While I am a classically trained pianist, I grew up dancing ballet and various other styles for several years. By engaging in both art forms, I discovered the mutual impact that dance and piano had on one another in my life. Playing piano developed skills in rhythm, timing, and musical phrasing that I could equally apply while moving on a dance floor; dancing intertwined physical movements with musical gestures and rhythms, allowing me to internalize the music I was hearing in a very external way. This relationship between music and dance continues to impact the way I perceive and perform music, often manifesting itself through the way I physically move while playing the piano. I have always been fascinated by multidisciplinary projects that combine dance and music and had dreamed of somehow merging the two art forms together in performance. My collaboration with composer Badie Khaleghian has transformed this dream into a reality.

  Background

This collaboration began while Khaleghian and I were both earning graduate degrees at the University of Georgia. Khaleghian, an Iranian-American composer, has produced a wide range of works, including solo, chamber music, orchestral, and electro-acoustic compositions. His music, which has been performed in Iran, the United States, Austria, Italy, and Canada, is heavily influenced by his Middle Eastern background and his social justice activism. Khaleghian has also cultivated a passion for collaboration, not only with other musicians, but also with artists and scientists, thus fostering an intersection of disciplines in his work. He particularly enjoys composing music for specific individuals and groups, and further, inviting them into the creative process.

After attending one of my performances in 2017 and learning about my dance background, Khaleghian approached me about collaborating, and we brainstormed a way to intersect piano and dance within a solo piece. The result was Life Suite, which we premiered in 2019. A multidisciplinary work for solo piano, dance, and fixed media, the piece combines both live and recorded solo piano and dance, all of which I performed. A deeply personal work, it features film footage from one of my old dance recital performances and explores not only my own identity as both pianist and dancer, but also the general concept of finding one’s identity. A year later amid the COVID-19 pandemic, Khaleghian and I began discussing plans for a new multidisciplinary piece that would stretch beyond the scope of Life Suite in both its layering of various media and its incorporation of technology. The resulting composition, which I will further discuss in detail, is Electric Sky Blue (2022) for piano, dance, and interactive intermedia.

Terminology
While the terms multimedia and intermedia have been used interchangeably, there are nuances that differentiate them from one another. Multimedia quite literally refers the combination of “multi-”, or “many,” and “media,” or methods of communication. These media can include audio, written text, video, and images, among other communication methods. Intermedia, on the other hand, includes “inter,” meaning “among” or “between.” Intermedia extends beyond merely the use of multiple media, more specifically referring to a fusing of media to form a culminating artistic product. Intermedia art has also been defined by its employment of new technologies.

Whereas Life Suite is considered a multimedia work, Khaleghian wanted this new project to be interactive, thus designating it as an intermedia work. In this case, the term interactive refers to the digital reaction of one medium from another in real time (e.g., visuals reacting to certain amplitudes played by an instrument or sounds reacting to physical motion). Khaleghian chose to compose a work in which several media––live piano, dance movements, visuals, and both fixed and live processed audio––are constantly in dialogue with one another. Lastly, he envisioned the work to be immersive for the audience, with multi-dimensional visual projections and multi-channel audio coming from sound speakers in multiple locations around the space. The process of bringing these technological and multidisciplinary ideas to fruition, which took over a year, required a multistep process that is outlined below.

  Collaboration Process

Research
After our initial discussion in establishing a desire to create a multidisciplinary, intermedia work, Khaleghian conducted extensive research in the software and technology needed to bring piano, dance movement, visuals, and electronic audio into active dialogue with one another. Based on this research, he now uses a program called TouchDesigner to design all visuals, which are live processed throughout the piece. In order to capture my physical movements in real time, he uses Microsoft Kinect, a motion sensing input device that collects data from x, y, and z axes of eighteen different skeletal joints of my body. This data is then sent, via Open Sound Control (OSC) communication between applications on different computers, to a software called Max/MSP, a visual programming language specifically for music and multimedia. All the processed sound from Max/MSP is directed to Ableton Live, a digital audio workstation (DAW) used in composition and performance, via Max for Live, which, according to Ableton’s website, allows users to construct their own instruments and effects along with tools for live performance and visuals. A diagram showing Khaleghian’s use of these programs can be seen in Figure 1.

Figure 1. Diagram of software used in Electric Sky Blue, courtesy of Badie Khaleghian.

Development
Following this phase, Khaleghian developed a body instrument using the Microsoft Kinect device. By moving my hands and feet along the axes mentioned above, I could manipulate the elements of pitch material, timbre, dynamics, pulse, and texture to create electronic music. In other words, Khaleghian developed a way for music and my movements to be as intimately connected as possible, with technology sensitively reacting to something so innately human. We then held workshops, in which we tested out different versions of Khaleghian’s instrument with varied musical elements. We simultaneously engaged in continual conversations, brainstorming conceptual ideas along with what we wanted our project to convey to audiences. Inspired by a poem I had written about the color electric sky blue, one for which I have always had a particular affinity, Khaleghian decided to use this text as the basis for the work’s structure:

Born in Autumn, in the crisp air of mid-October, It takes you to places far away, with cypress trees and gravel paths along hillsides,
With medieval towns across the valley.
Places that have stood still for centuries,
With grasses blowing in the quiet all around.
It sits with the morning, still in its freshness and
Full of possibility for what a day could hold.
It longs for life, for adventure, for full breaths deep inside your lungs.
For running and jumping into a pile of crunchy leaves, with a child-like delight.
It hides the gray, the stormy, the deep rumbling that is still there.
It is not like the dark midnight, with all its shadows and anxiousness.
It nods along to a song of exuberant joy,
With an intoxicating beat you can’t help but dance to. Constantly shifting and morphing, round, plump, malleable.
It moves with leaps—bold yet graceful.
It befriends the rustling leaves in the trees, with the branches that frame it and
Bring out its electricity, its truest form, its most vibrant hue. (Owen 2021: unpublished)

Set in ten scenes, each of which is based on a line of poetry, the piece abstractly follows the poem’s surface narrative while simultaneously outlining a broader journey—one that evolves from themes of birth and innocence to anxiety and struggle, finally leading to a sense of newfound resilience and authenticity. This narrative structure aided Khaleghian and me in constructing ideas about the dialogue between music and other media throughout the work.

Khaleghian then began to write music for certain scenes, which I would learn one by one. I also prepared to step into the additional role of dancer by retraining, brainstorming the types of movement I wanted to communicate depending on the scene, and consulting a choreographer for additional ideas. After holding multiple workshops over the course of several months, Khaleghian and I saw Electric Sky Blue through to its completion and first performance in March 2022.

To prepare the work for performances in a variety of potential venues and settings, Khaleghian created multiple versions of Electric Sky Blue. While it lasts approximately forty minutes in its entirety, a shorter version of the work could be performed from Scenes 7 through 10. He also designed the configuration for performance setup to be flexible, depending on the capabilities of the venue. The most ideal conditions consist of a dark space with immersive projection and sound, but the audio can be sounded through as few as two channels, if necessary. Realizing the logistical constraints of his initial conception of implementing panoramic visuals to surround the performer and audience, Khaleghian also adapted this idea, creating a two-dimensional plane to project visuals on both the floor and back using screens. If this option cannot be a possibility in a venue, however, visual projections on just one back screen are still effective. A complete technological diagram for Electric Sky Blue is shown in Figure 2.

Figure 2. Complete technological diagram for Electric Sky Blue, courtesy of Badie Khaleghian.

  Result: Electric Sky Blue (2022)

Formed out of this multidisciplinary, intermedia approach to composition, Electric Sky Blue showcases the extension of possibilities used to shape the structure of a piece of music; Khaleghian not only accessed standard musical elements such as pitch, harmony, rhythm, etc. but also to multiple artistic media and technologies. The formal structure of Electric Sky Blue is primarily shaped by the addition and resulting combinations of media; this dialogue between them shapes the piece’s narrative, as well. This approach to form and narrative is captured below in the following brief survey of scenes.

Prelude
As Khaleghian and I wanted the piano to serve as the cornerstone of the work, we chose to begin and end the piece with solo piano alone. Electric Sky Blue opens with an unsuspecting Prelude, as though the listeners are about to experience a more traditional solo piano recital. The scenes which follow, however, progressively step beyond these expectations. The Prelude follows an ABAB formal structure and stays within a tonal/modal harmonic language; the A material, for example, has a tonal center of D and hints at Phrygian and Dorian modes with the presence of E-flat and B-natural, respectively (Figure 3). The Prelude also introduces pitch collections that are recalled later in the piece, such as the strong presence of 01 dyads. As shown in his score indications for continuous pedal, also seen in Figure 3, Khaleghian develops the idea of building resonance of sound throughout the Prelude. Serving as a musical motif, this resonance foreshadows the presence of ambient electronic sounds in the scenes to follow. The repetitive nature of its motivic gestures also foreshadows the delay effects present in the final Scene 10, as discussed below on p. 7, but also contributes to the sense of beauty and purity at this point in the work’s narrative.

Figure/ Sound 3. Tonal/modal harmonies and continuous pedal notation at the opening of the prelude, mm. 1-5. Scene 1

Scene 1
The end of the Prelude converges with Scene 1 when, at the moment the final chord is struck, I introduce spoken text from the first couple of lines of poetry: “Born in Autumn, in the crisp air of mid-October, / It takes you to places far away…” As I speak into the amplified piano, I simultaneously play a singular melodic line reminiscent of the rhythm and inflection of each phrase. The melody acts in counterpoint with the poetry, first as a more complete response to each phrase, but then entering sooner to overlap with the spoken text in a delay effect (Figure 4). This introduction of the human voice is a first step in thwarting listeners’ expectations and thus introduces a multidisciplinary element of surprise.

Figure/ Sound 4. Counterpoint between spoken text and piano melody in Scene 1.

Scene 2
Based on the lines, “It takes you to places far away, with cypress trees and gravel paths along hillsides, / With medieval towns across the valley. / Places that have stood still for centuries, / With grasses blowing in the quiet all around,” Scene 2 features suspended chords void of any functional harmonic resolutions, along with soft dynamics that transport the listener musically (Figure 5). Khaleghian primarily uses stacked tertian and quartal harmonies, along with sevenths and minor seconds, to construct these chords. While not functional, the harmonic language is still quite modal; the opening lines, as shown in Figure 5, are largely comprised of pitches in the C# Dorian scale, for example. The end of Scene 2 features tone clusters interspersed with the opening chords, perhaps signalling an eventually departure from tonality later on in the work. The visuals in this scene transition from a blue sky to darker shades of blue, and the visuals subtly move and morph as they react to amplitudes produced at the piano. This scene therefore introduces the interactive nature of Electric Sky Blue for the first time, adding a new surprise.

Figure/ Sound 5. Opening of Scene 2, with suspended chords and soft dynamics, mm. 1-10.

Scene 3
Scene 3 begins similarly, with flowing visuals swirling in fire-like patterns reminiscent of the sun projected while I play chords broken up in shimmering textures (Figure 6a) in the upper registers of the piano. These elements evoke the following line in the poem, “It sits with the morning, still in its freshness and / Full of possibility for what a day could hold.” Khaleghian indicates that, within these chordal trills, certain pitches should pop out of the texture to form a melodic line between chords. Similar to Scene 2 in its harmonic language, Scene 3 features chords constructed from quartal and, in this case, quintal harmonies, in addition to some chromatic motion between chords (Figure 6b). The textures and slow-changing harmonies allow me to lift my hand in the air between chords during the repeat of the materials, as indicated in the score (Figure 6b); this vertical hand motion not only cues electronic sounds based on the played harmonies but also cues motion-affected visuals that change color depending on the height of my hand. At this point, instead of reacting to the piano’s sound, the visuals are reacting to my motion, thus introducing the concept of interactive motion-capture technology in the piece.

Figure 6a. Opening of Scene 3, with indication of shimmering chordal trills, mm. 1-4.

Figure 6b. Chords built from quartal and quintal harmonies, some chromatic motion between chords, and indication to lift hand to activate Microsoft Kinect, mm. 18-22.

Scene 4
Scene 4 marks yet a further important point in the piece’s structure as I transition away from the piano bench and move around the space for the first time. After establishing the new interaction between movement, sound, and visuals, I more directly explore Khaleghian’s Kinect instrument, in which my motion cues various electronic pitches and arpeggio gestures; these pitch frequencies form a pitch collection (G2, D3, F#3, A4, C#4, C4, D#4, E4, F4, G#4, B♭5, B5, C#5, D5), which Khaleghian also utilizes in the upcoming Scene 5. By featuring a twelve-tone collection, the piece has shifted from tonality into a fully chromatic language at this point. Each of the pitches and arpeggio gestures is assigned to a box on a 4 x 5 grid, designed by Khaleghian in Max/MSP. He replicates this grid with the Kinect device, which gathers live data from my movements across x and y axes on the ground and thus cues certain electronic pitches to be sounded. As this scene corresponds with the poem’s lines, “It longs for life, for adventure, for full breaths deep inside your lungs. / For running and jumping into a pile of crunchy leaves, with a child-like delight,” I become a character awestruck by the magical nature of this interplay of media and move with child-like hops and leaps around the space, exploring the Kinect instrument. The visuals, made up of bright and colorful shapes, also trace my movements.

Scene 5
As in the poem with the line, “It hides the gray, the stormy, the deep rumbling that is still there,” Scene 5 marks a shift from light to dark, from carefree to rigid. I am pulled back to the piano bench, which I show in my movements, and begin to play virtuosic passages consisting of nearly constant strings of sixteenth notes (as seen in Figure 7), juxtaposed with sections containing more rests. To match this shift in the narrative, Khaleghian used a much more intellectual approach in his composition of this scene’s piano part, writing algorithms to generate both musical and visual materials. As in Scene 4, he used a similar idea of a grid, this time creating a conceptual 20 x 20 grid. Each of the 400 modules on this grid cues a musical event in an algorithm––either a certain pitch, a rest, or a transposition.

Figure/ Sound 7. Textures of rapid, widely-spaced sixteenth notes interspersed with rests in Scene 5, mm. 52-55.

As mentioned above, Khaleghian drew from the same pitch collection of fourteen pitch frequencies from Scene 4, this time spacing the pitches out across the different registers of the piano. In the lower registers, he created wider gaps between pitches, utilizing intervals such as major and minor sevenths, minor ninths, and tritones; he narrowed these gaps in the higher registers, frequently using intervals such as minor seconds. These pitches and their repetitions formed a large number of the modules in the grid used for the algorithm; the remaining modules indicated a rest or one of fourteen different kinds of transpositions, also repeated. The order in which these modules were cued was determined by Khaleghian’s algorithm.

Khaleghian also created an algorithm for the visuals in this scene using an amplitude follower. After he took these fourteen pitches and played each of them on a keyboard for one second, the amplitude follower translated the sounds to cue various visual lines to be projected. After fourteen seconds, the pixel modules used for these visual lines cued the music algorithm to generate new pitch materials, rests, and transpositions, which would then be translated again to visuals, in an infinite loop of events. Using the control of a metronome, Khaleghian ran this interaction of algorithms for five minutes, while simultaneously using a slider control mechanism to control range, to create the musical materials for Scene 5.

Figure 8. A moment of intervallic and rhythmic consistency before erupting into a glissando, mm. 67-73.

By using a musical algorithm to generate pitch and rhythm materials more randomly, Khaleghian moves away from any kind of identifiable pitch collection or clear overarching formal structure at this point in the narrative of Electric Sky Blue. He did have to significantly modify the generated materials, however, in order to make the piano part mostly playable. He added rests in various places to account for large jumps, and he created intervallic and rhythmic consistency in certain sections to provide a sense of momentary stability (Figure 8). The visual zigzagged lines projected as I am playing the piano serve as visual proof of how Khaleghian composed this scene, although in real time they are just reacting to the piano’s amplitudes (Figure 9).

Figure 9. Visuals of rigid lines and shapes reacting in real time to the amplitudes from the piano. Photo taken from performance at Rice University in April 2022.

Scene 6
Not only does Scene 6 reach the darkest point in the narrative with the line, “It is not like the dark midnight, with all its shadows and anxiousness,” but it is also the climactic point technologically, as I once again leave the piano bench to explore with the Kinect instrument. In this scenario, my body movements along x, y, and z axes control various pitch materials, dynamics, and textures, along with visual shapes, sizes, and colors; this relationship between different body movements and specific musical and visual elements is shown in Table 1. While exploring the instrument to manipulate the sounds and visuals, I use more disjunct, rigid movements to match this point in the narrative. I finally return to the piano and play identical material heard earlier from the opening of Scene 3; this time, the piano sound is manipulated electronically using granular effects and detuner patches, which give the original material a darker, out-of-tune quality.

Table 1. Musical and visual cues from body movements in Scene 6.

Scene 7-8
Narratively, Scene 7 marks the beginning of a shift away from darkness. Evoking the line, “It nods along to a song of exuberant joy, / With an intoxicating beat you can’t help but dance to,” live piano engages in conversation with fixed electronics, emitting an effect that the two media are affecting one another in real time. The nearly constant metric changes create rhythmic intrigue throughout the scene, contributing to the idea of “an intoxicating beat,” and the repeated low bass Es (Figure 10) suggest a return to modal/tonal harmonies, which were absent in Scenes 5 and 6. The visual projections, consisting of two layers, shift and change color via an amplitude follower, which captures the piano and electronic amplitudes. The first layer contains blurred out circles, which pop out of the background in sync with the sound of both piano and electronics. The second visual layer features a dancing silhouette, taken from film footage of myself dancing, and appears only when I play piano. In terms of colors, however, Khaleghian programmed them to change depending on which range of the piano I played in any given moment; they were not impacted by electronic sound.

Figure 10. Repeated low bass Es and metric changes in Scene 7.

Musically, Scene 8 serves as an afterthought to Scene 7, capturing nearly all the musical materials present before. Instead of engaging the piano again, I dance most extensively at this point in the piece. I collaborated with choreographer Anna Owen to create movements inspired by the line “It is constantly shifting and morphing, round, plump, malleable.” The resulting choreography features movements that fluidly transition into one another and maintain clarity in shape. Many of the movements are circular, as in the turns I make in a large circle around the stage or in the poses I hold with my arms. Some movements are slow, creating a moment of suspension, while others are sharp and quick, following the occasional moments of rhythmic drive in the electronics. The projected visuals, reacting to the electronic sounds, are also fluid and constantly morphing to match the line in the poem. Unlike those of Scene 7, the color changes in Scene 8 are all randomly generated, although Khaleghian still chose specific colors to be used.

Scene 9
Set to the line “It moves with leaps––bold yet graceful,” Scene 9 marks the arrival of relief in the narrative and is a culminating point as an electronically manipulated recording of my own recitation of the poem is heard through speakers. This is the first time that spoken text is heard once again since Scene 1, thus reinfusing a more human quality into the piece. As listeners hear the lines of the poem, I walk around the room and use the Kinect instrument one last time, to clear with my hand a blacked-out painting, made by Khaleghian’s grandfather, Shoja’addin Khaleghian, of autumn leaves and a blue sky (Figure 11). Narratively, this action of clearing away darkness to reveal shades of blue and orange represents the moment of once again finding hope and clarity after journeying through instability and confusion. Rather than using a simple sky blue background, we chose this painting as it not only ties back to earlier lines of the poem but also captures the idea that the blue sky is now even more vibrant when framed by the leaves than on its own. This image foreshadows the final line in the poem, which inspires the upcoming final scene.

Figure 11. Painting by Shoja’addin Khaleghian, the upper portion of which was used as a visual backdrop in Scene 9.

Scene 10
Set to the poem’s final line, “It befriends the rustling leaves in the trees, with the branches that frame it and / Bring out its electricity, its truest form, its most vibrant hue,” Scene 10 represents a calming down of technology and media, refocusing the end of the piece back to the piano. The music for this scene is very intimate and quiet, with limited pitch materials in the upper registers of the piano (Figure 12). The tonal center is C#, thus confirming a return to a tonal harmonic language and recalling the opening of Scene 2 with its harmonies surrounding the C# Dorian scale. The presence of B# in this scene, however, suggests a C# harmonic minor scale.

Figure/ Sound 12. Opening of Scene 10, with limited pitch materials in upper piano registers.

Khaleghian still employed technology in the projected visuals. Initially, he used a motion capturing device to display not only my silhouette at the piano, but also two copies of my silhouette behind it, each following a line of delay to create a delay effect of the silhouette. Each delayed copy of the silhouette corresponded with an electronically manipulated, one- or two-second audio delay of the piano sound, fusing a synthesis of visual and aural delay at certain points in the scene. Musically, this delay ties back to the Prelude’s echo effects of repeated gestures, like the three final iterations of diminished octaves and minor sevenths at the end of the Prelude (Figure 13). The projected silhouettes were set against a black and white background sketch of the surrounding space; this visual data was collected by the Kinect device as I walked around the space in Scene 9, thus further connecting the two scenes.

Figure 13. Motive of vertical diminished octave and minor seventh, repeated three times at the end of the Prelude, mm. 76-86.

After we premiered the work, however, Khaleghian and I decided to alter the original visuals to tie into the work’s narrative arc more clearly. Khaleghian changed the black and white background to the same sky blue that was present at the beginning of the piece. He did still choose to use the Kinect to collect visual data from my walking path in Scene 9; these motions are now captured in black sketches and lines over the blue, as shown in Figure 14.

Figure 14. Updated visuals of Scene 10, with the outlines of my Scene 9 walking path projected over a sky-blue background.

Kahleghian also retained the initial audio delays of the piano sounds. This concept of delay in Scene 10 refers less directly to the poem’s final line than to a broader reflection on personal transformation. Khaleghian views Scene 10 similarly to a coda, a retrospective commentary on dualities––of my own role as both pianist and dancer, and of the opposing emotions one can simultaneously hold after undergoing struggle and growth. Khaleghian drew on this feeling of bittersweetness as he chose to end Electric Sky Blue in melancholic beauty and simplicity rather than triumphant positivity. This sense of quiet at the end completes the narrative arc of the piece, settling back to the calmness present in Scenes 1-3 before the intensity of Scenes 5-8.

  Motives for a Multidisciplinary Intermedia Approach

After conveying an account of our collaboration process and discussing the resulting Electric Sky Blue itself, it is important to highlight reasons why Khaleghian and I chose to pursue this project with specifically a multidisciplinary, intermedia approach in mind. Firstly, we believe that this genre effectively displays connections among art forms and, therefore, holds an artistically meaningful purpose. Utilizing multiple artistic disciplines in combination with technology provides both composer and performer with more tools to create a multi-layered work. This approach engages multiple human senses, allowing both the performer and audience members to experience the artistic work in a multi-dimensional way. Rather than remain in separate spheres, the media can interact with one another to contribute to a complete work of art.

Secondly, this project was a unique opportunity for both Khaleghian and me. By capitalizing on my dance background and his passion for multidisciplinary work, we saw the project as an innovative creative outlet for both performer and composer. We further believe that this multidisciplinary, intermedia approach can be an exciting artistic path forward for other composers and performers who would like to be able to combine multiple skillsets in their artistic work. We also believe that, with both its multidisciplinary nature and extensive use of technology, this genre has the potential to connect with a twenty-first-century audience and break down barriers between classical music and other genres. This approach, for example, further challenges the notion that acoustic and electronic compositions should stay in separate realms. It also suggests the idea that a music performance does not have to be a solely aural experience, but also a visual one, in which the performer can move naturally without being accused of contriving expression.

Electric Sky Blue was produced with the intent of providing a unique musical experience to listeners––one that invites people to connect with live music, dance, and interactive visuals and audio simultaneously. Khaleghian and I continue to discuss ways to make this project more accessible by shedding some of the barriers present in traditional classical music concerts. There is often an invisible wall separating performer from audience in these settings, thus creating an atmosphere of formality and rigidity. While Electric Sky Blue can be performed in traditional concert halls so long as they have the necessary technology, we plan to perform it in less traditional venues, such as art galleries and black box theaters. We have also implemented flexible seating options on the ground and stage in hopes of bringing the audience into the performer’s space and drawing them into an intimate artistic experience.

For future performances of Electric Sky Blue, we are considering various ways to incorporate audience involvement in the performance process itself. For example, in settings that allow audience seating in the stage area, Khaleghian plans to develop a way to project visuals onto audience members that can react to their movements, as well. We also have plans to eventually release a digital immersive version of the work on YouTube, hoping that Electric Sky Blue will appeal to audiences who are not traditional arts supporters. With its use of multiple art forms and technology, we hope that at least one of these media will appeal to nearly everyone.

  References

Elwell, J. Sage. (2022). “Intermedia: Forty Years On and Beyond.” Web:MutualArt.https://www.mutualart.com/Article/INTERMEDIA--FORTY-YEARS-ON-AND-BEYOND/C2D22534A855B458.

Khaleghian, Badie. (2022). badie khaleghian. www.badiekhaleghian.com Retrieved March 5, 2022.

Khaleghian, Badie. (2022). Electric Sky Blue. Unpublished musical score. Location: in the author’s possession.

Khaleghian, Badie. (2021). Interview by Caroline Owen. Personal interview. Conducted virtually on September 8, 2021.

Khaleghian, Shoja’addin. (Date unknown). No title. Oil on canvas.

“Max for Live.” Web: Ableton. https://www.ableton.com/en/live/max-for-live/. Retrieved February 25, 2022.

Owen, Caroline. (2021). “Electric Sky Blue.” Unpublished poem.

“What is Live.” Web: Ableton. https://www.ableton.com/en/live/what-is-live/. Retrieved February 25, 2022.

논문투고일: 2022년 09월30일
논문심사일: 2022년 11월30일
게재확정일: 2022년 12월15일