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  • Tone Åse – voice, live electronics and improvisation
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  • Research
    • 1. Introduction
      • 1.1 Background
      • 1.2 Artistic project and focus
      • 1.3 Methods and theories
        • 1.3.1 Artistic research and the practice
        • 1.3.2 Language as a processual tool
        • 1.3.3 Theory in artistic research
        • 1.3.4 Intertwined theories, practical work, and the outline of my critical reflection
        • 1.3.5 Transparency, language and form of the critical reflection
      • 1.4 Research goals – what is “new”?
      • 1.5 Background and context
        • 1.5.1 Musical background
        • 1.5.2 Contextualising in a practical field
        • 1.5.3 The field of modern jazz
        • 1.5.4 The vocal performance art scene
        • 1.5.5 Other influences
        • 1.5.6 Other artists – and me
      • 1.6 Closing comments
    • 2. Instruments, techniques and choices
      • 2.1 Technical setup
      • 2.2 The electronic devices and their functions as instruments
        • 2.2. 1 Mixer, Mackie Onyx 1220
        • 2.2.2 Lexicon MX 400 Dual stereo/Surround Reverb Effects Processor
        • 2.2.3 Electrix Repeater Loop Based Recorder
        • 2.2.4 Roland SP 555 Creative sample workstation
        • 2.2.5 The SSL Compressor Clone
        • 2.2.6 Computer, Ableton Live and MIDI-controllers
      • 2.3 Choice of instruments
        • 2.3.1 The role of music technology in music/the role of music in music technology
        • 2.3.2 The electronic instrument as a contributor to new music
        • 2.3.3 Development and use of instruments within genres
        • 2.3.4 Premises for the use of technology in music
      • 2.4 Closing comments
    • 3. Voice and live electronics; new musical parameters
      • 3.1 The voice as an instrument
        • 3.1.1 Electronics and freedom with distance
        • 3.1.2 Bergsland’s maximum – minimum model
      • 3.2 The voice as a communicator of meaning and emotion
        • 3.2.1 Challenges
        • 3.2.2 Possibilities
        • 3.2.3 Playing with zones
      • 3.3 Words as meaning and words as sound
      • 3.4 Sound quality as a musical parameter
        • 3.4.1 Experiential categories of processed voice sound
      • 3.5 Sampled sound/sampling as a musical parameter
      • 3.6 Concluding comments
      • 3.7 What does “new musical parameters” mean?
    • 4. New roles for the electronic vocalist
      • 4.1 The singer’s traditional role
      • 4.2 Musical roles – a simple categorising model
      • 4.3 Experiencing and observing roles in various settings and music
        • 4.3.1: BOL
        • 4.3.2. BOL + Hans Magnus “Snah” Ryan and Stian Westerhus
        • 4.3.3 Åse /Strønen Duo
        • 4.3.4 Åse /Duch Duo:
      • 4.4 Conclusions
    • 5. Electronics in a vocal interplay, a project report:
      • 5.1 Trondheim Voices and Stagetracker FX
      • 5.2 The working process:
      • 5.3 Concert/presentation
        • 5.3.1 Final setup
        • 5.3.2 Experiences and observations, second session
      • 5.4.Closing remarks and outlook
    • 6. Combined aesthetics: challenges in modern and genre-crossing improvisation
    • 7. Voice Meetings: short story of sound
      • 7.1 Background, motivation, research question and artistic idea
      • 7.2 Research collaboration and methods
        • 7.2 .1 Working methods
        • 7.2.2 Researching a performance – some challenges
      • 7.3 Findings and observations
        • 7.3.1 First session – findings and artistic developments
        • 7.3.2 Second session – findings and artistic developments
      • 7.4 The visual expression
      • 7.5 Integrity and audience research in an artistic process
      • 7.6 Further development
        • 7.6.1 Other stories and audiences
        • 7.6.2 Nature is not Beautiful
      • 7.7 What new and useful knowledge has come out “Voice Meetings”?
    • 8. Summary and outlook
      • 8.1 Research model and summary
      • 8.2 Relevance
      • 8.3 Outlook: Major artistic achievements and ideas for further artistic development
        • 8.3.1 Major achievements:
        • 8.3.2 Did I reach my goals?
        • 8.3.3 Open questions and ideas for further artistic development:
      • References
    • Appendix
      • 1. List of activities
      • 2. Voice Meeting: Narrative, Norwegian and English version
      • 3. Voice Meeting: Questionnaires
      • 4. Voice Meeting: Article for NIME 2012
      • 5 Technical setup
    • Download full research text
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Tag: Trondheim

02/01/2010 Concerts Post a Comment

BOL Skylab Audiovision- new video

BOL: Skylab Audiovision , excerpts from Tone Åse on Vimeo.

Research

  • Research
    • 1. Introduction
      • 1.1 Background
      • 1.2 Artistic project and focus
      • 1.3 Methods and theories
        • 1.3.1 Artistic research and the practice
        • 1.3.2 Language as a processual tool
        • 1.3.3 Theory in artistic research
        • 1.3.4 Intertwined theories, practical work, and the outline of my critical reflection
        • 1.3.5 Transparency, language and form of the critical reflection
      • 1.4 Research goals – what is “new”?
      • 1.5 Background and context
        • 1.5.1 Musical background
        • 1.5.2 Contextualising in a practical field
        • 1.5.3 The field of modern jazz
        • 1.5.4 The vocal performance art scene
        • 1.5.5 Other influences
        • 1.5.6 Other artists – and me
      • 1.6 Closing comments
    • 2. Instruments, techniques and choices
      • 2.1 Technical setup
      • 2.2 The electronic devices and their functions as instruments
        • 2.2. 1 Mixer, Mackie Onyx 1220
        • 2.2.2 Lexicon MX 400 Dual stereo/Surround Reverb Effects Processor
        • 2.2.3 Electrix Repeater Loop Based Recorder
        • 2.2.4 Roland SP 555 Creative sample workstation
        • 2.2.5 The SSL Compressor Clone
        • 2.2.6 Computer, Ableton Live and MIDI-controllers
      • 2.3 Choice of instruments
        • 2.3.1 The role of music technology in music/the role of music in music technology
        • 2.3.2 The electronic instrument as a contributor to new music
        • 2.3.3 Development and use of instruments within genres
        • 2.3.4 Premises for the use of technology in music
      • 2.4 Closing comments
    • 3. Voice and live electronics; new musical parameters
      • 3.1 The voice as an instrument
        • 3.1.1 Electronics and freedom with distance
        • 3.1.2 Bergsland’s maximum – minimum model
      • 3.2 The voice as a communicator of meaning and emotion
        • 3.2.1 Challenges
        • 3.2.2 Possibilities
        • 3.2.3 Playing with zones
      • 3.3 Words as meaning and words as sound
      • 3.4 Sound quality as a musical parameter
        • 3.4.1 Experiential categories of processed voice sound
      • 3.5 Sampled sound/sampling as a musical parameter
      • 3.6 Concluding comments
      • 3.7 What does “new musical parameters” mean?
    • 4. New roles for the electronic vocalist
      • 4.1 The singer’s traditional role
      • 4.2 Musical roles – a simple categorising model
      • 4.3 Experiencing and observing roles in various settings and music
        • 4.3.1: BOL
        • 4.3.2. BOL + Hans Magnus “Snah” Ryan and Stian Westerhus
        • 4.3.3 Åse /Strønen Duo
        • 4.3.4 Åse /Duch Duo:
      • 4.4 Conclusions
    • 5. Electronics in a vocal interplay, a project report:
      • 5.1 Trondheim Voices and Stagetracker FX
      • 5.2 The working process:
      • 5.3 Concert/presentation
        • 5.3.1 Final setup
        • 5.3.2 Experiences and observations, second session
      • 5.4.Closing remarks and outlook
    • 6. Combined aesthetics: challenges in modern and genre-crossing improvisation
    • 7. Voice Meetings: short story of sound
      • 7.1 Background, motivation, research question and artistic idea
      • 7.2 Research collaboration and methods
        • 7.2 .1 Working methods
        • 7.2.2 Researching a performance – some challenges
      • 7.3 Findings and observations
        • 7.3.1 First session – findings and artistic developments
        • 7.3.2 Second session – findings and artistic developments
      • 7.4 The visual expression
      • 7.5 Integrity and audience research in an artistic process
      • 7.6 Further development
        • 7.6.1 Other stories and audiences
        • 7.6.2 Nature is not Beautiful
      • 7.7 What new and useful knowledge has come out “Voice Meetings”?
    • 8. Summary and outlook
      • 8.1 Research model and summary
      • 8.2 Relevance
      • 8.3 Outlook: Major artistic achievements and ideas for further artistic development
        • 8.3.1 Major achievements:
        • 8.3.2 Did I reach my goals?
        • 8.3.3 Open questions and ideas for further artistic development:
      • References
    • Appendix
      • 1. List of activities
      • 2. Voice Meeting: Narrative, Norwegian and English version
      • 3. Voice Meeting: Questionnaires
      • 4. Voice Meeting: Article for NIME 2012
      • 5 Technical setup
    • Download full research text
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