As a consequence of the universal alphabet of binary code, music is expanding to include transmedia practices. This text suggests that the seemingly exclusive bond between the art form of music and its primary medium, sound, might be opened up to include other media. If the practices of composers who also appear as sound- and kinetic artists are not recognised as music, possible contemporary perspectives on past music is lost and the future development of music is inhibited.The author presents an artistic perspective on transmediality, where two questions are addressed. The first is whether or not a transmedial structure can be made with light, movement and sound – and if so, how is this done? A strategy for transmedial composition with light, sound and movement is proposed, and exemplified with hand drawings. The second question raised in this article concerns whether or not transmedial compositions result in music. An idea of music as organised time is developed, and includes a discussion on the exclusive relation between art form and medium, especially between sound and music.

In the sphere of contemporary composition and performance, the material for composers and musicians is not only sound, but extends to different forms of visuality, objects, movements and language. The Extended Composition project poses some fundamental questions: what new strategies for composition and performance will have to be developed to master the multitude of sign systems emergent from music’s expanded material array? What new significance is emerging from the layers in an extended composition of sound, language and movements, and how do we evaluate it? This presentation contains reflections and presentations of three artistic works done in collaboration between composers, musicians, dancers and other artists. The project group has been Henrik Hellstenius, Tanja Orning, Christian Blom, Ellen Ugelvik and Camilla Eeg-Tverbakk.