A Posture of Attendance is a series of site-specific compositions composed by Wei Ting Tseng/Zeng in Oslo in 2024.

These compositions are written for different locations and involve 3 to 7 same or similar instruments. The work integrates the acoustics of the space into both improvisation and composition, exploring the relationship between space and music, and music in space. It investigates how sound influences people's perception of space, and whether it's possible to manipulate this perception through sound manipulation, taking into account the acoustics and frequencies of the room.

The composition is built around the concept of rotation, wherein musicians are positioned in a circle to collectively create a steady rhythm. Imagine this rotating rhythm as the columns of a sonic structure, providing stability and structure. The acoustics serving as the walls. And the harmony as the building materials. The audience members become the interior of this sonic building. Beyond the fluidity of the sonic structure, the composition also delves into the roles of musicians, audiences, and spaces, and how these roles evolve throughout the performances.

The first volume A Posture of Attendance for 4 Cellos and Levinsalen, was performed in the Norwegian Academy of Music in May by cellists Tanja Orning, Urban Megusar, Elizabeth Kate, and Wei Ting Zeng. 

In September 2024, the second volume A Posture of Attendance For 4 Vibraphones and The Third Floor will be presented at Ultima Festival at Deichman Bjørvika, performed by Jonas Evenstad, Sebastian Nilsen Lindland, Madalena Rato, and Elias Voll.

Videos and scores will be updated soon.