Within the auditory arts, sound installations and soundscapes have integrated locations outside the concert hall into their artworks. Compositions that interact with the immediate surroundings at the time of performing, did not get a lot of attention within this broad range of art and ecology. As a result, problems such as finding a musical structure or a method to utilize the acoustic properties of wind or rain in instrumental open air music were only treated superficially up to now.
This research wants to investigate the main problems of 'composition on location' and then further develop and renew this artistic practice. This will be done through systematic reflection on the own creative process and a series of open sketch experiments in which feedback is regularly obtained from performers and a select audience. The theoretical concept of 'simultanity' will be tested against research activities, artistic productions and literature (on audio art and experimental music). The performative new interpretation that is achieved with this will also include the local and contemporary environment. The research will ultimately lead to five multimedia reports of open sketch experiments, two compositions on location, one conference paper (on artistic research methods in music) and one international, peer-reviewed article on composition on location.