Ordermusiken

Abstract

This thesis strives to demonstrate my increasingly phenomenological approach to musical composition in relation to the extensive body of musical works connected in different ways to the poetry collection ORDER by the Swedish author and play-wright Lars Norén. The hand, the touch, the voice, the space (environment) and its philosophical implications are scrutinised from a poetic perspective (my poetics). The question of language (the word), the sign (text), sound/noise/music and its immanent bodily qualities are focused and questioned in my own work as well as in primarily two case studies of the music of Pierluigi Billone (1960-) and Morton Feldman (1926-1987). The text reflects the emancipatory process my music has undergone the last 4- 5 years: moving away from language and text (representation) to body and sound, although preserving and nurturing the extended idea of the sign (as signification of sound and body) as a possible embodied vehicle in my composing and artistic thinking. The reader is invited through the extensive use of sketches and work methods to witness and follow this process as a manifestation of the ”doing” rather than the presentation or construction of an analysis in an academic sense. The thesis offers no solution and it fails to encapsulate all of the so-called ORDER-MUSIC (the music that is connected with Norén's collection of poetry) Instead it proposes a possible way of “opening” the process to a basically phenomenological methodology inside the musical field of score based chamber music.