Since my very early music writing experience, I was interested in collaborative music creation and performance. But only in the last few years while doing a Research Degree (PhD) at the Royal Academy of Music, I finally described this interest to myself as music personalization.
I've been researching music personalisation though music visualisation (the thesis in Masters in Composition at the Lithuanian Academy of Music and Theatre in 2009), especially, through the performances with the audiovisual group Music is Very Important 2005-2009, and recently, audiovisual theatre piece Wonderful and Lamentable PLAN B, 2013).
I later started be deeper interested in collaborative creative thinking, that I researched through project with collaborative group Kliudziau (two multimedia operas), and later, through my educational creative workshop leading practice, and music performance with non musicians (especially, composition Children of The Wind - music for hot air balloon and 6 instruments).
Since 2010, I dragged my interest into spatial music for electronic and electro-acoustic and then acoustic surround (Spatial Opera Company 2010-2014).
I arrived at the point where tools for performing music (orchestral or traditional instruments, or non-instruments, electronics) became less important than the actual action of communicating music to the audience. Last year, I started project called Something Personal – the composition I create for particular place, and perform myself for one listener at the time with him/her staying with closed eyes throughout the performance.
I've been researching music personalisation though music visualisation (the thesis in Masters in Composition at the Lithuanian Academy of Music and Theatre in 2009), especially, through the performances with the audiovisual group Music is Very Important 2005-2009, and recently, audiovisual theatre piece Wonderful and Lamentable PLAN B, 2013).
I later started be deeper interested in collaborative creative thinking, that I researched through project with collaborative group Kliudziau (two multimedia operas), and later, through my educational creative workshop leading practice, and music performance with non musicians (especially, composition Children of The Wind - music for hot air balloon and 6 instruments).
Since 2010, I dragged my interest into spatial music for electronic and electro-acoustic and then acoustic surround (Spatial Opera Company 2010-2014).
I arrived at the point where tools for performing music (orchestral or traditional instruments, or non-instruments, electronics) became less important than the actual action of communicating music to the audience. Last year, I started project called Something Personal – the composition I create for particular place, and perform myself for one listener at the time with him/her staying with closed eyes throughout the performance.