Meny
Music has always been central to ShareMusic's activities. It was from music that the working methods developed and broadened to other arts and especially cross-artistic work.
In our work with music, we work in several different areas, but perhaps most importantly in method development, ensemble development and repertoire development. Our ensemble Elefantöra has been involved in all three areas. Our major commissions, such as Gryning i Galamanta, Mondgewächse, Bits & Pieces and Shanghai have all contributed to the development in different ways.
We are constantly exploring new ways of working to create music. It's also very much about the creative process itself and how we create the conditions for creativity. We are increasingly working on developing different methodological materials in this area to share our experiences.
We want to see more inclusive ensembles in Sweden and the world! Our own ensembles have developed through collaboration with other musicians and composers. It's about experimenting with processes, expressions and instruments. Challenging what music is and what it can be. It is not only about creating new ensembles but also about developing existing ensemble forms. An important part of this is the interpersonal encounters — finding ways to communicate artistically when the musicians have different experiences, backgrounds and abilities.
Inclusive ensembles also need a repertoire of works of high artistic quality that they can perform. Part of this work is to explore the common language — such as notation. We have been working a lot with graphic notation, but are also testing other ways. In collaboration with our ensembles, composers are exploring how they can communicate their artistic vision and several have also co-created works with, for example, Elefantöra. We have also worked on commissioned works, for example in Hi-Hat Xpress, Mondgewächse and Shanghai. We usually announce these through an international 'Call for Composer' which is published on our website and social media.
"Personally, I didn't have the opportunity to play music until I was 32. That's when I met music technology. Before that, I just listened to music. I couldn't play any instrument, create music or play music. That's the situation I want to avoid in the future. It should be as natural to play the violin as it is to play on an app or whatever we can come up with in the future. So that children don't have to wait 32 years to be able to play music in the future. "
Peter Larsson, musician in Parasonic and active in our work with music development
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