"I translate concepts into unique, immersive sonic experiences. My work is determined by ideas and their methods - not as the result per se. Rooted in tradition, my work has developed beyond music, sound art, sound plastics. Emerged systems as the next level in Sonic Spaces, where the traditional boundaries between these domains will dissolve." - Roland Kuit, 1st Dutch composer with sonic art in space on board of the OSIRIS-Rex mission.
At the IRCAM in Paris, Roland experienced new ways in acoustic composition and research of physical modelling in spectral music. Earlier he had accomplished a virtual string quartet with use of analogue synthesis. Analogue synthesized sounds have something alive in the sound due behavior of the apparatus. Sounds created by digital means seemed to be a kind of static so Roland used his knowledge to apply his techniques in the digital realm. His morphing between different techniques and shaping of algorithms became Roland’s signature. His output spans composition through sound art, sound-architectural installations, collaboration with experimental artists, designers and scientists, acousmatic performance and live electroacoustic improvisation.
Research, imagination and association in a technical way made him write his books about combining synthesis techniques. Lecturing at diverse universities and creating radio programs about electronic music giving him a platform to discuss his conceptual worlds.
He performs on concert stages and in art galleries and museums. His books and music are published by Donemus, Publishing House of Dutch Contemporary Classical Music.
At early age he started to play the flute and was accepted at the Royal Conservatory, The Hague continuing his sound research in extended flute techniques. Here he met the music of Karlheinz Stockhausen, Luigi Nono, Berio, Dick Raaijmakers and other composers in electronic music. Experiencing limitations in acoustic music, Roland bought his first synthesizer. The ARP 2600.
At that moment Roland made a decisive step in his career by subscribing at the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. It was at the end of formalism, serial music and new ways in sound creation and composition had to be explored. Under the influence of director Gottfried Michael Koenig this post-formal framework was opened for experiment. Roland studied analogue and digital sound science. Synthesis- and studio techniques next to composition.