Adrian Kleinlosen (born 1987 in Germany) is a composer, musicologist, and musician.
He studied jazz trombone from 2007 to 2011 in Graz, Austria, and composition from 2011 to 2013 in Lucerne, Switzerland. These studies were followed by postgraduate studies in composition in Leipzig with Claus-Steffen Mahnkopf. Additionally Kleinlosen took lessons with Brian Ferneyhough, Mark Andre, Pierluigi Billone, Dieter Ammann, and Frank Cox among others. Since 2015 he works on his doctorate in musicology. Several of his articles have been published in »Musik & Ästhetik« between 2014 and 2018.
As a trombone player Kleinlosen played concerts in Europe, Asia (China) and USA, participated in various CD productions, won competitions (e.g. »Jugend Musiziert«) and prizes. Further he was given scholarships, amongst others by the University of Music and Performing Arts Graz.
As a composer Kleinlosen received numerous scholarships, namely from the Anna-Ruths Foundation, the Culture Foundation of the Free State of Saxony, the Konrad Adenauer Foundation, as well as the Ministry of Education, Science and Cultural Affairs of the State of Schleswig-Holstein. He was invited to participate in the composer’s workshop of the Lucerne Festival Academy in 2017, and participated in other festivals, such as the Darmstadt Summer Courses of New Music, the Donaueschingen Music Days, and the composer’s workshop of the »Sonemus Festival« in Sarajevo. His works have been performed in Europe and Australia by prominent interpreters such as Ermis Theodorakis and James Aylward.
At the moment Kleinlosen works on his doctorate, which is funded by the Friedrich-Ebert-Stiftung. He investigates the subject of morphology in New Music and takes up a position of introversive resp. immanentistic analysis to define the morphological peculiarities of composed art music of the last 70 years »from within«, i.e. with structuralistic means. Questions concerning musical structure(s) and musical material are at the core of Kleinlosen’s musicological work. Several publications are planned.
Likewise, Kleinlosen’s compositional work is determined by structural thoughts. His meticulously planned compositions – which he works on for a long time – incorporate electronics since 2015, the latter playing an increasingly significant role in the composer’s oeuvre. Mathematics, in particular the formulas of statistics and stochastics, are more and more frequently used to generate the musical material. Logic and computer programming go hand in hand with this development.
Kleinlosen adopts a radical avant-garde position inasmuch as he works on a music which is neither inspired by the musical surface (»sound«, orchestration) nor extra-musical concepts (texts, societal and political structures). He instead believes that the rethinking of the »content-form« (cf. Hjelmslev), i.e. the inner-musical structure formation, can lead to new ways of musical thinking, and thus, to new musical expressive possibilities.