Background #
For more than two decades, i have been active as a teacher in composition and related subject. During my first years in Stockholm, while still being a student, I held courses at EMS Stockholm. In 2006, I was offered some hours of teaching at the electroacoustic composition department at the Royal College of Music in Stockholm. Besides individual lessons in composition, I also taught elementary synthesis, and when asked by prof. Bill Brunson if I thought that there was something missing in the curriculum, I started the KMH Live Electronics Ensemble.
Since 2017, I am a senior lecturer in electroacoustic composition, teaching on on master and bachelor levels, specialising in live electronics ensemble performance, modular synthesis, and music programming. I am also teaching subjects like studio technology, sonology and musique concrète, and I have supervised and examined a great number of both bachelor and master theses over the years.
In 2024 I was appointed director of subject in electroacoustic composition. This entails representing and deveoping the subject, a responsibility for our studio facilities, and chair collegial meetings, discussing courses, curriculum, and infrastructure.
Ethos #
To have the priviledge to meet students in my role as a teacher is both challenging and rewarding. The subjects I am teaching are all anchored in my own artistic practice, which is of course very important, when teaching any artistic subject. Here, it is obvious how the teaching practice deepens my understanding for the practice of being a composer, how the tools used shape aesthetic outcome, and what types of challenges we as artists are up against in different contexts.
I think of my role as someone with experience, who can help the student find and develop their own methods for the project at hand. By encouraging a reflexive relationship with one’s will of expression and artistic core, I believe that a student can gather tools for future problem solving as well as handling artistic crises. Another important task for me as a teacher is often to remind the student that learning takes time, and that learning is an individual process. No one else can do the actual learning for you. At best, the teacher can help focusing the process by presenting concepts and theories in a coherent way, and by being enthusiastic about why it might be worth the trouble.
Academic Portfolio (Higher Music Education) #
Artistic Exams and Courses #
- Electroacoustic Composition, 160p, 4 years. Royal College of Music, Stockholm. Year of exam: 2003
- Electroacoustic Composition Diploma, 120, 3 years. Royal College of Music, Stockholm. Year of exam: 2006
- Doctor of Philosophy (PhD), 240 Hp/ECTS. Piteå School of Music at Luleå university of Technology. Dissertation: The Act of Patching: Musicking with modular systems. Year of exam: 2025.
Pedagogic Exams and Courses #
- Music teacher, instrument and ensemble, 160p, 4 years. Main subject: Classical Piano. Second subject: Music theory. Ingesund School of Music. Year of exam: 1997.
- Teaching and Learning in higher Education 1, 7,5 Hp/ECTS. Royal College of Music, Stockholm. Year: 2019.
- Teaching and Learning in Higher Education 2, 7,5 Hp/ECTS. Royal College of Music, Stockholm. Year: 2020.
- Supervising Independent Projects in Higher Music Education, 5 Hp/ECTS. Royal College of Music, Stockholm. Year: 2024.
Teaching Experience - BA level #
- Composition, electroacoustic – individual supervision, seminars, and group discussions.
- Live Electronics Ensemble – musicking with live electronic instruments in large group. Seminars and workshops on strategies for composition, improvisation, and interplay.
- Electronic music and sound synthesis – lectures and seminars on digital and analog sound synthesis.
- Sonology and Musique Concrète – field recording, sampling, and processing. Auditive analysis and sound notation techniques.
- Modular synthesis – with expert knowledge in Buchla, Serge, and Eurorack systems.
- Studio work – studio technology, mixing, MIDI, sampling, using the studio as an instrument.
- Spatial Audio and Ambisonics – usually part of the individual supervision in composition.
- Studio-based ear training – excersises in analytic listening based on music acoustics, psychoacoustic phenomena, and auditive analysis.
- Music Programming – lectures and workshops in SuperCollider and Max/MSP. Beginner and advanced courses. Also courses for external applicants.
- Artistic supervisor for independent work – the artistic part of the final thesis.
- Text supervisor for independent work – the written part of the final thesis.
- Examiner for independent works – examiner for both the written and artistic parts of the indenpendent thesis work.
Teaching Experience - MA level #
- Composition, electroacoustic – individual supervision, seminars, and group discussions.
- Live Electronics Ensemble – musicking with live electronic instruments in large group. Seminars and workshops on strategies for composition, improvisation, and interplay.
- Modular synthesis – with expert knowledge in Buchla, Serge, and Eurorack systems.
- Spatial Audio and Ambisonics – usually part of the individual supervision in composition.
- Music Programming – lectures and workshops in SuperCollider and Max/MSP. Beginner and advanced courses. Also courses for external applicants.
- CoPeCo – joint master program with Eesti Muusika- ja Teatriakadeemia in Tallinn, Conservatoire National Supérieur Musique et Danse de Lyon, Hochschule für Musik und Theater Hamburg, and KMH.
- AIM – Artistic Interdisciplinary Master. Supervision of student-driven interdisciplinary projects in collaboration with external parts.
Teaching Experience - External Courses and Guest Appearances #
- SMC Summer School 2023 – crash course in SuperCollider and algorithmic spatialization. Held at KMH in collaboration with the Sound and Music Computing Network, KTH, and Konstfack.
- Algorithmic Composition with Max/MSP – Course at the Interactive Sound Design program at Kristianstad University.
- Live Electronics Ensemble with Dirty Electronics – Erasmus exchange with De Montfort University in Leicester, UK, leading joint workshops with the KMH Live Electronics Ensemble and the Dirty Electronics ensemble, in collboration with Dr. John Richards.
- Summer courses in Max/MSP – project based courses, held at Linnéaus University in Växjö, Sweden, 2006-2008.
- Guest lecturer – invited for presentations, lectures, and workshops at e.g., Wesleyan University, USA, Shobi University, Japan, University of Nuewcastle upon Tyne, UK, De Montfort University, UK, Eesti Muusika- ja Teatriakadeemia Tallinn, Estonia, University of Gothenburg, Sweden, Malmö Academy of Music, Sweden, Piteå School of Music at Luleå university of Technology, and others.
Administrative Experience #
- Director of subject in electroacoustic composition – representing and deveoping the subject, responsible for studio facilities. Since 2024.
- Director of studies in composition – responsible for course plannning and student issues. 2009-2020, 2026 and continuing.
- Budget responsibility – responsible for the departments external project budget between 2012-2020.
- Course and program development – worked with the new curriculum and the Bologna adaptation of the bachelor programs in composition at KMH (started 2011). Coordinated the writing of new course plans and curriculae for new bachelor programs in composition, followed by implementation and scheduling these during 2018-2019.
Teaching Experience – Non-university level #
- Gotland School of Music Composition – preparatory school in composition. Teaching electroacoustic music, studio technology, elementary synthesis, and spatial audio.
- Courses at EMS Stockholm – includes the Advanced course that runs for a whole semester, Max/MSP courses, and presentations.
