Anna Berg (b. 1992) is a Norwegian composer currently enrolled in the Bachelor programme in composition at The Norwegian Academy of Music in Oslo. At the moment she primarily focuses on working with instrumental, vocal and electroacoustic music.
Aside from composing, her artistic background is diverse. Vocals and piano have been her primary instruments in styles ranging from jazz, classical and pop to traditional folk music. In addition to this she has also studied theatre, worked as an actress and has worked with writing and performing text.
All of these different elements are incorporated into her contemporary pieces for soloists, ensembles, choirs, electrocacoustic concert pieces or sound installations. Words describing her work include rhythmical and timbral layers, a consciousness surrounding the use of extended techniques, exploring new theatrical situations in the concert space, working with performative elements and spoken text in musical contexts.
About the Piece:
In this piece composer Anna Berg wanted to explore timbral and rhythmical sound objects, where the form is based on algoritmic composition through text coding. Abrasion is a term from geology, meaning that something is scraped away. From the Merriam-Webster dictionary; wearing, grinding and rubbing away by friction.
The piece consists of three different parts or layers, with characteristics tending toward being, but not exclusively,  timbral,  rhythmical and  harmonic. These materials collide and create friction with one another, creating sounding erosions and transformations, even though the parts still remain recognisable when they return to the listener’s ear.
The form was created using pseudo-randomness, by employing self-made algorithms made with text codin in python, and afterwards sculpturing and refining the final structure of the piece. In this way, the composer investigates elements of linearity and non-linearity, two parameters that are incorporated into the piece.