Since 1996, Kanding has concentrated on chamber and solo compositions with the computer as a central tool both in the composition process and in performance. The computer is used to expand the sound of acoustic instruments and as an instrument in its own right, playing programmed sound material. Thus, three instrumental dimensions are present: the performance (acoustic), the response (real-time processed) and the constant (a programmed sound-file). In this structure, controlled sound (the programmed file) is present alongside chaotic sound (the processed instrument).

In Kanding’s music, musical form is often laid out by use of proportions - static and dynamic aspects as well as graphically as well as traditionally notated parts are present simultaneously. The harmonic structures are carefully defined by the relation between intervals, resulting in characteristic colours of dissonance, where one-dimensional major/minor harmonies are avoided in preference of the ambiguous and manifold. In the sphere of rhytm, pulse (a continuum from agressive simplicity to the complexity of polyrhythm and polyprosody) is combined with a kind of non-prosodic material or static planes, and the main focus is on the twilight zone in which it is difficult to determine the possible presence of pulse. However, the most important parameter in Kanding’s music is sound: Intensely, he explores the infinite possibilities and nie erhörte Klänge, made possible by synthetic sound production, manipulating existing sound, transforming noise to simple, well-defined pitches, expanding rich, acoustic sounds by way of repetition and finally by filtering, enlarging, distorting or just delicately colouring sound. Kanding’s aesthetics is permeated by opposites in a stylistically homogeneous sound world: The continuous versus the discontinuous, the static versus the dynamic, simplicity versus complexity, the synchronous versus the non-synchronous and the unambiguous versus the ambiguous and manifold.