Artists

Kim Hedås

Kim Hedås is a composer, lecturer and researcher at the Royal College of Music in Stockholm (Kungliga Musikhögskolan i Stockholm). Her music has been performed by, among others, the Swedish Radio Symphony Orchestra, the Gothenburg Symphony Orchestra, the Symphony Orchestra of NorrlandsOperan, Gageego!, pëarls before swine experience, Kroumata, VOX, DalaSinfoniettan, and the Gothenburg Opera. She also works with electro-acoustic music and collaborates with other artists in theatre, art and architecture. In recent years, her music has been performed at, among others, Göteborgs Konserthus, Moderna museet, Kulturhuset, Färgfabriken, the Architecture Biennale in Venice, Kivik Art Centre, Teater Galeasen and the Royal Dramatic Theatre in Stockholm. In 2013, Kim Hedås completed her PhD at the Faculty of Fine Arts, University of Gothenburg with her dissertation Linjer. Musikens rörelser – komposition i förändring (Lines: Music moving – composition changing).

Work

Lines: Music Moving – Composition Changing (2013)

What are the possibilities for music across and beyond composition? Kim Hedås’s dissertation Lines: Music Moving – Composition Changing seek to draw parallels between music and non-music by focusing on relationships in music. Through the shape of a DVD, sixteen compositions and text – the main question Hedås poses in her dissertation is: How does music relate to what is not music?

Through an artistic inquiry, where a reflexive movement between the different parts produces the method used, the dissertation addresses the act of composing with particular focus on how music moves and how relations in music change. Results are also in motion, and traces – lines – move, change direction, and connect the music with what is not music. This inquiry embraces the following five themes: movement, identity, time, memory and space – which all relate to each other, and which, through composition, change, transform and reshape meaning as well as expression. Within lies a reflexive movement between the different parts of the inquiry in which produces the methodology used in the dissertation, together with the addressed question: How can the changes that come into being through relationships between music and what is not music, create opportunities for composition?

The main intention of Hedås’s dissertation is to demonstrate the changes that arise as a result of the relationships that are activated between music and what is not music. By examining these structures and understandings of how these relationships work, Hedås’s research enable opportunities for the composition of new music.