DEGEM News – FWD – [ak-discourse] WG: Open PhD position at KCL in robotic piano expressions for personalised music-heart interventions

Von: Lepa, Steffen via ak discourse
Datum: Sat, 7 Feb 2026
Betreff: [ak-discourse] WG: Open PhD position at KCL in robotic piano expressions for personalised music-heart interventions

PhD position open for “ – “ supervised by myself with Gary Cook and Ildar Farkhatdinov in the EPSRC Centre for Doctoral Training in Advanced Engineering for Personalised Surgery & Intervention (AE-PSI) at King’s College London’s School of Biomedical Engineering & Imaging Sciences. This PhD starts in October 2026; the funding includes stipend, fees, and RTSG for 4 years. UKRI allows up to 30% of the cohort to be international. The position is available until filled. The first of three interview rounds begins in March. To apply, see https://www.surgerycdt.com/.

Short description:

This project is centred on creating tailored, goal-oriented, person-specific music-based cardiovascular interventions through the building of autonomous, steerable, dextrous manipulation of robot piano expressions.

Music has profound effects on human physiology, with great potential for use as adjunctive medicine. Music affects the body through the autonomic nervous system, with direct impact on the heart. However, music’s effect on the heart is understudied and underutilised in cardiovascular medicine.

Humans are wired to react to prosodic features in acoustic stimuli, and trained musicians hone their dexterity to manipulate musical prosody to elicit desired reactions. However, clinical studies involving music in medicine rarely consider the expressive components of music.

The goal in this project will be to building tools and interfaces to learn and shape nuanced prosodic expressions through a reproducing (robotic) piano. The steering of musical expression will be based on individuals’ physiological feedback and designed to achieve target cardiovascular states.

A clinical application will be with the TOTEM Study using Total Body Positron Emission Tomography at St Thomas‘ Hospital.

Thank you,

Elaine
__

Elaine Chew | eniale.kcl.ac.uk

Professor of Engineering | King’s College London

NMES: Engineering | FoLSM : BMEIS : Cardiovascular Imaging

Becket House, BH5.16 | 1 Lambeth Palace Rd, London, SE1 7EU, UK

Founder/Director, Digital Music Theranostics Lab | cosmos.isd.kcl.ac.uk

Member of the Music & Acoustics Research Centre | marc.kcl.ac.uk

DEGEM News – Köln – Polscher / Zwißler in Köln

Von: Mark Polscher
Datum: Fri, 6 Feb 2026
Betreff: Polscher / Zwißler in Köln

Antiquariat Langguth präsentiert:
Polscher / Zwißler
Mark Polscher – Sopransaxophon, Flöte
Florian Zwißler – Synthesizer
20.02.2026, 19.30 Uhr
Antiquariat Langguth
Auguststr. 46

50733 Köln (Nippes) 
Herzliche Grüße
Mark Polscher
www.polscher.de
___________________________________________________________________________
Aktuelles Album: Second Landing Jump
___________________________________________________________________________

DEGEM News – FWD -:Volontariat Klangregie im SWR Experimentalstudio Freiburg

Von: Andre Bartetzki
Datum: Fri, 6 Feb 2026
Betreff: Volontariat Klangregie im SWR Experimentalstudio Freiburg

Das SWR Experimentalstudio hat zu Mitte Juni 2026 ein Volontariat Klangregie ausgeschrieben. Das Volontariat richtet sich an Hochschulabsolvent*innen zum Beispiel in den Bereichen Tonmeister, Toningenieur, Sound-Design oder Musikwissenschaft in Verbindung mit neuer Musik.

https://www.swr.de/swr-experimentalstudio/article-swr-2230.html

DEGEM News – FWD – Our Winter Concert Picks ❄

Von: Digital in Berlin News
Datum: Thu, 05 Feb 2026
Betreff: Our Winter Concert Picks ❄

DEGEM News – FWD – [ak-discourse] Einladung zum Forschungskolloquium am 10.02.2026

Von: ak, sekretariat via ak discourse
Datum: Thu, 5 Feb 2026
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 10.02.2026

Liebe Freunde der Audiokommunikation,

am kommenden Dienstag, den 10.02.2026, um 18:00 Uhr im Raum EN 324 präsentiert Nikolaj Wolff seine Masterarbeit zum Thema

„De-amping: removing amplifier and distortion effects from guitar recordings“

Dazu möchten wir Sie herzlich einladen. Eine Kurzzusammenfassung finden Sie am Ende dieser E-Mail.

Der Zoom-Link für unsere auswärtigen Gäste lautet:

tu-berlin.zoom.us/j/65356423211

Meeting-ID: 653 5642 3211
Kenncode: 141962

Mit herzlichen Grüßen
Kirill Andreev & Stefan Weinzierl
__________________

Nikolaj Wolff: De-amping: removing amplifier and distortion effects from guitar recordings

De-amping—the process of recovering the direct input signal from a distorted electric guitar recording—is a challenging task with applications in music production, sound restoration, and music information retrieval. While only a handful of recent studies have directly addressed de-amping, the current state of the art employs two-stage neural architectures that first denoise spectrograms and then reconstruct the waveform using a neural vocoder. This study investigates whether deep neural networks (DNNs) can reverse the linear and nonlinear transformations introduced by guitar amplifiers and effects. Several DNN architectures are evaluated using signal-based metrics and a perceptual listening test. The best results are achieved by a two-stage system combining the BigV-GAN v2 neural vocoder with the Cascaded Gaze spectrogram denoiser, which demonstrates strong robustness, especially in zero-shot scenarios on unseen data. The relationship between listening test results and signal-based metrics is examined to assess how accurately these measures represent subjective audio quality.
__________________

Kirill Andreev
Er/ihm – he/him
Anrede/Form of address: Herr – Mr.

Sekretariat
Office

Technische Universität Berlin
Fakultät I / Inst. f. Sprache u. Kommunikation
FG Audiokommunikation / Sekr. EN-8

Faculty I / Institute for Language & Communication
Audio Communication Group / Office No. EN-8

Einsteinufer 17, 10587 Berlin
GERMANY
sekretariat@ak.tu-berlin.de
+49 (0)30 314-22236

https://www.tu.berlin/ak

DEGEM News – FWD – [ak-discourse] WG: University of York Composition Competition: Call for Student Composers

Von: Lepa, Steffen via ak discourse
Datum: Wed, 4 Feb 2026
Betreff: [ak-discourse] WG: University of York Composition Competition: Call for Student Composers

We are excited to invite emerging student composers and recent graduates to participate in a unique composition competition embedded within an innovative research project at the University of York. This project investigates creative process, self-reflection, and audience engagement, combining artistic practice with empirical research. Participants are invited to compose an original solo piano work (~7-10 minutes) over a 10 week period from Monday the 9th of March to Friday the 15th of May and submit the score (along with a MIDI rendition from a notation software) on the 18th of May 2026. During these 10 weeks, participants will complete short weekly self-reflection online questionnaires on their creative activity. In July 2026, 5 selected pieces will be awarded monetary prize (in Amazon vouchers) and performed by internationally acclaimed pianist Jakob Fichert (https://www.jakobfichert.com/bio) at a final art/science event held at University of York. Please apply (no entry fees) before the deadline of 20th of February – details below. The competition is centred around the theme “Reflection”. Please use this theme as a creative point of departure for your composition.

Who is This For?

We welcome applications from emerging composers who:

● Are currently enrolled in (or recently graduated from) a University or Conservatoire composition/music programme from all over the world.

● Are 18 years or older.

● Are highly fluent English speakers (required for accurate completion of self-reflection questionnaires and potential interviews).

We encourage applications from composers with diverse musical approaches, styles, and backgrounds.

What the Project Involves

Selected composers will:

● Compose a new solo piano piece (~7-10 minutes) inspired by the theme of “Reflection”. o The piece should be written for a standard concert grand piano, with no preparations, and no live or fixed electronics.

o The piece must be notated, though composers are at liberty to take any notational approach they wish.

● Complete weekly reflections via online questionnaires (~15-20 mins).

● Potentially take part in a short post-project interview.

● Have the chance for their work to be performed at a public event and considered for prize awards.

Incentives and Opportunities

A panel of experts will evaluate the completed compositions based on individuality, skill, and impact, taking a holistic view of each work. The top five pieces will be awarded prizes in the form of Amazon vouchers:

● 1st Place £500

● 2nd Place £350

● 3rd Place £250

● 4th Place £150

● 5th Place £50

The five selected pieces will be performed live by Jakob Fichert at a public art/science event planned for July 2026 at the University of York (provisional date: 16th of July – TBC).

How to Apply There is no entry fee.

To apply, please send one email to Martin Suckling (martin.suckling@york.ac.uk) copying Andrea Schiavio (andrea.schiavio@york.ac.uk) and Anastasiya Kryvanos (anastasiya.kryvanos@york.ac.uk) by Friday 20 February 2026. Use the subject line: “YIAF Composers Project – Participation” and include max 3-5 sentences with info about your educational background, age, gender, and compositional experience. If you have any questions regarding eligibility, please contact Andrea Schiavio or Martin Suckling via email, using the subject line: “YIAF Composers Project – Eligibility”. Selected applicants will be notified of the outcome after 20 February. Please note that, due to the nature of the project, we can only accept a limited number of participants. Once you have been accepted as a participant, you will receive detailed instructions on how to complete the questionnaires and submit your score.

Ethics and Participation

Participation in this project is entirely voluntary. All participants will receive detailed information sheets and consent forms, and the project has received ethical approval from the University of York, School of Arts and Creative Technologies Ethics Committee. Your answers to the questionnaire will be treated anonymously. You will be eligible for the selection process for the best piece if and only if you (i) submit the score (along with a MIDI rendition from your notation software) by the deadline, and (ii) complete all weekly questionnaires as requested.

Additional info

The project received funding from the AHRC-aligned York Impact Accelerator Fund (YIAF) of the University of York and builds on the following scholarly publication: “The Processes and Relationships in Composers Scale. Construction and psychometric analysis of a new self-assessment inventory” (Schiavio et al., 2024: https://pure.york.ac.uk/portal/files/99889197/MP4103_04_SchiavioEtAl.pdf).

Researchers involved in the project are:

Dr Andrea Schiavio, Prof Martin Suckling, Dr Mimi O’Neill, Dr Adrian Kempf, Prof Mathias Benedek, & Miss Anastasiya Kryvanos.

DEGEM News – BONN – Reminder: Pressemeldung zur Eröffnung der Dokumentationsausstellung „urban sound art“

Von: Mirjam Florio
Datum: Wed, 4 Feb 2026
Betreff: Reminder: Pressemeldung zur Eröffnung der Dokumentationsausstellung „urban sound art“

[Alle bezogenen Papiere findet man beim Besuch der HP der Beethovenstiftung]

Reminder

 

Sehr geehrte Damen und Herren,

 

mit der Dokumentationsausstellung „urban sound art“, die zwischen dem 7. Februar und 9. März 2026 im Beethoven-Haus Bonn gezeigt wird, lässt die Beethovenstiftung Bonn die beiden Projekte „bonnhoeren“ und „echoes – soundforum bonn“ in ihrem Arbeitsschwerpunkt Klangkunst der letzten 15 Jahre noch einmal Revue passieren.

 

Anbei sende ich Ihnen die Pressemitteilung sowie Ihre Einladung zur Eröffnung am 6.2.2026 um 18 Uhr.

Wir freuen uns über Ihr Kommen und bitten um Berichterstattung und Veröffentlichung.

 

Beste Grüße

Mirjam Florio

 

 

 

 

Beethovenstiftung für Kunst und Kultur der Bundesstadt Bonn

Mirjam Florio – Geschäftsführerin

Haus der Kultur – Weberstraße 59a – 53113 Bonn – Tel. 0228 / 2427069 – Fax 0228 / 2497358

info@beethovenstiftung-bonn.dewww.beethovenstiftung-bonn.de

https://soundforum.info

 

 

DEGEM News – FWD – Ankündigung 3D-Audio Videokurs

Von: Jakob Gille
Datum: Sun, 1 Feb 2026
Betreff: Ankündigung 3D-Audio Videokurs

Fränk and I are delighted to announce our next video course: ‚3D Audio Advanced‘!

This new Sounding Future course builds on Course 1: 3D Audio Basics and delves deeper into practical Ambisonics workflows for production and playback.

In this course, you will learn, among other things:

  • Encode stereo and multichannel audio in Ambisonics (B-format)
  • Create and customise decoders for different speaker setups
  • Transcode existing quad, 5.1 or octo productions into Ambisonics
  • How order, weighting and spatial resolution influence the listening experience
  • Applying efficient REAPER workflows for Ambisonics-based productions
  • Planning your own Ambisonics loudspeaker setups.

Discover the Course here

Note: The 3D Audio Advanced course is included in the Pro membership. With the Pro membership, you also support the further development of the Sounding Future platform.

DEGEM News – FWD – Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition

Von: Paulo C. Chagas (Rmail)
Datum: Mon, 19 Jan 2026
Betreff: Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition

Please find below the announcement and Call for Papers & Artistic Works for the conference Co-Creativity in Music, Sound, and AI, to be held at UC Riverside on June 5–6, 2026.

Co-Creativity in Music, Sound, and AI: Improvisation · Interaction · Composition
UC Riverside – Culver Center of the Arts
June 5–6, 2026

Artificial intelligence is transforming how we compose, perform, listen to, and think about music and sound. From real-time improvisation systems to generative audiovisual environments, creative agency is increasingly shared between human and computational actors.

Co-Creativity in Music, Sound, and AI explores these transformations, with a special focus on Somax2 (IRCAM’s AI-driven improvisation system) and other machine-learning–based tools for music and audiovisual art. The conference brings together scholars, composers, performers, technologists, and media artists to reflect on co-creativity as a relational, hybrid process distributed across humans, machines, and environments.

The program includes paper sessions, artistic presentations, concerts, workshops, and a keynote lecture by Katherine Hayles, addressing posthuman subjectivity, nonconscious cognition, and distributed agency in human–AI systems.

Call for Papers & Call for Audiovisual / Sound Artistic Works
We invite scholarly papers and artistic works engaging critically and creatively with co-creativity in music, sound, and AI, including composition, improvisation, performance, and audiovisual practices.

• February 15, 2026 – Submission deadline (papers & artistic works)
• April 1, 2026 – Notification of acceptance
• June 5–6, 2026 – Conference

Full details, themes, and submission instructions:
https://audiovisualmusic.ucr.edu

We warmly invite participation from across music, sound, audiovisual art, and related fields, and encourage sharing this announcement with colleagues and students.

Kind regards
Paulo C. Chagas

DEGEM News – FWD – GT: Frohe News 2026 [Gebrüder Teichmann]

Von: Gebrüder Teichmann
Datum: Fri, 16 Jan 2026
Betreff: GT: Frohe News 2026

english below…

Liebe Weggefährten und Interessierte,

wir wünschen Euch ein gutes Jahr und freuen uns, kommende Projekte und Veranstaltungen mit Euch zu teilen.

Diesen Sonntag werden wir, gemeinsam mit Robyn Schulkowsky die Zeit verbiegen, im Schwere Reiter in München, ebenso Ende März im Morphine Raum, Berlin.
Weiter geht auch die Sustainable Listening Reihe in der Staatsoper Berlin, das Thema diesmal ist „Urban Spaces“. Derzeit sind wir dabei das Programm vorzubereiten und zu proben.
Im März freuen wir uns auf gleich zwei Stummfilm-Vertonungen: Paul Wegeners und Carl Boeses Klassiker „Der Golem und wie er in die Welt kam“, den wir gemeinsam mit Robyn Schulkowsky in der Neue Synagoge Berlin live vertonen werden, und,weil es die letzten Jahre so schön war, verknüpfen wir am 20.03. wieder die Sinfonie der Grossstadt im Kulturraum Zwinglikirche mit speziellen Berlin DJ-Set. Ausführliche Infos zu den Terminen weiter unten.

Als musikalischen Neujahrsgruss möchten wir mit Euch zwei schöne DJ-Sets aus 2025 teilen.:

Ein Abend, mit unseren guten Freundin und langen Weggefährtin Acid Maria, in der Paloma Bar Berlin.
Back together, nach vielen Jahren, und – wie Suzana es so schön auf den Punkt gebracht hat – „einmal Raver, immer Raver“,
somit von der ersten Sekunde wieder zusammen und mittendrin. Hier könnt Ihr den ganzen Abend nachhören:
https://soundcloud.com/palomabar/2025-11-22-live-at-paloma

Und unser Sommerabend-Traum, auf der Strasse, in Berlin. Zum Karnerval der Kulturen, durften wir wieder für unsere Freunde
von der „Swing Patrol“ am Halleschen Tor auflegen. Es hat riesen Spass gemacht und macht auch zum nachhören gute Laune:
https://soundcloud.com/gebrueder-teichmann/sets/gt-dj-karneval25

> Robyn Schulkowsky & Gebrüder Teichmann – Bending Time
> 18.01. (Einlass 19 Uhr – Beginn 20 Uhr), Schwere Reiter, Dachauer Str. 114a, 80636 München
https://schwerereiter.de/?tribe_events=robyn-schulkowsky-gebrueder-teichmann-bending-time

Robyn Schulkowsky: Perkussion, Klangobjekte
Andi & Hannes Teichmann: Live Elektronik, Live Sampling, Processing

Bending Time setzt unseren intensiven musikalischen Austausch mit Robyn Schulkowsky fort. Wir verweben Perkussion, Klangobjekte, Live-Elektronik und Live-Sampling zu interaktiven Klangräumen. Im Zentrum steht die Erforschung rhythmischer Beziehungen, ihrer Texturen und die Frage, welche Parameter räumlich und zeitlich spielbar werden und Aktionen verknüpft werden können, als körperlich, sinnlich immersive Performances.
Als wir und Robyn uns zufällig begegneten, wussten wir nichts voneinander, weder von Robyns Zusammenarbeit mit John Cage, Iannis Xenakis oder Morton Feldman, noch wuesste Robyn von den globalen, transkulturellen Projekten in Pakistan, Afghanistan oder Kenia oder den Kooperationen mit Ensemble Modern oder der Staatsoper Berlin. Doch sofort verband uns die gemeinsame Neugier auf Musik, Gesellschaft und gleichberechtigte Teilhabe. Ein Dialog, den wir nun musikalisch fortsetzen.

Funded by Musikfonds. e.V.

> Sustainable Listening #7 Urban Spaces Gebrüder Teichmann – Bending Time
> 24.2. / 25.02. 20 Uhr, Staatsoper Unter den Linden 7, 10117 Berlin
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

Im Rahmen von Sustainable Listening wird eine begehbare Klimakapsel zum Ort für Impulse, Austausch und Teilhabe mit Klimaexpert:innen, Aktivist:innen und Visionär:innen zu verschiedenen Themen der Nachhaltigkeit. Im Zentrum des Abends steht die Verbindung von Konzertperformance und inhaltlichen Impulsen: Mitglieder der Staatskapelle Berlin sind mit Werken von Elena Kats-Chernin, Toshio Hosokawa, Sofia Gubaidulina, Abram Chasins, Fazil Say und Paul Lincke zu erleben. Die Musik verschmilzt zu einem besonderen Raumerlebnis mit Live-Elektronik der Gebrüder Teichmann und gesprochenen Beiträgen von Liang Wu, Mitbegründer von Green City Solutions. Drinks und Sounds laden im Anschluss zum Austauschen, Vernetzen und Verweilen ein.

> Robyn Schulkowsky & Gebrüder Teichmann – Der Golem und wie er in die Welt kam (1920)
> 05.03. 20 Uhr, Kino Kaddish:, Neue Synagoge Berlin – Centrum Judaicum, Oranienburger Str. 28-30, 10117 Berlin

Der expressionistische Stummfilm „Der Golem und wie er in die Welt kam“ erzählt von der Erschaffung eines künstlichen Wesens zwischen Schutzmacht und Bedrohung, von menschlichem Gestaltungswillen, Macht und Kontrollverlust. Die archaischen Bilder und mythischen Motive des Films bilden den Resonanzraum für eine zeitgenössische musikalische Lesart.
Die Gebrüder Teichmann und Robyn Schulkowsky entwickeln dazu eine Live-Vertonung, die mit Perkussion, präparierten Objekten, Elektronik und Echtzeit-Sampling arbeitet. Rhythmus wird dabei nicht nur als Takt, sondern als bewegliche Struktur verstanden, Klang als körperliche und räumliche Erfahrung. Aus dem unmittelbaren Zusammenspiel entsteht eine offene, dialogische Musik, die den Film nicht illustriert, sondern ihn im Moment der Aufführung neu formt und befragt.

Die Vorführung findet als Teil der Kino Kaddish Reihe statt: https://kino-kaddish.org/
Eine Serie filmischer Interventionen, Wiederbelebungen und ortsspezifischer Versammlungen — ein Versuch, das Kino zurück in jene Räume zu bringen, in denen Erinnerung zum Ereignis werden kann.

> Gebrüder Teichmann: Berlin – Die Sinfonie der Grossstadt (1927)
> 20.03. 20 Uhr, Kulturraum Zwinglikirche, Rudolfstraße 14, 10245 Berlin
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-26.html

Film: Die Sinfonie der Grossstadt
Musik: Gebrüder Teichmann – DJ Sinfonie der Grossstadt – ein Set zum Film und zu Berlin mit Schallplatten.

Inzwischen ist es zur Tradition im Kulturraum Zwinglikirche e.V. geworden, am Anfang des Veranstaltungs-Jahres Walter Ruttmann´s legendären Stummfilm „Sinfonie der Großstadt“ aufzuführen, begleitet vom DJ-Duo Gebrüder Teichmann. Im musikalischen Zentrum stehen dabei Subkulturen und experimentelle Musiken Berlins, die untermalend, fragmentierend und zitierend, ihrerseits Geschichten Berlins bis in die Gegenwart erzählen und diese mit den Bildern Ruttmanns verknüpfen.

VVK: https://www.koka36.de/die-sinfonie-der-grossstadt_ticket_184649.html 

> Robyn Schulkowsky & Gebrüder Teichmann
> 26.03. 20h, Morphine Raum, Köpenicker Straße 147 Hinterhof, 1. Etage, 10997 Berlin

Der Morphine Raum ist für uns ein besonderer Ort: ein Raum für konzentriertes Zuhören, für Experimente und unmittelbare Begegnungen zwischen Klang, Raum und Publikum.
Wir schätzen die Offenheit und Intimität. Seit langem sind wir mit dem Betreiber Rabih Beaini in Kontakt, um einen gemeinsamen Termin zu finden.
Umso mehr freuen wir uns nun auf unseren ersten Auftritt dort mit Robyn Schulkowksy am 26.03.
https://www.morphinerecords.com/raum

———
>>>>english version:

Dear companions and friends,

We wish you a wonderful start to the new year and are happy to share upcoming projects and events with you.

As early as this Sunday, together with Robyn Schulkowsky, we will be bending time at Schwere Reiter in Munich, and again at the end of March in Berlin at the Morphine Raum.
The Sustainable Listening series at the Staatsoper Berlin also continues; the next theme is Urban Spaces. We are currently preparing the program and rehearsing.
In March we are looking forward to two silent film live scores: Paul Wegener’s and Carl Boese’s classic “The Golem: How He Came into the World”, which we will perform live together with Robyn Schulkowsky at the Neue Synagoge Berlin, and—because it has been so wonderful in recent years—on March 20 we will once again connect Berlin: Symphony of a Great City with a special Berlin DJ set at Kulturraum Zwinglikirche.

As a musical New Year’s greeting, we would also like to share two beautiful DJ sets from 2025 with you:

One evening with our dear friend and long-time companion Acid Maria at Paloma Bar Berlin.
Back together after many years—and, as Suzana so perfectly put it: “once a raver, always a raver”—from the very first second we were back together and right in the middle of it all. You can listen to the entire night here:
https://soundcloud.com/palomabar/2025-11-22-live-at-paloma

And our summer evening dream, out on the street in Berlin. For Carnival of Cultures, we once again had the pleasure of DJing for our friends from Swing Patrol at Hallesches Tor. It was great fun—and it’s guaranteed to put you in a good mood when listening back:
https://soundcloud.com/gebrueder-teichmann/sets/gt-dj-karneval25

> Robyn Schulkowsky & Gebrüder Teichmann – Bending Time
> 18.01.26, doors 7pm concert 8 pm, Schwere Reiter, Dachauer Str. 114a, 80636 Munich
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

Robyn Schulkowsky: percussion, sound objects
Andi & Hannes Teichmann: live electronics, live sampling, processing

Bending Time continues our intensive musical exchange with Robyn Schulkowsky. We interweave percussion, sound objects, live electronics, and live sampling into interactive sound spaces. At the core is the exploration of rhythmic relationships, their textures, and the question of which parameters can be played spatially and temporally, and how actions can be connected as physical, sensual, immersive performances.
When Robyn and we met by chance, we knew nothing about each other—neither about Robyn’s collaborations with John Cage, Iannis Xenakis, or Morton Feldman, nor about our global, transcultural projects in Pakistan, Afghanistan, or Kenya, or our collaborations with Ensemble Modern or the Staatsoper Berlin. Yet we were immediately connected by a shared curiosity about music, society, and equal participation. A dialogue we now continue musically.

Funded by Musikfonds e.V.

> Sustainable Listening #7 – Urban Spaces
> Gebrüder Teichmann – Bending Time
> 24.02. / 25.02., 8 pm, Staatsoper Unter den Linden, 10117 Berlin
https://www.staatsoper-berlin.de/de/veranstaltungen/sustainable-listening-7-urban-spaces.26664/

As part of Sustainable Listening, a walk-in climate capsule becomes a place for impulses, exchange, and participation with climate experts, activists, and visionaries on various sustainability topics. At the center of the evening is the connection between concert performance and thematic input: members of the Staatskapelle Berlin perform works by Elena Kats-Chernin, Toshio Hosokawa, Sofia Gubaidulina, Abram Chasins, Fazil Say, and Paul Lincke. The music merges into a special spatial experience with live electronics by Gebrüder Teichmann and spoken contributions by Liang Wu, co-founder of Green City Solutions. Drinks and sounds afterwards invite conversation, networking, and lingering.

> Robyn Schulkowsky & Gebrüder Teichmann –
> Kino Kaddish: The Golem: How He Came into the World (1920)
>  05.03., 8 pm, Neue Synagoge Berlin – Centrum Judaicum,
Oranienburger Str. 28–30, 10117 Berlin

The expressionist silent film The Golem: How He Came into the World tells the story of the creation of an artificial being caught between protector and threat—of human creative will, power, and loss of control. The film’s archaic images and mythical motifs form a resonant space for a contemporary musical interpretation.

Gebrüder Teichmann and Robyn Schulkowsky develop a live score using percussion, prepared objects, electronics, and real-time sampling. Rhythm is understood not merely as meter, but as a flexible structure; sound as a physical and spatial experience. From the immediate interplay emerges an open, dialogical music that does not illustrate the film, but reshapes and questions it anew in the moment of performance.

The screening is presented as part of the Kino Kaddish series: https://kino-kaddish.org/
A series of cinematic interventions, reactivations, and site-specific gatherings — an attempt to bring cinema back into those spaces where memory can become an event.

> Gebrüder Teichmann: Berlin – Symphony of a Great City (1927)
> 20.03., 8 pm, Kulturraum Zwinglikirche,
> Rudolfstraße 14, 10245 Berlin
https://www.kulturraum-zwinglikirche.de/berlin-sinfonie-der-grossstadt-26.html

Film: Berlin – Symphony of a Great City
Music: Gebrüder Teichmann – DJ Symphony of a Great City – a vinyl-based DJ set for the film and for Berlin.

It has meanwhile become a tradition at Kulturraum Zwinglikirche e.V. to open the event year with Walter Ruttmann’s legendary silent film Berlin – Symphony of a Great City, accompanied by the DJ duo Gebrüder Teichmann. Musically, the focus is on Berlin’s subcultures and experimental music scenes, which—through accompaniment, fragmentation, and quotation—tell their own stories of Berlin up to the present day and link them with Ruttmann’s images.

Tickets: https://www.koka36.de/die-sinfonie-der-grossstadt_ticket_184649.html

> Robyn Schulkowsky & Gebrüder Teichmann
> 26.03., 8 pm, Morphine Raum,
> Köpenicker Straße 147, rear courtyard, 1st floor, 10997 Berlin

The Morphine Raum is a special place for us: a space for focused listening, experimentation, and immediate encounters between sound, space, and audience. We value its openness and intimacy. For a long time we have been in contact with the operator, Rabih Beaini, to find a shared date. We are therefore all the more excited about our first performance there with Robyn Schulkowsky on March 26.
https://www.morphinerecords.com/raum

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DEGEM News – FWD – [ak-discourse] WG: Call for Submissions — CUBE Fest 2026 (Spoken Words)

Von: Lepa, Steffen via ak discourse
Datum: Thu, 15 Jan 2026
Betreff: [ak-discourse] WG: Call for Submissions — CUBE Fest 2026 (Spoken Words)

 

Cube Fest 2026 – Spoken Words

August 21-23, 2026

Virginia Tech (Blacksburg, Virginia, USA)

Cube Fest 2026, taking place on Virginia Tech’s Blacksburg campus during August 21-23, invites proposals for immersive music, poetry, art, and sound created for concert presentation on high-density loudspeaker arrays (HDLAs). Live performance for HDLA systems, including interaction with acoustic or electro-acoustic instruments, will also be considered. While remaining open to the widest range of aesthetic possibilities, Cube Fest 2026 will bring a special focus to the theme of Spoken Words. We encourage submissions that resonate with the Spoken Words theme.

Important Dates

  • Submission Deadline  – February 20, 2026
  • Notification of results  – March 13, 2026
  • Attendance confirmation deadline  – March 27, 2026

Venues

Cube Fest 2026 will present concert programs in two venues: The Cube (134.4.2 channel HDLA) and Perform Studio (88.4 channel HDLA). This year we introduce a new category of presentation: the Tesseract Jukebox. This program will present on-demand performances of multichannel music on the Tesseract, a nearfield performance system that will be installed at the Center for the Arts in the same building as the Cube and Perform Studio. The Tesseract will have a minimum of 8 loudspeakers, with specifications soon to be announced.

Submission Guidelines

For works that are already in multichannel format, submission specifications will follow. We also welcome submissions that center Spoken Words in the context of immersive sound, but that have not yet been technically realized in a multichannel format. In such cases, we will consider collaborating with the submitting artist(s) to present a multichannel version of their work.

More information, submission specifications, and application forms can be found here.

 

 

 

 

Anthony Kwame Harrison

Alumni Distinguished Professor

Associate Chair, Department of Sociology

Virginia Tech

DEGEM News -. FWD – Thanks for joining us last year! Kiezsalon 2025: Highlights and impressions

Von: Kiezsalon by Digital in Berlin
Datum: Wed, 14 Jan 2026
Betreff: Thanks for joining us last year! Kiezsalon 2025: Highlights and impressions

DEGEM News – FWD – BLAUES RAUSCHEN: Podcast #32

Von: Festival BLAUES RAUSCHEN
Datum: Tue, 13 Jan 2026
Betreff: BLAUES RAUSCHEN: Podcast #32

View this email in your browser
Dear readers,

new episode of our podcast BLAUES RAUSCHEN is now online!
This time, our guests are Veronika Batzdorfer & Tim Löhde. Both are members of our association “open systems.”

PODCAST #32 >>
The Ghost in the Machine

What happens when music is no longer created by human bodies, but by algorithms? In episode 32 of our podcast, we explore the effect of AI-generated sounds: Can we still trust such sounds and allow ourselves to be moved by them? Veronika Batzdorfer & Tim Löhde not only discuss this, they also test it with various AI tools for music and sound generation using their own voices.

Dr. Veronika Batzdorfer is a researcher and artist specializing in natural language processing, machine learning, and computer-assisted social sciences at KIT Karlsruhe. She explores approaches to simulating human behavior using AI applications and natural language processing methods. Artistically, she creates responsive multisensory performances and VR installations and has participated in several BLAUES RAUSCHEN workshops, including 2024.

Tim Löhde is an artist and musician living in Düsseldorf and Vienna with a background in fine arts. He works with multisensory installations and concert performances that combine sound, objects, instruments, and media. In his artistic research, he explores how algorithmically generated sound shapes spatial experiences and how music itself can become material, with loss of control, improvisation, and unpredictability playing central roles.

Enjoy listening!

Best regards
Your BLAUES RAUSCHEN team

*Authors: Veronika Batzdorfer & Tim Löhde, Narrator: Kyra Preuss, Music: Karl-Heinz Blomann

Reels/posts/stories Reels/posts/stories
Festival Website Festival Website
BLAUES RAUSCHEN @ WDR: Felicity Mangan BLAUES RAUSCHEN @ WDR: Felicity Mangan
Podcast #31: The Cost of Innovation Podcast #31: The Cost of Innovation
Podcast #32: The Ghost in the Machine Podcast #32: The Ghost in the Machine
Gefördert durch / funded by:
Copyright © 2026 open systems e.V., All rights reserved.
Sie erhalten diese eMail aufgrund Ihres Interesses an oder Ihre Verbindung zu open systems e.V., dem Festival BLAUES RAUSCHEN und den damit verbundenen Aktivitäten / You are receiving this email because you were interested in or connected to open systems e.V. or Festival BLAUES RAUSCHEN and their activities.

Our mailing address is:

open systems e.V.

Rüttenscheider Str. 166

Essen 45131

Germany

Add us to your address book

DEGEM News – FWD – Open Call TENOR26 Vienna

Von: soundscore@soundscore.org
Datum: Thu, 8 Jan 2026
Betreff: Open Call TENOR26 Vienna

 

 

 

DEGEM News – FWD – Engl / Polscher in München

Von: buero@markpolscher.de
Datum: Wed, 14 Jan 2026
Betreff: Engl / Polscher in München

Galerie Artoxin präsentiert:
Engl / Polscher
Ardhi Engl – Selbstgebaute Instrumente, FX
Mark Polscher – Synthesizer, Tapes
28.01.2026, 19.30 Uhr
Galerie Artoxin
Kirchenstraße 23
81675 München
Herzliche Grüße
Mark Polscher
www.polscher.de
___
Aktuelles Album: Second Landing Jump

DEGEM News – STELLENAUSSCHREIBUNG – Call for University Professorship for Computer Music and Sound Art, IEM Graz

Von: Daniel Mayer
Datum: Fri, 9 Jan 2026
Betreff: Call for University Professorship for Computer Music and Sound Art, IEM Graz

An das DEGEM Team,

ich möchte Sie um Verteilung dieser aktuellen Ausschreibung bitten,

Vielen Dank, mit besten Grüßen

Daniel Mayer

https://daniel-mayer.at

///

Please note the call for a University Professorship for Computer Music and Sound Art at IEM Graz (scroll down for the English version), feel free to distribute.

Application deadline: 2026-03-25

Scroll down for the English version:

https://www.kug.ac.at/fileadmin/01_Kunstuniversitaet_Graz/05_News/Mitteilungsblatt/SJ202526/Mitteilungsblatt_11/mb_11_s_2b_Ausschreibungstext_Prof_Computermusik_u_Klangkunst_final.pdf

https://iem.kug.ac.at/en

///

DEGEM News – FWD – [ak-discourse] Senior Researcher/Lecturer (f/m/x) in Computational Musicology

Von: Hauke Egermann via ak discourse
Datum: Fri, 9 Jan 2026
Betreff: [ak-discourse] Senior Researcher/Lecturer (f/m/x) in Computational Musicology

Dear colleagues,

we would like to draw your attention to this four-year fixed-term position at our institute (see attachment). Please forward this to anyone who might be interested. They are welcome to contact me with any questions.

Candidates can apply here: https://jobportal.uni-koeln.de/ (“Show filter” -> Title: “Computational Musicology”)

Sincerely,
Hauke ​​Egermann

Prof. Dr. Hauke Egermann
Pronouns: he, him, his

Cologne Systematic Musicology Lab (CSML) (Director)

Musikwissenschaftliches Institut
Institute of Musicology

Universität zu Köln
Albertus-Magnus-Platz
D-50923 Köln
Germany

Büro: Hauptgebäude, Raum 1.414
Telefonnummer: ‭+49 221 470-2825‬

hauke.egermann@uni-koeln.de
https://musikwissenschaft.phil-fak.uni-koeln.de
www.egermann.net

Hauke Egermann’s Personal Meeting Room in Zoom:
https://uni-koeln.zoom.us/j/6238934429

****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ*****

https://lists.tu-berlin.de/mailman/listinfo/ak-discourse

 

Content of the attached PDF

We are one of the largest and oldest universities in Europe and one of the most important employers in our region.
Our broad range of subjects, the dynamic development of our main research areas and our central location in Cologne
make us attractive for students and researchers from around the world. We offer a wide range of career opportunities in
science, technology, and administration.
All key areas of musicology are represented at the Institute
of Musicology: historical musicology, ethnomusicology, and
systematic musicology with a focus on music psychology.
The applicant should broaden this spectrum in the area of
“Computational Musicology” and thus contribute to profil-
ing the institute, which is focused on empirical and digital
research methods. To support the joint reorientation of the
research area, data-driven, quantitative, machine-learning,
and statistical approaches to one or more of the following
areas are desired: corpus analysis (notation or audio), per-
formance analysis, and music reception studies. In addition
to the common teaching and research goals of the Musico-
logical Institute, the applicant should contribute construc-
tively to central research fields at the University of Cologne,
the Faculty of Arts and Humanities or the subject group and
acquire third-party funding.
YOUR TASKS
» Teaching an average of 7 SWS in the field of
Computational Musicology
» Development of the focus area Compuational
Musicology in research and teaching
» Supervising and training of students and doctoral
candidates in musicology
» Participating in academic self-administration
YOUR PROFILE
» A doctorate and habilitation or an equivalent qualification
» A record of peer-reviewed publications with a research
focus on digital and computer-based methods, for
example in the areas of musical data analysis, music
information retrieval, affective computing and music,
perceptual modelling, corpus-based music research,
and/or digital audio signal processing
» Research that addresses current, internationally
discussed issues in historical, ethnomusicological, or
systematic musicology, drawing on a broad range of
theoretical and methodological approaches
WE OFFER
» A diverse working environment with equal opportunities
» Support in balancing work and family life
» Extensive advanced training opportunities
» Occupational health management offers
» Flexible working time models
» Opportunity to work remotely
The University of Cologne promotes equal opportunities and
diversity. Women will be considered preferentially in accord-
ance with the Equal Opportunities Act of North Rhine-West-
phalia (Landesgleichstellungsgesetz – LGG NRW). We also
expressly welcome applications from all suitable candidates
regardless of their gender, nationality, ethnic and social
origin, religion, disability, age, sexual orientation and identity.
The position is available from 1 April 2026, on a full-time
basis (41 hours per week). The position is to be filled for
a fixed term until 31 March 2030. If the applicant meets
the relevant wage requirements and personal qualifica-
tions, the salary is based on remuneration group A14 of
the Salary Act for the State of North Rhine-Westphalia
(Landesbesoldungsgesetz NRW).
Please apply online with proof of the required qualifications
(without a photo) under https://jobportal.uni-koeln.de
The reference number is Wiss2601-01. The application dead-
line is 08.02.2026.
For further inquiries, please contact Professor Dr Hauke
Egermann (hauke.egermann@uni-koeln.de) and take a look
at our FAQs.
Akademische Oberratsstelle auf Zeit (f/m/x) /
Faculty of Arts and Humanities
Institute of Musicology
Lecturer (f/m/x) in Computational Musicology