Växjö



Musical Composition as a

Dramaturgical Strategy



and resources


List of works

and performances


Read more

The Bells

Champs d'étoiles

CHAPTER 5.4.9 - 5.4.11

EXAMPLE 5.4.9. Sound: Excerpt from Audio Paper on Arrival Cities: Växjö

I have composed a large part of Part 2, show and play it for Jörgen. He still hasn’t finished the text for part 2, the end is missing. He asks me what I think I need. We have a clear idea what shall happen but not how it shall be formed. Jörgen has made a draft with a few words.

For the music I see, I think that the string orchestra piece that starts the part, material should come from there. It is more a feeling for the musical structure – the form, I aim for a kind of mirror form in that part:

String orchestra piece - + actors + singers in -> Lament f vocal ensemble -> actors in -> strings in. With material, portions from the first section of the part, but now with both singers and actors.

We have from the start planned video, live and pre-recorded. Unsure how I should relate to electronic/pre-recorded sound. Feel it is superfluous as an extension of the large ensemble. Have a somewhat unclear idea that there should be EAM-sections but what significance will it have in the context, not only as a contrast?

Before part 2, in the end of part 1, Jörgen have earlier suggested some kind of radio play where voices are welcoming but then rejecting the new comers, something about Sweden, the image of … Documentary. When we talk this day, 29 July, I had forgotten that we had talked about that before, the function of it. We imagine it as documentary, a bit bad lo-fi sound, that becomes noise, to sonorities, transforming to a higher register, where the strong orchestra enters with the high pitches, in the highest register, trills, glissandi …

(Diary 29 July 2013)


The excerpt is from an audio paper on the creation of Arrival Cities: Växjö. It consists of recordings from work session with Dahlqvist and me, sound recording of the performance and material from my diary.

EXAMPLE 5.4.10. Video: part II, p. 153-166, bar 694-750.

EXAMPLE 5.4.11. Sound: Part II, p. 124-134, bar 380-401.