Works

Blue Moon Station is a musical game for six electronic musicians, structured around four progressive levels.

Using a shared Max/MSP patch, the musicians prepare and trigger samples combining outer-space-like sounds, chaotic rhythmic textures, spoken instructions, and statements drawn from the Space Renaissance manifesto. As the game progresses, the samples become shorter and the musical material increasingly compressed, creating a contrast between pitched, space-inspired sounds and irregular, noisy rhythms.

The piece brings together electronic music performance, live interaction, game mechanics, and speculative ideas about humanity's future in space.

Collapse as a Form of Control is an experimental performance balancing on the edge between intention and accident. This piece explores Alise's evolving relationship with her computer and custom-built sensor instrument through a machine learning system that maps sensor data to a wide range of sound synthesis parameters. At the heart of it lies supervised learning, where gestures are linked to sonic results in a way that makes the machine feel like a predictable executor of actions.

But the system doesn't stay obedient for long.

To revive the computer's role as a creative partner, Alise keeps the system teetering on the edge of crashing. Through live machine learning, new mappings are created in real time, transforming the performance into a negotiation with an unstable system.

Ars Magna by Alise Rancāne, performed by Rūdolfs Bacāns (tenor) and Alise Rancāne (electronics).

The first version of the composition Ars Magna was written for choir and electronics in 2019 and performed online by the Latvian Radio Choir. In 2023, the composer made a version for one voice and electronics, which was performed to a live audience as part of the JVLMA Contemporary Music Festival deciBels.

The title of the piece comes from the work Ars Magna by Raimund Llull (1232–1315/16). Llull was a medieval philosopher and mystic who sought to algorithmize the truths of Christian philosophy, thereby converting unbelievers and interlocutors of all faiths to Christianity. Today, he is well known as a founder of computation theory.

In the piece, the composer works with some of Llull's algorithms, arriving at revelations such as the truth is true and the truth is not false. These revelations contrast with the madrigal Beltà poi che t'assenti, with text by Carlo Gesualdo (1566–1613).

Gesualdo is known not only as an extraordinary composer, but also for murdering his beloved woman and her lover. The madrigal text used in the piece is an example of his focus on the contemplation of tormented love.

The musical means of expression are subordinated to the text, in which algorithmic truths alternate with hard-hearted musical sections.

Ordin is a composition for two flutes and piano, written for the trio Metamorfoze: flautists Liene Dobičina and Zane Jurēvica, and pianist Zane Rubesa.

The piece explores the interaction between predictability and chance, drawing on probabilistic models to shape musical material and the listener's expectations. Experiments with Markov chains inform the development of musical events, creating a listening experience that moves between anticipation, uncertainty, and surprise.