The composition is based on the concept of being able to process an incoming sound in real time, slowing it down and having the performer play against it within a structured composition. It is an important aspect that the piece can be played in real-time by a performer and technician with a computer that has MaxMSP. Harmonically speaking, the piece is inspired by the spectralist composers as the scale material is derived from an overtone analysis. I haven’t apishly followed their teachers, but let myself inspired by them and tweaked small elements of it. The composition belongs in the mixed music world which I find rather inspiring although challenging. The main problem I often find is that the electroacoustics or the acoustic part feels latched on to the rest. The compositions often feel like they’re parts combined together instead of a single entity. This is a problem I hear a lot in many compositions but also in my own. Dissolving Time was an attempt to create a composition in which both parts are inherently needed and make little sense without each other. I believe that I’ve been able to find a nice balance between the electro-acoustics and the acoustic elements. During the first public performance of the piece on the 9th of april 2015 at Blank Vol. 1 in Trondheim, Norway, the computer crashed about mid-way through and it was clear that as soon as that happened, a very important element of the composition went silent, and the notes played had little meaning. Composed, programmed, recorded, mixed and mastered by Mathieu Lacroix in April 2015 Performed by Øystein Hansen Marker at the NTNU facilities in April 2015.

Source: 2015