*
https://www.gema.de/nl/102014/branchennews/offener-brief-an-ard-intendanten.html
*
“ … in den letzten Tagen wurde publik, dass die ARD-Sender intendieren, vermehrt auf Creative-Commons-Lizenzierung zu setzen, damit ihre Inhalte sich besser im Netz verbreiten können … „
Subject: Ankündigung Konzert Freitag, den 31.10. – Neue Musik in
den Naxoshallen
Date: Thu, 30 Oct 2014
From: Bastian Zimmermann
Liebe Freunde, Verwandte und Bekannte,
ich möchte auf das morgige Konzert, das ich kuratiert habe, aufmerksam
machen und freue mich über Euer Kommen!
Grüße
Bastian Zimmermann
Neue Musik in der Naxoshalle – mit Yoann Durant und Galdric Subirana
Freitag, den 31.10.2014 um 19.30 Uhr
Naxoshallen
Waldschmidtstraße 19, 60316 Frankfurt
https://www.facebook.com/events/568413553286349/
www.studionaxos.de
Heute werden Wissen, Begehren und Handeln zunehmend über digitale
Prozesse geleitet und entscheidend von ihnen mitgeprägt. Was bedeutet
dies fürs Musizieren mit einem Instrument, das – wie das Nutzen eines
Smartphones – auch immer eine soziale Kommunikation beinhaltet? Das
Konzert Musiker 2.0 möchte anhand von zwei wichtigen und musikalisch
sich ergänzenden Positionen im Bereich der Soloperformance, diesen
Veränderungen nachspüren. Wie und wo vernetzen sich die Musiker mit der
Technik? Wie verändern sich hierbei die Musik und die Weisen ihres
Musizierens? Und was birgt der anwesende Musikerkörper an
Potentialitäten, die auch die wildesten Vernetzungen nicht ersetzen können?
Yoann Durants spielt Saxofon und verschiedene andere selbstgebaute
Blasinstrumente. Neben der Auseinandersetzung mit digitalen Mitteln ist
seine Bühnenperformance vom Einsatz des eigenen Körpers geprägt.
Galdric Subirana spielt Schlagzeug im internationalen Kontext neu
komponierter Musik. Subirana wird Stücke mit einer von Orm Finnendahl
entwickelten Improvisationssoftware spielen.
Finnendahl ist Komponist Neuer Musik und Professor für Komposition in
Frankfurt am Main und arbeitet seit vielen Jahren an der Software, die
eine enge, an Grafiken gebundene Verschmelzung von Interpreten und
Software erlangen möchte.
Das Konzert wird kuratiert von Bastian Zimmermann.
/////
Today, knowledge, desire and action are increasingly managed with
digital processes and decisively influenced by them. What does this mean
for performing with an instrument that always includes a social
communication like the benefits of a smartphone? The concert „New Music
in the Naxoshalle“ wants to trace these changes based on two important
and musically complementary positions in the area of solo performance.
How and where the musicians do network with technology? How does this
change the music and the ways of their music-making? And what
potentialities holds the musicians present body that cannot replace the
wildest networking?
Yoann Durant plays saxophone and various other self-made wind
instruments. In addition to dealing with digital stuff his stage
performance is characterized by the use of the body.
Galdric Subirana plays drums in an international context of new composed
music. Subirana will play pieces with a improvisational software
developed by Orm Finnendahl. Finnendahl is a composer of contemporary
music and professor of composition in Frankfurt and worked for many
years in the software that wants to gain a close fusion of artists and
software with graphics.
Betreff: SMC 2015 – Call for Papers
Datum: Tue, 28 Oct 2014
Von: Victor Lazzarini
Call for Papers – Sound and Music Computing 2015
http://www.maynoothuniversity.ie/smc15
SMC 2015 will be taking place in Maynooth, Ireland, July 26 – Aug 3, 2015.
We are now inviting papers for oral and poster/demo presentations. We
are accepting
submissions examining all the core topics of the Sound and Music
Computing field,
and in particular matching this year’s topic of High Performance Sound
and Music Computing.
Topics
Auditory displays and data sonification
Computational musicology and Mathematical Music Theory
Computer environments for sound/music processing
Content processing of music audio signals
Digital audio effects
High Performance Computing for Audio
Interactive performance systems
Interfaces for sound and music
Models for sound analysis and synthesis
Multimodality in sound and music computing
Music and robotics
Music information retrieval
Music performance analysis and rendering
Perception and cognition of sound and music
Social interaction in sound and music computing
Sonic interaction design
Sound and music for VR and games
Sound/music and the neurosciences
Sound/music signal processing algorithms
Spatial audio
Important dates
15/03/2015 – submission deadline
1/05/2015 – author notification
15/06/2015 – camera-ready submission deadline
Author information:
Papers should be submitted according to the templates provided
(http://www.maynoothuniversity.ie/smc15/authors.html),
and should be between 4 and 8 pages long.
All submissions will be fully peer-reviewed
Papers can be submitted as oral or poster/demo, but the final decision
on the category will be made by the Programme Committee.
Submissions are accepted through the Easy Chair SMC 2015 site:
https://easychair.org/conferences/?conf=smc2015
Dr Victor Lazzarini
Dean of Arts, Celtic Studies and Philosophy,
Maynooth University,
Maynooth, Co Kildare, Ireland
Von: „Mirella Fuchs [bureauexport]“
Datum: 30. Oktober 2014 12:35:19 MEZ
Hören wir mit anderen Ohren?
Eine Entdeckungsreise in die deutsch-französische Musik
Gesprächsreihe im Institut Français
4. November, 19 Uhr
Liebe Freunde der elektroakustischen Musik,
nach zwei erfolgreichen Abenden zum 18. und 19. Jahrhundert führen wir unsere Reihe fort und freuen uns, Sie zu unserem dritten Salon am 4. November um 19 Uhr einzuladen. Uli Aumüller widmet sich diesmal mit seinen Gesprächspartnern Detlef Heusinger (Leiter des Experimentalstudios des SWR) und Christian Zanési (Programmleitung beim Ina GRM) dem Thema:
„1977-2013: Elektroakustische Musik diesseits und jenseits des Rheins“
Kurz nach dem 2. Weltkrieg begann der Komponist und Toningenieur Pierre Schaeffer an einer Musik zu arbeiten, die nur auf der Grundlage „konkreter“ Geräuschaufnahmen entstand. Daraus entwickelte sich 1958 die Groupe de recherches musicales (GRM), die bis heute fortbesteht. 1951 wurde auch auf der anderen Seite des Rheins ein Studio für elektronische Musik beim WDR gegründet. 1977 folgte in Paris die Eröffnung des IRCAM – der weltweit wohl größten Forschungseinrichtung für den Einsatz elektronischer und digitaler Techniken. 1971 nahm das „Experimentalstudio der Heinrich-Strobel-Stiftung“ in Freiburg seinen Betrieb auf.
Liest man die Selbstdarstellungen dieser Institutionen im Bereich Neuer Musik und Elektroakustik, fühlt man sich oft in den Anfang des 19ten Jahrhunderts zurückversetzt und an die musikästhetischen Ideen von E.T.A. Hoffmann oder Héctor Berlioz erinnert. Hoffmann etwa fabulierte über den „Wunderraum der Klänge“, der seine Zuhörer in ein „akustisches Zauberreich“ entführe. Ähnliche Begriffe verwenden die elektroakustischen Studios noch heute – vielleicht weil sie 200 Jahre nach Hoffmann und Berlioz hoffen, deren musikalische Träume mit den unendlichen Möglichkeiten neuester Klangtechnologie einlösen zu können.
Aber besteht tatsächlich noch ein Spielraum für neue Klänge oder gar Klangwelten, besteht die Notwendigkeit für ein neues Hören? – Und überhaupt: Haben Franzosen und Deutsche in Sache elektroakustischer Musik andere Ohren, bei deren Erfindung die Franzosen die Nase eindeutig vorne hatten?
Wir freuen uns auf Ihren Besuch in der Maison de France!
Hier finden Sie mehr Informationen zu der gesamten fünfteiligen Gesprächsreihe von Impuls neue Musik:
http://www.impulsneuemusik.com/aktuelles/dritte-veranstaltung-der-gespraechsreihe-hoeren-wir-mit-anderen-ohren-institut-francais-dienstag-den-4-november-um-19-uhr/
Herzliche Grüße,
Sophie Aumüller
———–
Mirella Fuchs
+49 30 885 902 45 / berlin@french-music.org
bureauexport
Kurfürstendamm 211
10719 Berlin
Subject: SINGAPUR Konzert CLUBbleu
Date: Wed, 29 Oct 2014
From: Julia Mihaly
SINGAPUR: CLUBbleu Field Recording Tour & Konzert
2 Monate war das Duo CLUBbleu auf Field Recording Tour in Singapur
unterwegs, auf der Suche nach den besonders charakteristischen Klängen
der Stadt. Zwischen natürlich-analogen Synthesizern, auch bekannt als
„Auchenorrhyncha“, und lärmenden AirCon-Hinterhöfen entstand CLUBbleu’s
neues DARK ~asian~ ENERGY [singapore album], welches nun zum Beginn der
Monsunzeit uraufgeführt wird:
Wer:
CLUBbleu (Julia Mihály & Felix Leuschner)
Wann:
Freitag, 31.10.2014 ++ 20:00Uhr
Wo:
Artistry – art gallery & café
17 Jalan Pinang ++ singapore 199149
Was: DARK ~asian~ ENERGY
Live-Performance mit analogen Synthesizern, Live-Elektronik, E-Drums und
Field Recordings.
www.clubbleu.de
ENGLISH:
Event on Facebook:
https://m.facebook.com/events/804557592898748?acontext=%7B%22ref%22%3A5%7D&aref=5
www.juliamihaly.net
Subject: EM Hören: 30.10. – Martin Jaroszewicz
Date: Mon, 27 Oct 2014
From: Pysiewicz | TU Berlin
EM Hören am Donnerstag, 30.10.2014 | 18:00 s.t.
www.ak.tu-berlin.de/emhoeren
Martin Jaroszewicz, Komponist und Performer aus Kalifornien (USA)
stellt eigene Arbeiten im Kontext seiner Forschungsarbeit an der UC
Riverside vor, die sich mit Spatialisierungstechniken in der
Computermusik auseinandersetzt.
Born in Buenos Aires. Composer, improviser and performer. In addition to
acoustic instruments he writes for electronics and designs and builds
his own instruments using microcontrollers and Max. Martín holds an MFA
in Music Composition, Technology and Improvisation (ICIT) from the
University of California Irvine where his research interests included
timbre and electroacoustic music. He studied composition with Romanian
composer Liviu Marinescu.
http://www.martinjaroszewicz.com/
TU Berlin | Elektronisches Studio
Fachgebiet Audiokommunikation
www.ak.tu-berlin.de/studio
Einsteinufer 17c | E-N 324
10587 Berlin | Germany
Wegbeschreibung:
www.ak.tu-berlin.de/weg
U-Bahn Ernst-Reuter-Platz
S-Bahn Tiergarten
Elektroakustische Musik hören ist eine Veranstaltungsreihe des
Elektronischen Studios der TU Berlin. Während des Semesters jeweils an
einem Donnerstag um 18:00 Uhr sowie zu anderen angekündigten Gelegenheiten.
Andreas Pysiewicz
Elektronisches Studio, Fachgebiet Audiokommunikation
Technische Universität Berlin
Fakultät I Geisteswissenschaften
www.ak.tu-berlin.de
Subject: TENOR 2015: First International Conference on New
Technologies for Music Notation and Representation
Date: Mon, 27 Oct 2014
From: Pierre Couprie
TENOR 2015
First International Conference on New Technologies for Music Notation
and Representation
Call for papers
Paris, France, 29-30 May 2015
University of Paris-Sorbonne / Ircam
The first International Conference on New Technologies for Music
Notation and Representation is dedicated to issues in theoretical and
applied research and development in Music Notation and Representation,
with a strong focus on computer tools and applications, as well as a
tight connection to music creation.
Until very recently, the support provided by the computer music to the
field of symbolic notation remained fairly conventional. However, recent
developments indicate that the field of tools for musical notation is
now moving towards new forms of representation. Moreover, musical
notation, transcription, sonic visualization, and musical representation
are often associated in the fields of musical analysis, ethnology, and
acoustics. The aim of this conference is to explore all of recent
mutations of notation and representation in all domains of music.
Topics of interest
Musical creation
• Notation in electronic and electroacoustic music
• Notations for interactive music
• Notation for sound installations
• Notation for the multimedia and mixed arts
• Live coding
Musical notation
• Innovative computer applications for music notation
• Languages for music notation
• Gesture notation
• Notation and mobile devices
• Exchange formats for music notation
• Online tools and languages for music notation and representation
Analysis, notation & pieces studies
• Analysis of contemporary notations
• Semiotic of new notation forms
• Ontology of the notation of interactive music
• Data mining, music notation corpus, databases
Representation, transcription
• Sound visualization
• Interactive representation
• Transcription in ethnomusicology and representation of non-written musics
• Non-western or ancient music trans-notation
• Representation and transcription in acoustic ecology and sound landscape
• Optical music recognition
Listening, teaching
• Listening guides
• Live and offline annotation
• Notations for music pedagogy
Submission
Information & submission: http://tenor2015.tenor-conference.org
.
Deadline for papers submission: January 15, 2015.
With the collaboration of:
Institut de Recherche en Musicologie, CNRS UMR 8223
Université Paris-Sorbonne
Ircam
LAM, Lutheries – Acoustique – Musique, UPMC
GRAME, Centre national de création musicale, Lyon
AFIM, Association Française d’Informatique Musicale
Subject: Berlin 7-10.11: Michel Chion, Lionel Marchetti, Jerome
Noetinger present Filarium: German Premiere
Date: Mon, 27 Oct 2014
From: Manuela Benetton
Friday 07.11.
Doors: 19h30 Concert 20h00
Villa Elisabeth
Invalidenstr. 3
10115 Berlin
Michel Chion, Lionel Marchetti and Jérôme Noetinger will present their
new musique concrète composition Filarium. Originally commissioned by
Musique Action 2014, this piece will be played through a surround system
consisting of 16 loudspeakers while the audience is seated in complete
darkness. A unique opportunity for an immersive aural experience.
1st Part
Titre (M.C., L.M., J.N.) 3’10“
L’épaisseur de la nuit (J.N.) 20’37“
Les vers luisants (M.C.) 12’33“
Nostalgie du cyclope (L.M.) 28’00“
2nd Part
Archaeopteryx 1 (M.C., L.M., J.N.) 16’28“
Archaeopteryx 2 (M.C., L.M., J.N.) 08’40″
Archaeopteryx3 (M.C., L.M., J.N.) Live improvisation
Kindly supported by Initiative Neue Musik Berlin. In partnership with
Deutschlandradio Kultur and Elektronisches Studio, TU Berlin.
Tickets reservation: 030/44043644
tickets@elisabeth.berlin
FACEBOOK EVENT
SPECIAL PROGRAM
Monday. 10.11 – 19h30
Hörsaal H104, Straße der 17. Juni 135
10623 Berlin
Michel Chion, Lionel Marchetti and Jérôme Noetinger will be performing a
selection of their works through the largest wave field synthesis / WFS
)
system: Installed around the entire hall, over 2000 speakers, controlled
by a computer cluster with 832 audio channels, allowing creation of
sound sources anywhere in the space and providing a near-complete degree
of immersion for the listener.
Michel Chion
Composer of musique concrète, Chion has created to date forty works for
fixed sounds on audio support – some large, including a Requiem, several
„melodrama“, suites , symphonies, etc… In 1970, he invented his own
techniques („impeded scroll“, „pencil“) to use creatively the tape
recorder, which – combined or not with the computer – remains its
preferred tool. Michel Chion is also a filmmaker, an associate professor
at the Université de Paris, and a prolific writer on film, sound, and music.
Lionel Marchetti
Lionel Marchetti is a French composer of concrete music, an improviser
(electronics, various analogic systems with modified speakers, REVOX
reel-to-reel recorder…) as well as a visual-sound artist, a writer and a
poet
Jérôme Noetinger
Jérôme Noetinger is an improviser and composer of electroacoustic music
based in France. Projects include his duo with Lionel Marchetti, eRikm
and Quintet Avant. He is a member of the famed MIMEO ensemble, as well
as a member of Cellule d’Intervention Metamkine. Noetinger also runs the
Metamkine label, distribution and mail-order service and is a key
participant at the influential audio arts magazine Revue et Corrigée.
Subject: SATURDAY 1/11 SCHEVENINGEN – B.ring Y.our O.wn L.ifesaver
Date: Mon, 27 Oct 2014
From: anne wellmer
SATURDAY 1/11 in SCHEVENINGEN : 21:00
K.anonnenvoer | B.ring Y.our O.wn L.ifesaver
A night with performances at the former container harbour in
Scheveningen, on stage with Konrad Smoleński’s loudspeaker wall
(o.m.i.a.m.h.) at the Zuiderstrandtheater.
Bring your own pillow, yoga mat, lifesaver, float, sand bag, stool,
rubber boat, or whatever else you might want to contribute to the safety
and comfort of that night.
BMB con. – no title(s)
Matteo Marangoni – Lampyridae (with Dieter Vandoren)
Anne Wellmer – No.2 for Singing Demolition Ball
////////////////////////////////
http://www.volkspaleis.org/2014/
http://www.bmbcon.demon.nl/con/
http://www.humbug.me
http://www.nonlinear.demon.nl
////////////////////////////////
Zuiderstrandtheater
Kranenburgweg 211
Den Haag, Scheveningen
Subject: Im November bei Phonophon
Date: Sun, 26 Oct
From: Phonophon
Der Verein zur Förderung von Phonographie und experimenteller Musik e.V.
freut sich im November auf folgenden Konzerte:
/////
01.11.2014: Trabouliste/Brass Lines (D) – Post Mortem (NL) –
StringStrang (NL)
Trabouliste/Brass Lines (D)
Trabouliste lässt mit seinen experimentell orientierten Patches den
Geist der frühen elektronischen Musik wiederauferstehen. Es geht ihm
weniger darum, das Vorhandene zu imitieren, als neue Klang- bzw.
Hörräume zu erforschen und zu schaffen. Neben reinen (vor allen Dingen
iOS-basierten) Software-Synthesizern, nutzt er auch zunehmend
elektronische Hardware zur Klangerzeugung. Seit Februar 2012 widmet er
sich zudem dem Cello-Spiel.
Trabouliste -> Soundcloud
(http://phonographie.us4.list-manage1.com/track/click?u=31abf59c7023478afd9fc6ad3&id=e78576faf6&e=f30815b5e1)
Brass-Lines aka Frank Wilke spielt Trompete, Posaune, Horn und
beschäftigt sich auch mit elektronischer Klangerzeugung. Als wichtige
musikalische Einflüsse wären zu nennen: Manfred Schoof, Albert
Mangelsdorf, Bill Dixon, Alexander v. Schlippenbach, Tony Oxley, John
Cage und Mauricio Kagel. Dementsprechend bewegt sich sein musikalisches
Schaffen zwischen Free Jazz, Neuer Musik und experimenteller Musik. Seit
2009 spielt er in der free Jazz Combo freivomhieb und nimmt seit 2012 an
internationalen musikalischen Kollaborationen Teil.
Brass-Lines -> Soundcloud
(http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=aa6ba418b7&e=f30815b5e1)
Brass-Lines und Trabouliste arbeiten seit Ende 2013 an gemeinsamen
musikalischen Projekten und haben inzwischen die LP Landschaftspark
(http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=4c9689ffdc&e=f30815b5e1)
auf dem Online-Label PETROGLYPH MUSIC veröffentlicht. Im Juli 2014 haben
sie sich auch bereits zu sehr produktiven Live-Sessions
getroffen.
Post Mortem und StringStrang (NL)
Post Mortem and StringStrang are two musical projects of Jan Kees Helms.
Jan Kees Helms is an artist from The Netherlands and uses photography,
video, sounds and performances to tell stories. In the ’80s and ’90s, he
was active in the experimental tape and mail-art scene. After that he
created a lot of exhibitions in photography. In 2009 he re-starts
creating music with several releases of field-recordings.
Post Mortem started in the eighties and ended in the beginning of the
nineties. Jan Kees Helms released with this name worldwide many tapes
and collaborated with other musicians. In 2010 he re-started Post Mortem
and stands for the experiment with sound in the widest sense of the
word. The experiment can be done by manipulation of digital sounds found
on the world wide web, but also by creating soundscapes and noise by
tapes, field-recordings, a dusted guitar, a type-machine or just the
human voice.
Post Mortem presents itself live as an intensive performance in which
the vulnerable and the powerful parts of sound will be searched and
found. The intensity during the performance moves from almost unhearable
and minimal sounds tot a harsh wall of sound and will return to subtle
soundscapes. The vulnerability is made visual by the cloth which is
designed by the American/Dutch artist Sally Pittmann. The dress is
transparent and unfinished. Roughness and fragility are important
ingredients of the image and sound. During the performance will also a
movie been shown which supports the performance and sounds.
Post Mortem -> Info
(http://phonographie.us4.list-manage1.com/track/click?u=31abf59c7023478afd9fc6ad3&id=6aa3394296&e=f30815b5e1)
StringStrang is a project in which a minimal and melancholic atmosphere
is built. The fascination to return reality to simplicity and the
challenge to slow down the rhythm of the hectic life are the principles
within StringStrang is working. The time is delayed by images and
sounds. The sound is slowly created by repetitive layers. Concrete
sounds, created by field-recordings, mingle into the guitar drones and
the images will change peacefully through minimal movements. Harmony and
dissonance alternate, warm sounds are interrupted by disturbing sounds.
A movie is the score for the improvisation during a concert. There are
some musical structures that will be used as a starting point, but each
performance will be unique, because it will be dependent of space, time
and mood. Both performances will be deal about freedom, freedom in
movement and freedom of speech.
StringStrang -> Info
(http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=9f4ad58dee&e=f30815b5e1)
01.11.2014
Institut für neue Medien (INM), Schmickstraße 18, 60314 Frankfurt –
http://phonographie.us4.list-manage2.com/track/click?u=31abf59c7023478afd9fc6ad3&id=c96c04b919&e=f30815b5e1
Einlass 20:00, Beginn 20:30 – Eintritt: 7 Euro
/////
10.11.2014: Peter Wießenthaner/Gero Koenig (D) – Patrick Bessler (D)
Peter Wießenthaner/Gero Koenig (D)
In ihrem Komponisten-Duo erforschen Peter Wießenthaner und Gero Koenig
Freiheitsgrade der Komposition und Steuerung komplexer mikrotonaler
Klangschichtungen. Im Spannungsfeld traditioneller und komplexer
Klangerzeugung werden verschiedene instrumentale Klangspektren
zueinander in Beziehung gesetzt. Töne gespielt mit Glissando-Querflöten
verschränken sich mit komplexen Chordeograph-Klangspektren und bilden
mit diesen spezifische Konstellationen. Bewegungen vor dem Mikrophon und
durch den Raum während des Querflötenspiels ändern die Raumwirkung der
Töne. Vom einzelnen Ton bis zu geräuschhaften Klangschichtungen
orchestraler Dichte und Weite bilden Gero Koenig und Peter Wiesßenthaner
in ihren Arbeiten einen Mikrokosmos fließender Klangentwicklungen.
Peter Wießenthenaner/Gero König -> Info
(http://phonographie.us4.list-manage1.com/track/click?u=31abf59c7023478afd9fc6ad3&id=a83a1e3cf0&e=f30815b5e1)
Patrick Bessler (D)
Wäre Patrick Bessler ein Musiker aus einer Epoche vor Erfindung der
Phonographie gewesen, dann hätte sein Workflow etwa wie folgt
ausgesehen: Er hätte eine Partitur aufgeschrieben, um sie unmittelbar
nach Fertigstellung zu zerreißen und aus dem Fenster zu werfen. Nachdem
er dann einige Zeit entzückt zugeschaut hätte, wie die Papierfetzen
langsam im Wind zu Boden taumeln, wäre er in den Garten hinunter
gelaufen, um ein paar Schnipsel wieder aufzusammeln. Wieder in seinem
Arbeitszimmer angekommen hätte er die Schnipsel noch etwas mit der
Flamme einer Kerze und Tintenklecksen bearbeitet um sie danach in
zufälliger Anordnung wieder auf ein neues Notenblatt zu kleben.
Anschließend hätte er die noch freien Stellen mit neuen Noten verziert.
Damit fertig hätte er das neue Notenblatt wieder zerrissen und aus dem
Fenster geworfen um so fortzufahren, bis er zu der Überzeugung gelangt
wäre, dass es genug sei.
Aus zweierlei Gründen hat Patrick Glück, dass er im 21. Jahrhundert
lebt: Zum einen stehen ihm so Gerätschaften wie Sampler, Delay und
Looper zur Verfügung, um seine Kompositionen aufführbar und somit auch
hörbar zu machen. Zum anderen muss er so nicht fürchten, dass seine
Karriere als Musiker ein jähes Ende im Kerker oder auf dem
Scheiterhaufen findet.
Patrick Bessler -> Soundcloud
(http://phonographie.us4.list-manage2.com/track/click?u=31abf59c7023478afd9fc6ad3&id=98a1a7aa1a&e=f30815b5e1)
10.11.2014
Institut für neue Medien (INM), Schmickstraße 18, 60314 Frankfurt –
http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=46dd104d4a&e=f30815b5e1
Einlass 20:00, Beginn 20:30 – Eintritt: 7 Euro
/////
12.11.2014: Judy Dunaway (USA) – Feine Trinkers bei Pinkels daheim (D)
Judy Dunaway (USA)
Judy Dunaway is an avant-garde composer, free improvisor, conceptual
sound artist, transmission artist and creator of sound installations who
is primarily known for her sound works for latex balloons. Since 1990
she has created over forty works for balloons as sound conduits and has
also made this her main instrument for improvisation.
Judy Dunaway -> Info
(http://phonographie.us4.list-manage2.com/track/click?u=31abf59c7023478afd9fc6ad3&id=824e25ad62&e=f30815b5e1)
Feine Trinkers bei Pinkels daheim (D)
They are from Bremen and Lörrach on the German coasts, and have toured
everything from The Netherlands to Switzerland, Russia and Great Britain
extensively over the last 2 decades. In the last 2 decades, they
released unique vinyl CD and cassettes in multiple editions , usually
personalised and with personalised hand-painted artwork. Every show of
Feine Trinkers bei Pinkels is an experience for itself – it’s timeless,
it’s a feast for the ears, and it’s such a pleasure to see them doing
all the work on stage when you just lean back staring at them, with
their aural earbuds tickling your eardrums. Now, Yesterday or Tomorrow,
and why do they have such an attention to detail – that’s the question
you will ask yourself.
Feine Trinkers bei Pinkels daheim -> Info
(http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=3e71b5a73d&e=f30815b5e1)
12.11.2014
Institut für neue Medien (INM), Schmickstraße 18, 60314 Frankfurt –
http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=d1aa1c801e&e=f30815b5e1
Einlass 20:00, Beginn 20:30 – Eintritt: 7 Euro
/////
26.11.2014: Marc Behrens (D)
Marc Behrens (D)
Marc Behrens works on several cerebral and physical levels.
His works mainly consist of concrete electronic music, installations,
the occasional photograph or video. Recent activities include field
recording trips to remote western China and the Amazon rainforest,
founding an incorporated company as a social art work, and staging a
rite of passage for an investment banker.
Behrens has performed and exhibited extensively across six continents,
and developed collaborations with Atom™, Jeremy Bernstein, Miguel
Carvalhais, Ana Carvalho, Bernhard Günter, Nikolaus Heyduck, Francisco
López, Paulo Raposo, Pedro Tudela, Achim Wollscheid, among others.
Marc Behrens -> Info
(http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=ccad67d010&e=f30815b5e1)
26.11.2014
Institut für neue Medien (INM), Schmickstraße 18, 60314 Frankfurt –
http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=e8f5ca231e&e=f30815b5e1
Einlass 20:00, Beginn 20:30 – Eintritt: 7 Euro
/////
29.11.2014: Festival: 5 Jahre Phonophon
Fünf Jahre Konzertreihe Phonophon müssen gefeiert werden! Ein Nachmittag
und ein Abend voller experimenteller Musik, Essen und guten Drinks.
Wir laden ein, um einfach gute Musik zu hören, zu trinken, zu jammen,
sich über Instrumente zu informieren, Gear zu tauschen, zu essen, mit
allen Leuten ins Gespräch zu kommen und, und, und.
Mit dabei sein werden u.a.:
Autumn Appreciation Society
Circuitnoise
Patrick Bessler
Phober
29.11.2014
Institut für neue Medien (INM), Schmickstraße 18, 60314 Frankfurt –
http://phonographie.us4.list-manage.com/track/click?u=31abf59c7023478afd9fc6ad3&id=c15352b3f6&e=f30815b5e1
Beginn 16:00 – Eintritt: FREI
Eastman School of Music
University of Rochester
Position Announcement
Composer/Director of the Eastman Computer Music Center
The Eastman School of Music of the University of Rochester seeks a
composer of international stature with expertise in computer music for
a full-time, tenure eligible faculty position beginning in the fall
semester 2015.Rank and salary will be commensurate with experience.
The ideal candidate, who will be a member of the Composition
Department faculty and direct the Eastman Computer Music Center
(ECMC), will have an established career and an international profile
as a composer, predominantly of computer music, including interactive
works, fixed media and live electronic processing of instrumental and/or
vocal
sources. The position involves overseeing all ECMC operations,
teaching composition and computer music at the undergraduate and
graduate levels, and occasional graduate seminars that reflect and
expand the candidate’s research interests and creative practice.This
individual should be
capable of advancing the scope and influence of ECMC at Eastman,
including an expanding initiative in contemporary media composition.
Applicants must possess an appropriate doctorate or equivalent
professional experience and be qualified to supervise doctoral
students in Composition.Preferred candidates should demonstrate the
highest standards of professional and artistic accomplishment,
research, teaching, and service, and contribute to our commitment to
diversity, equity and
inclusion in higher education.
Review of applications begins on 21 November 2014.To receive full
consideration, please submit a letter of application, a curriculum
with a list of works and links to a website or other
audiovisualonlineresources, and three letters of recommendation via
attachments to
CompositionSearch(at)esm.rochester.edu please indicate
Composition Search in the subject line of your email. Additional
materials may be requested at a later date.
The Eastman School of Music seeks to create a musical community that
is rich with cultural,
social, and intellectual diversity. We are an Affirmative Action/Equal
Opportunity Employer and actively encourage applications from groups
underrepresented in higher education.
Betreff: 2015 NIME First Call for Participation
Datum: Thu, 23 Oct 2014
Von: Jesse Allison
15th International Conference on
New Interfaces for Musical Expression (NIME)
2015nimelogo_transparent
May 31 – June 3, 2015
Louisiana State University
Baton Rouge, Louisiana, USA
http://nime2015.lsu.edu
Introduction
NIME (New Interfaces for Musical Expression) is the premier conference
in designing human-computer interfaces and interactions for musical
performance. NIME gathers researchers and practitioners around lectures,
installations, concerts, and workshops.
Visual | Aural | Tangible
Experimental Music & Digital Media @ LSU
Louisiana State University and the city of Baton Rouge are excited to
present the 15th edition of NIME. The LSU School of Music and Center for
Computation & Technology will host the 2015 NIME conference, sharing all
that we have to offer to the NIME community to creatively explore how
music is made. The conference will bridge a bit of past and future, with
opportunities to engage in the fantastic musical history of Louisiana,
as well as make use of the newly opened facilities at the LSU Digital
Media Center including our 92-speaker immersive sound theatre. We are
also excited to have the LSU Digital Art program involved in an
expansion of the sonic art installations category for extended
exhibition at the Shaw Center for the Arts, LSU Museum of Art and
Glassell Gallery.
Laissez les bons temps rouler!
Call For Participation
On behalf of the NIME 2015 Committee, we would like to invite you to be
part of the 15th international conference on New Interfaces for Musical
Expression.
We invite submission of new works in the following categories:
• Papers and Posters
• Performances and Installations
• Workshops and Tutorials
• Demonstrations
Important Dates
Artistic program: Performances & Installation works
• Submissions due: December 1, 2014
• Review Notification: January 30, 2015
Scientific program: Papers, Workshops, Demonstrations:
• Draft submission (mandatory): January 23, 2015
• Final submission: January 30, 2015
• Review notification: March 20, 2015
• Camera-ready paper deadline: April 17, 2015
The online submission system will open on November 3rd, 2014 and its
address will be published at nime2015.lsu.edu
Please note the following:
• The artistic program deadlines (installation and performance) this
year do not coincide with the paper deadline!
• The scientific program consists of a mandatory draft submission
followed by full submission. This system is implemented to address the
perennial deadline extensions. There will be no deadline extensions. On
the date of the draft submission, the author must be registered on the
online submission system and have submitted a full draft manuscript of
their paper. Authors then have one week to make minor edits to
previously submitted manuscripts.
Scientific Program
Call for Papers
We welcome submissions of original research on scientific and artistic
use of new interfaces for musical expression. A non-exhaustive list of
NIME related topics is found below. This list is inclusive
and indicative. The thematic focus of this year’s edition is Visual |
Aural | Tangible and is described in the introduction above. We also
encourage submissions that extend, stretch, or challenge the NIME topics
and themes.
Acceptance criteria: The paper under consideration must propose an
original contribution to NIME research; it must cite prior related work
and should demonstrate rigorous research methodology.
There are three different paper submission categories:
• Full paper (up to 6 pages in proceedings, longer oral presentation,
optional demo)
• Short paper/poster (up to 4 pages in proceedings, shorter oral
presentation or poster, optional demo)
• Demo paper (up to 2 pages in proceedings, demonstration)
Submitted papers will be subject to a peer review process by an
international expert committee. All accepted papers will be published in
the conference proceedings, under an ISSN/ISBN reference, and will
be archived online after the conference to be tracked by citation tools.
A manuscript submitted for review cannot be already under review for
publication elsewhere or be submitted for a second review
elsewhere while under review for NIME 2015. Authors of both full and
short papers are greatly encouraged to submit a video in support of
their paper. A video is mandatory for demonstration submission.
A best paper award will be presented to the individual(s) judged by the
scientific committee to have written the best paper appearing in the
conference proceedings.
In the aim to constantly improve the conference, this year the papers
and demos will go through a modified review, which was first employed by
NIME last year. The complete process is detailed below.
Call for Workshops
We invite submissions for half-day (3 hours) or full-day (6 hours)
workshops and tutorials. These can be targeted towards specialist
techniques, platforms, hardware, software or pedagogical topics for
the advancement of fellow NIME-ers and people with experience related to
the topic. They can also be targeted toward visitors to the NIME
community, novices/newbies, interested student participants, people
from other fields, and members of the public getting to know the
potential of NIME.
Tutorial proposals should clearly indicate the audience and assumed
knowledge of their intended participants to help us market to the
appropriate audience. Workshops and tutorials can relate to, but are
not limited to, the topics of the conference. This is a good opportunity
to explore a specialized interest or interdisciplinary topic in depth
with greater time for discourse, debate, and collaboration.
Review Process
After you submit your paper, it will go through a rigorous review
process that has been changed compared to the previous years. Overall,
the review process comprises three layers of evaluation: reviewer,
meta-reviewer, and paper chair.
The process is as follows:
• Each paper is assigned to one meta-reviewer who is a representative of
the general research topic that the paper deals with.
• The meta-reviewer together with the paper chair assign the papers to
the reviewers that will evaluate it according to a set of criteria. Each
paper has at least two reviewers.
• The meta-reviewer writes a meta-review based on the reviewers’
comments. The meta-reviewer may ask the reviewers to provide further
details for reviews that were too concise.
• The paper chair gathers reviews and meta-reviews. He or she discusses
with the meta-reviewers and finalizes a decision for each paper.
• The anonymity of the submission is preserved among the reviewers.
Artistic Program
Call for Performances
We invite submission of proposals for performances and installations.
Proposed performances should have a clear connection with the substance
of the NIME conference. We expand the notion of NIME in the performance
program to include the exploration of existing interfaces into new
sounds, new methods, or new ways of being physical. These performances
might re-insert the body into digital performance, or they might suggest
new modes of performing and the presentation of live music that go
beyond existing practices while exploiting the unique affordances of
interfaces and technologies.
We encourage submissions that explore:
• Novel and exploratory use of interfaces in performance
• Both old and new interfaces
• Use of innovative, imaginative and creative methods.
We invite you to consider fully what a performance can be: you should go
well beyond demonstrating the interface and we will consider any
performance that is in the realm of live, electronically-produced
sound, where an interface is central to the realisation of the music.
Submitted proposals will be reviewed by an expert committee. Preference
will be given to submissions with strong evidence that the proposed
performance has already been realized or is technically feasible and
within the artists’ capabilities. We particularly invite premieres from
performers with a track record, or with interfaces that have been well
tested.
You should submit a PDF document, maximum 4 pages. The proposal must
include the following:
• Title and detailed description of the proposed performance.
• A link to one primary video documentation of an example performance
with the relevant interface. If video documentation is inappropriate for
your performance, please explain why and instead send an audio file with
accompanying photographs (these do not need to be to marketing standard,
they are more for explanation of how your performance will look).
• Links to any relevant supplementary supporting media files (audio and
video).
• Number of performers and the instruments and technologies that will be
used.
• Names of all participants/submitters, with a short bio for each (100
words).
• Details of technical requirements for the venue. Diagrams of the
preferred stage setup and signal routing are recommended.
• Evidence of the feasibility of the performance. Include documentation
and listings of past performances or related works that demonstrate the
submitter’s capabilities to implement the proposed performance.
• A list of any equipment that needs to be provided by the conference
organizers.
• Any instrumental performers that would need to be provided by the
organizers. Note that the conference organizers may not be able to
accommodate your request. Please also note that the organizers cannot
provide funding to support performers’ travel or accommodation at the
conference.
• Please specify if the performance is a demo.
• Please note whether performance would be better in club, bar or
traditional concert environment.
Performance proposals in conjunction with paper submissions are
encouraged, but each must be submitted separately and will be judged on
its own merit.
Typical NIME performance pieces last for 5-15 minutes, but shorter and
longer performance proposals may exceptionally be taken into consideration.
Within reasonable limits, we may be able to provide musicians to perform
pieces but this would be negotiated on a piece-by-piece basis.
Documentation of the performances will be available online after the
conference unless this is impossible due to the nature of the performance.
Special Call – Digital Media Center Theatre
The LSU Center for Computation & Technology’s Digital Media Center
Theatre is a custom-designed immersive audio and video environment. The
theatre hosts a Christie 4k digital projector, and a Meyer Constellation
sound system, with 71 discrete channels and up to 40
directlyaccessibleaudiochannels.
Weareinterestedinperformancesthatuse4kvideoand/or massively large
loudspeaker arrays as essential components of the work. Also,
demonstrations or papers that address massively large loudspeaker arrays
are welcome. Contact us for more detailed specifications
(nime-music@cct.lsu.edu).
Call for Installations
NIME 2015 seeks installation and sculptural work to showcase at several
locations in Baton Rouge. The theme for all venues will focus on an
amalgamation of NIME topics listed below. Special consideration will be
given to projects that embody a combination of qualities that are
visual, aural, and tangible. Submitted proposals will be subject to a
peer review process by an international expert committee.
Installations picked to be shown at the LSU Digital Media Center will be
exhibited during the length of the conference. Installations picked to
be shown at the LSU Museum of Art and the LSU Glassell Gallery will be
invited to be part of a longer exhibition spanning a month. These pieces
will be shown alongside several invited sound artists whose work
addresses NIME.
In order to present an installation for NIME 2015, please submit a
proposal in the form of a PDF document, maximum 4 pages, containing the
following information:
• The title of the work
• Names of contributing artists
• A clear description of the proposed installation that will provide
reviewers with a sense of its motivation and proposed realization.
Pictures, schematic diagrams and/or proposed floor plans would
be helpful here. You may also provide any documentation of previous
presentations of this installation (if they exist).
• Describe the space needed and the adaptability of the installation in
terms of possible venues.
• Provide a list of equipment required for the installation, clearly
indicating what you will bring and what you would require the conference
organizers to provide.
• Finally, indicate if your piece is able to be shown only during the
length of the conference or if is able to remain for an extended exhibition.
Topics
Core topics central to NIME include the following. In addition to
submissions that address specific themes of this year’s edition of the
conference, original contributions are encouraged in, but not limited
to, the following topics:
• Novel controllers and interfaces for musical expression
• Novel musical instruments
• Augmented/hyper instruments
• Novel controllers for collaborative performance
• Sensor and actuator technologies
• Haptic and force feedback devices
• Motion, gesture and music
• Interfaces for dance and physical expression
• Multimodal expressive interfaces
• Interfaces for musical expression for hearing or visually impaired people
• Interactive game music
• NIME intersections with game design
• Robotic music
• Mobile music technology and performance paradigms
• Biological and bio-inspired systems
• Musical mapping strategies
• Embedded musical instruments and embedded sound art installations
• Interactive sound art and installations
• Musical human-computer interaction
• Interaction design and software tools
• Interface protocols and data formats
• Sonic interaction design
• Issues in perception, cognition, computational musicology and music
analysis
• Performance analysis
• Performance rendering and generative algorithms
• Machine learning in musical performance
• Experiences with novel interfaces in live performance and composition
• Surveys of past work and stimulating ideas for future research
• Historical studies in twentieth-century instrument design
• Artistic, cultural, and social impact of NIME technology
• Novel interfaces in music education and entertainment
• Reports on student projects in the framework of NIME-related courses
• Practice-based research approaches/methodologies/criticism
• User studies/evaluations of NIME
• Language and state in live interaction
• Musicianship of new musical interfaces
• Platforms and frameworks for musical interaction design
Organizing Committee
NIME 2015 is hosted by the Cultural Computing focus area, Center for
Computation & Technology (avatar.cct.lsu.edu), and the LSU School of
Music Experimental Music & Digital Media program (emdm.music.lsu.edu) at
Louisiana State University, Baton Rouge, Louisiana, USA.
General Inquiries: nime@cct.lsu.edu
Academic Inquiries: nime-papers@cct.lsu.edu
Music Inquiries: nime-music@cct.lsu.edu
Installation: nime-art@cct.lsu.edu
Volunteers: nime-volunteer@cct.lsu.edu
-Dr. Jesse Allison
Assistant Professor of Experimental Music & Digital Media –
LSU School of Music
Cultural Computing – LSU Center for Computation & Technology
http://emdm.music.lsu.edu
http://avatar.lsu.edu/
Subject: Destellos competition 2014 – Listen Free / écoute
libre
Date: Fri, 24 Oct 2014
From: elsajustel
7th Destellos Competition
Listen free till november 5th.
https://electrotheque.com/?mode=special
Subject: Save the date: SKIN //Köln – Eröffnung am Samstag, 8. November
19:00 Uhr
Date: Fri, 24 Oct 2014
From: claudia robles
Sehr geehrte Damen und Herren, liebe Freunde und Kollegen,
Ich möchte Sie/Euch bereits heute auf meine kommende Ausstellung SKIN
aufmerksam machen, die im Zeitraum 9.11.2014 bis 7.12.2014 im Neues
Kunstforum in Köln zu besuchen sein wird.
Die Vernissage findet am Samstag den 8. November 2014 um 19 Uhr statt.
Einführung: Univ.-Prof. Dr. Uwe Seifert, Musikwissenschaftliches
Institut der Universität Köln
Ausstellungseröffnung mit einer Performance der Künstlerin
Ausstellung:
9. November – 7. Dezember 2014
Donnerstags bis Sonntags :17.00 – 20.00 Uhr
Neues kunstforum
Alteburger Wall 1
D – 50678 Köln
/////
SKIN schafft ein reiches und interaktives Umfeld, welches Bild und
Klang durch die Nutzung eines GSR (Galvanic Skin Response) Interfaces
kombiniert. Das GSR Interface misst die Schwankungen der elektrodermalen
Aktivität der Haut, die von der Veränderung der Hautfeuchtigkeit
abhängig sind.
SKIN wird bei dieser Gelegenheit in zweifachen Fassungen präsentiert:
einerseits als eine ca. zwanzigminutige Performance; anderseits, als
eine Installation, welche speziell von der Künstlerin für diese
Ausstellung konzipiert wurde, in der die Videoprojektion die Architektur
des Neuen Kunstforums aufnimmt.
Mehr Info über SKIN unter:
http://newmusicworld.org/2014/06/22/claudia-robles-skin/
http://thecreatorsproject.vice.com/blog/skin-transforms-your-emotions-into-sound-a-color-through-sweat-data
Auf Ihren Besuch freue ich mich besonders.
Herzliche Grüße,
Claudia Robles-Angel
www.claudearobles.de
Subject: seok yang jong – Jorge García del Valle Méndez
Date: Mon, 20 Oct 2014
From: Jorge García del Valle Méndez
Sehr geehrte Damen und Herren, liebe Freunde und Kollegen!
Hiermit möchte ich die Aufführung meines Werkes 석양
종 [seok yang jong] für Violine, Violoncello, Klavier und
Elektronik bekanntmachen, bzw. herzlich zu diesen Konzerten einladen:
석양종 [seok yang jong] for violin, violoncello, piano and electronics
Ensemble Aventure
Klangregie: Roland Breitenfeld, Jorge García del Valle Méndez
Freitag, 24. Oktober 2014 (20:00)
Elisabeth Schneider-Stiftung für Kunst
Wilhelmstraße 17, 79098 Freiburg im Breisgau (Germany)
Mehr Informationen kann man hier finden:
http://jorgegadelvalle.blogspot.de/2014/07/concert-seok-yang-jong-for-violin.html
Viele Grüße von
Jorge García del Valle Méndez
jorgegadelvalle.blogspot.com
Subject: BERLIN – Research Day and Performances on Aesthetics &
Territoriality of Radio
Date: Sun, 19 Oct 2014
From: Golo Föllmer
Public Research Day on the Aesthetics & Territoriality of Radio
+ Performance Evening with ‚Analytical‘ Radio Art.
Funkhaus Nalepastraße, Berlin.
Thursday Oct. 23rd, 12:30 – 22:00
Speakers will include Katie Moylan, Jochen Meissner, David Hendy, Jacob
Kreutzfeldt, Heidi Svømmekjær and Golo Föllmer.
The Performance Program ‚Formal Radio Reloaded‘ will consist of pieces
by Christian Berner, Frank Schültge and Givan Bela.
You are cordially invited!
Attendance is free.
Information here
https://transnationalradio.org/2014/10/2nd-tre-workshop-coming-up-in-berlin
and here
https://transnationalradio.org/files/2014/10/TRE-Berlin_Flyer_web.pdf
Hope to see you there!
Golo Foellmer
HERA-CRP Transnational Radio Encounters
www.transnationalradio.org
Subject: Sound Studies Lecture No53
Date: Mon, 20 Oct 2014
From: Martin Supper
Sound Studies Lecture No53
Liebe Freunde der Sound Studies,
ich freue mich sehr, Ihnen die nächste Sound Studies Lecture
mit Ingrid-Eveline Krause als Gast ankündigen zu können.
Montag – 27. Oktober 2014 – 19:00 Uhr
Ingrid-Eveline Krause
Beware Of The Tiger oder wie Musik in unserem Gehirn bearbeitet und
abgespeichert wird und welche Relevanz diese Erinnerung für die weitere
Rezeption von Musik, Tönen und Geräuschen für den Zuhörer hat.
Ingrid-Eveline Krause berichtet primär aus ihrer Beobachtung: als
Tanzpädagogin für Kinder Jugendliche, Erwachsene, Senioren und Kranke.
Als Lungenfachärztin und Betriebsärztin. Als Interessierte am dem Thema
Gehirnplastizität. Ingrid-Eveline Krause: „Ausgerüstet mit der Fähigkeit
zu hören und zu beobachten und der Kühnheit, Schlüsse daraus zu ziehen“.
Begrüßung und Moderation: Prof. Hans Peter Kuhn
Die Veranstaltung ist öffentlich, der Eintritt frei
W a s s i n d S o u n d S t u d i e s L e c t u r e s ?
Die öffentlichen Sound Studies Lectures geben einen Einblick in die
künstlerischen, wissenschaftlichen, gestalterischen und konzeptuellen
Fragestellungen des postgradualen Masterstudiengangs Sound Studies.
Der Studiengang Sound Studies verfolgt die Idee eines fachübergreifenden
und damit fächerverbindenden Studiums des Klangs. Ein Studium jenseits
eines Musikstudiums, das aber dennoch die Musik nicht ausschließt.
http://www.udk-berlin.de/soundstudies
Universität der Künste Berlin
Masterstudiengang Sound Studies
Berlin Career College
Lietzenburger Straße 45 – Raum 314
Berlin-Wilmersdorf
U3/U9 Spichernstraße
Mit herzlichen Grüßen
Prof. Dr. Martin Supper
Studiengangsleiter
Subject: +++ Sonic Architecture News +++ „Coloured Dots And The Voids
In Between“ in Rom
Date: Mon, 20 Oct 2014
From: Jan Jacob Hofmann
+++ Sonic Architecture News +++++++++++++++++++++++++++++++++++++
24. Oktober 2014:
Das im Frühjahr 2014 von Jan Jacob Hofmann komponierte Stück Stück
„Coloured Dots And The Voids In Between“ wird in einer Achtkanal-Version
in 3. Ordnung Ambisonic auf dem EmuFest in Rom/Italien aufgeführt. Das
EmuFest ist ein internationales Festival für Elektoakustische Musik und
wird vom Conservatorio di Musica S. Cecilia veranstaltet. Die Konzerte
des Festivals werden live im Internet von Radio CEMAT übertragen:
http://www.radiocemat.org
Programm: http://www.emufest.org/emufest_en/index_en.htm
Die Aufführung des Stückes wird vom Hessischen Ministerium für
Wissenschaft und Kunst gefördert.
sound | movement | object |
space
sonic architecture | site: http://www.sonicarchitecture.de
spatial electronic composition | higher order ambisonic music
Subject: Degem Website: Hinweis auf 27. Tage Neuer Musik mit Francis Dhomont
Date: Sun, 19 Oct 2014
From: Michael von Hintzenstern
27. Tage Neuer Musik in Weimar (29. Oktober bis 1. November)
Frankreich – Deutschland
Die 27. Tage Neuer Musik in Weimar (29.10. – 01.11.2014) stehen unter
dem Motto „Frankreich – Deutschland“ und umfassen sechs Veranstaltungen.
Zum 88. Geburtstag von Francis Dhomont, einem der Urväter der Musique
concrète, gibt es ein Konzert mit Werken, die zwischen 1984 und 2006
entstanden sind. Er ist seit 2005 Ehrenpatron der Klang Projekte Weimar
e.V. und nimmt als „Composer in Residence“ am Festival teil. Ein
weiteres Porträtkonzert ist dem Messiaen-Schüler Allain Gaussin (*1943)
gewidmet, der als Doppelbegabung auch seine poetischen Texte vorträgt.
Es wird von Ib Hausmann (Klarinette), Frank Gutschmidt (Klavier) und dem
Sonar-Quartett aus Berlin gestaltet. Das Ensemble „Berlin
PianoPercussion“ präsentiert Werke von Luc Ferrari, Brice Pauset,
Franck Bedrossian und Helmut Zapf.
Im Programm „Alltagsgegenstände im Konzert“ bezieht sich das „Ensemble
für Intuitive Musik Weimar“ (EFIM) auf Klangobjekte von Olivier
Toulemonde, der sich auf live-elektronische Interaktionen spezialisiert hat.
Hans Tutschku (Harvard-University, Boston) hat mit der Violoncellistin
Séverin Ballon 2013 im IRCAM (Paris) Aufnahmen gemacht und Modelle
entwickelt, die unter dem Titel „Exploration“ im Programm „Violoncello &
Live-Elektronik“ uraufgeführt und neben Werken von Kaija Saariaho,
Iannis Xenakis, Shintaro Imai und Georges Aperghis erklingen werden. In
einem „Elektroakustischen Konzert“ ist Musik von Philippe Mion, Ludger
Brümmer und Francois Bayle zu hören.
Veranstaltungsorte: Jugend- und Kulturzentrum „mon ami“ (Goetheplatz)
und das Studio für elektroakustische Musik (Coudraystr. 13A).
www.neue-musik-thueringen.de
Programm:
29.10.2014, 19:30 Uhr, Jugend- und Kulturzentrum “mon ami” (Goetheplatz)
Musik und Poesie von Allain Gaussin
Ib Hausmann – Klarinette, Sonar Quartett Berlin, Frank Gutschmidt – Klavier
Allain Gaussin – Rezitation
/////
30.10.2014, 19:30 Uhr, “mon ami”
Ensemble „Berlin PianoPercussion“
Werke von Luc Ferrari, Hans Tutschku, Brice Pauset, Franck Bedrossian
und Helmut Zapf
/////
30.10.2014, 22:00 Uhr, Werkstattstudio für elektroakustische Musik,
Coudraystr. 13A
Elektroakustisches Konzert mit Lautsprecherorchester*
Werke von Philippe Mion, Ludger Brümmer , Hans Tutschku und François Bayle
Klangregie: Hans Tutschku
Eintritt frei (Werkstattsudio, Coudraystr. 13A)
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31.10.2014, 19:30 Uhr “mon ami”
Objects sonores – Alltagsgegenstände im Konzert
Olivier Toulemonde (Frankreich) und Ensemble für Intuitive Musik Weimar
(EFIM)
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01.11.2014, 19:30 Uhr, “mon ami”
Violoncello & Live-Elektronik
Sévérine Ballon, Violoncello, und Hans Tutschku, Live-Elektronik
Werke von Kaija Saariaho, Georges Aperghis, Iannis Xenakis, Shintaro
Imai
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01.11.2014, 22:00 Uhr, Werkstattstudio (Coudraystr. 13A)
Porträtkonzert Francis Dhomont zum 88. Geburtstag*
Klangregie: Francis Dhomont
Veranstalter: Klang Projekte Weimar e.V., 99423 Weimar,
P.-Schneider-Str. 26, Telefon: (0162) 40 780 24, E-Mail:
michaelvonhintzenstern@gmail.com
Eintritt frei (Werkstattsudio, Coudraystr. 13A)
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Kartenpreise:
8 Euro (Vorverkauf: 7 Euro), ermäßigt: 6 Euro (Vorverkauf: 5 Euro)
Vorverkauf in der Tourist-Information, Markt 10, Telefon: 03643 / 745 745
* Eintritt frei (Werkstattsudio, Coudraystr. 13A)
Subject: MADEIRADiG Festival : Official Line Up : 5-8.12.2014
Date: Fri, 17 Oct 2014
From: Digital in Berlin | News
Dear friends and music lovers,
We are proud to finally announce this years line-up:
• Tony Conrad (US)
• Aaron Dilloway (US)
• Julianna Barwick (US)
• Lawrence English (AU)
• Joana Gama & Luís Fernandes (PT)
• Lee Gamble & Dave Gaskarth (UK)
• Transflora by Suga (PT)
• Lucrecia Dalt (Col)
• patten (UK)
• plants and empire by Christina Ertl, Derek Shirley & Pierce Warnecke
(AT/CA/US)
• DJs : Errorsmith (DE), Conor Thomas (UK), Thomas Bücker & Michael
Rosen (DE)
50 days left and we are already 90% booked. So this is your last chance
to join us this December in paradise! More information can be found at
www.madeiradig.com
Hope to see you there,
Michael Rosen & Team
Digital in Berlin
Josef-Orlopp-Straße 89 | 10365 Berlin/Germany
www.digitalinberlin.de
facebook.com/digitalberlin | twitter.com/digitalinberlin
D/B presents the MadeiraMicroFilmFestival | 10-13.12.2014 | Madeira
Island / www.mmiff.com