In Barthes’ „Vom Werk zum Text“ wird die Partitur als Transaktionsdokument beschrieben, das sich nicht auf die bloße Übertragung von Bedeutungen beschränkt, sondern die Wechselwirkung zwischen Schrift und Aufführung aktiv in den Vordergrund rückt.

Sog und Zögern,    Hiatus vulgäre Porträts 
ist Partitur einer Denkbewegung, hat keine feste Vorlage. Dieser Text - als prozessuale Instanz - bewegt sich in einem Zustand der Unmöglichkeit der Abgeschlossenheit, ist fragmentarische ständige Bearbeitung einer provisorischen Choreographie, die sich in der Zeit immer wieder neu formiert und so andere Räume bildet, die sich in einer permanenten Neuinterpretation wechselnder Perspektiven und Assoziationen darstellt.

Die Relationalität der Fragmente, die keinen stabilen, fixierten Bedeutungszustand kennen, folgt einer offenen, nichtlinearen Struktur, unterteilt in verschiedene Passagen, jede mit eigener Logik und Dichte. Es gibt keine klare Einführung oder Erklärung. Die Unvollständigkeit ist wichtig - nicht als etwas, das es zu überwinden gilt, ist notwendige Bedingung kontinuierlicher Prozesse.
    Die Partitur als zeitlicher Verlauf transitorischer Räume, ist nicht Raum als solcher, nein, nein, jedes Fragment ist ein offenes, dynamisches Element, das seine Bedeutung erst im ständigen Dialog mit anderen bekommt. Dieser Raum ist nicht einheitlich.

                 
         Dabei sein bei der Schönheit des Verlustes ist alles

^{Einige Fixed Media Stücke davon wurden zur Liedersammlung “a poem can be understood as the result of a series of transformations applied to the proposition 'I love you '“.}

„Macédoine“ (7'08'', 8-Kanal) ist ein Arrangement von kurzen Stücken aus „Totengeläut“. Diese Komposition besteht aus arrangierten und bearbeiteten Samples des Tracks „Totengeläut“, wobei das gesamte Klangmaterial von der kleinen Glocke stammt und durch das Delay/Feedback-Netzwerk bearbeitet wurde. Hier, wie auch in „Totengeläut“, wird das Feedback-Netzwerk benutzt, um Klänge aus der Vergangenheit zu aktivieren und mit der Gegenwart zu verbinden.

Das Stück „Schwerkraft und Gnade“ entstand aus dem Bedürfnis heraus, mich von biografischen Konstruktionen zu distanzieren. Der Titel ist aus dem Buch "Schwerkraft und Gnade" von Simone Weil, denn ich verwende  im Stück Kraft, Mechanik und Schwerkraft als grosse und schwere Wörter und deren semantische Felder, um daraus die Struktur zu erstellen aus der sich die Form des Stückes ergibt. Wegen der schweren Wörter habe ich auch einen Ausschnitt aus Wagners "Walküre" als Sample genutzt.

^{eine Reihe von Einzelkompositionen, die zusammen eine kompositorische Szene bilden. In diesen Kompositionen vermischen sich soziale und kulturbezogene Ereignisse und Phänomene mit Elementen des persönlichen Alltags. Oft werden Samples als Klangmaterial verwendet und ihre unterschiedlichen Eigenschaften einbezogen. Diese bearbeiteten Samples werden mit anderen Elementen vermischt, um einen abstrakten musikalischen Rahmen mit Funktionen, Regeln und Mechanismen zu schaffen. Ich will diese Komplexe durch Unterbrechungen im Herstellungsprozess als unvollständig darstellen.}

^{I scream, I laugh, altered speed, screams shift, I scream, I laugh metal sheets and silver rings.” at Kunsthalle Bern, Harmony employs various elements, such as metal rods, glass containers, and other resonators, to make the sounds of laughter and screaming audible through two bass membranes at different speeds. The composition's structure, as outlined in its score, is determined by the unique acoustic properties of the materials used. The specific arrangement of these materials over time defines the chronological progression of the musical events that are performed.
The resulting sonic experience fluctuates between percussive sounds and expressive auditory phenomena, allowing for the perception of both laughter and screaming. This real-time musical composition is captured by microphones and played back through four speakers in the space of Kunsthalle Bern.}                                                                                                                  
                 

^{Common Ground, Weiertal Biennale, Weiertal, CH
Nicolas Buzzi and Harmony have devised an instrument for the Weiertal exhibition “Common Ground”, that is set in motion by the wind, the instrument places a strong emphasis on the blend of form and function. The stand itself is constructed from standardized components typically used in stage productions, which, in this context, take on a different purpose.}

_{Formally, Loud melancholy is someone else's fantasy, is a collage of an electric guitar solo and two electro-acoustically generated sound parts. The acoustic part of the electric guitar playing forms the entrance to the concert, Loud melancholy is someone else's fantasy, is a meditation on grunge, counterculture and transformations. A personal portrait with which Harmony wants to follow a strangely familiar feeling of living in the midst of a world that is slowly falling apart.}

       

^{Werkstipendienausstellung (2022), Harmony showed the installation Kugelmensch Killing: A Love Story, which centers around an electro-acoustic instrument. This consists of four loudspeakers and three stands with cymbals and thunderbolts, which can be controlled by a self-programmed software. In this instrument, it is the overtone spectra of the metal instruments as well as the inherent possibilities of the generated sound spectrum through an electronically designed feedback system and multiple spectral oscillators that create the environment of a recursively organized musical system. The installation further consists of three objects clothed in textiles. These objects are musically activated by Harmony through two performances for twenty minutes each. Dramaturgically, the topos of the spherical man myth is mixed with a shifting sonic spectrum. The millennia-old myth of the "spherical man" from Plato's Symposion, who searches for his matching half in love, still serves as the basis for theories and counter-theories on the idea of love as fusion. In Kugelmensch Killing: A Love Story, the fictional character of the cymbal player, embodied by Harmony, falls in love with the character of the thunderbolt and its overtone spectrum. The two instruments, the cymbal and thunder sheet, complement each other spectrally perfectly. The three characters and their sound materials blend continuously. The initially only conceptually related sound sources and figures transform in the course of the performances into a field of sound and content interdependencies and through continuously growing interdependencies, it becomes more and more difficult for Harmony to control the recursively functioning part of the instrument, namely the feedback element. The balancing of the sonic relationships within the musical layout of the performance series therefore also formulates the musical-dramaturgical course of the two performances.}

^{with Monika Stalder, Jiajia Zhang, Miao Shuyue and Val Minnig as performer
Lange Nacht Interpretationen zeitgenössischer Musik, ZHdK, CH}                  

_{In Sirens Song of Unity four performers interact through their movements with a computer generated musical composition. The structural and poetic aspects of the performance are inspired by the mythological figures of the Sirens, the personalities of the performers*, and the characteristics and semantics of the staircase as the place where the performance took place. In the creation of Siren Song of Unity, mythological procedures, synthesizing technical methods with semantic meanings, are used to create sounds, costumes, gestures and collective movements. The choreography is inspired by mathematical relationships through which the algorithm was generated. In addition, the spatial dimensions of the staircase influenced and determined the musical and choreographic choices. The frequencies played by the sine oscillators form a scale whose frequencies are generated by a simple mathematical syntax. The generated frequencies are then arranged on an ascending scale. As the sirens run down the scale, they play an ascending frequency. The musical composition is based on a software-generated Max Msp patch consisting of two sound synthesis units, more specifically eight pairs of sinusoidal oscillators with FM synthesis, where the modulators consist of a 16-part additive unit, where these 16 partials can be in either a harmonic or subharmonic relationship. This sound generating device is designed to not only serve the function of synthesizing sound within the performance, but also to allow the patch to serve a structural function through its predetermined design, and to allow the performers* to articulate possibilities of musical variance already contained within the patch through their movements with the sensors. The final musical outcome is in the hands of the performers and depends on their playing and listening.}

_{In Log Log, a piece of log and Log Log also stands for log file, an automatically created file that contains a record of certain events. The performance features four performers* using motion sensors to play with an instrument called a paper organ, or, for the sake of technical clarity, four performers* interacting with their movements with computer-controlled activation mechanisms of certain modes of a column of air through a recursive system consisting of a paper tube, speaker, and microphone. The paper organ is a system of microphone, amplifier and loudspeaker that is used as a drive to make certain partial tone mixtures and single modes of the tubes sound in desired duration, volume as well as oscillation and decay. In addition, the system allows variation of the partial tone tuning. A special computer program is used to control the tonal parameters. By using multiband filters and controlling the phase and amplitude of the individual partials, it is possible to vary the tonal responses of this relatively simple system. Although not a component, the underlying element of the paper organ is the feedback between the speaker and the microphone. When a microphone converts sound into a signal, and that signal is in turn converted into sound by a loudspeaker that is sonically connected to the microphone, the system can be made to self-excite. An excitement brought about by physical means such as vibrations, enticing the listener with the experience of being part of a precarious equilibrium system whose articulated relationships are precisely the poetics of the system's movement.}

_{In Suspended Gestures, four performers interact with each other through gestures that control synthesized sounds. Their bodies are instruments for orientation in space, augmented by movement sensors that trigger changes and transformations of sound parameters in a special synthesizer engine specialized in generating and playing with acoustic phenomena. The score of the movements, the choreography, is determined by the means of the sounds with which the performers communicate with each other.}