Studioforum
Woche 30-36 / 28.07. - 07.09.08
SMC´08 Stereoversionen der prämierten Werke Teil 1
01.-02. Thanos Chrysakis / INSCAPES 11 - 10 / 2005 / 10:20
03. Sam Salem / They Sing for Themselves / 2008 / 6:35
04. Ka Ho Cheung / FishyBahn / 2008 / for Klangdom / 9:48
05. Volker Hennes / The Maelstrom Method / 2007/08 / 7:06
06. Annette Vande Gorne / Yawar Fiesta (opera) / 2nd part 2007 / 10:00
01.-02. Thanos Chrysakis / INSCAPES 11 - 10 / 2005 / 10:20
Inscapes is a series of sound based compositions in which my primary concern lies on the timbral affinities and contrasts of the sounds. They have been inspired by Gerard Manley Hopkins’ idea of the inscape as "species or individually-distinctive beauty", and in consequence, the exploration of the inherent qualities of different sound matter, for generating specific aural structures, and what I define in my work as aural morphogenese. In addition -after sometime working on them-, the finding of the words : "enter into oneself, that is to discover subversion" by Edmond Jabés, suggested me a very interesting connection between the interiority of the sound, and the interiority of the composer, which both intersect in the act of listening.
03. Sam Salem / They Sing for Themselves / 2008 / 6:35
I wanted to explore the themes of surveillance, paranoia and the ubiquitious sinister technologies with which we co-exist. Instead, and rather fortunately, I found loveliness and charm. They Sing for Themselves is an abstraction of our soundscapes, an imaginary landscape for the ear: how we choose to navigate it is up to us. They are always there, singing and sputtering. This piece is part of a larger work that spans media and contexts.
04. Ka Ho Cheung / FishyBahn / 2008 / for Klangdom / 9:48
Fishy Bahn is originally written for eight loudspeakers. Sound materials are mainly based on urban rails in Berlin—S-bahn and U-bahn, with the aid of ICST ambisonics tools in spatialization. As shown in picture below, I imagine the trains are like fishes. They swim and reach every corner of the city—the rich and the poor, the communist and the capitalist monuments. I see their red tails swinging, their motions are smooth and speedy. Pitches from the engines shifting up-and-down, I feel tension-and-release. Freshly wild during the rush hours, they scream along the silver rails. Sleepy during the night, they swipe their dreamy lights through the dark…
05. Volker Hennes / The Maelstrom Method / 2007/08 / 7:06
The Maelstrom Method ist eine quadrophone, akusmatische Komposition von 2007/08. Inspiriert durch eine Kurzgeschichte von Edgar Allen Poe verfolgt das Stück einen geradezu anekdotischen Ansatz, um die epische Progression darzustellen. Klanglich herausgestellt sind räumliche Ausschmückungen in Form von Bewegungen, Verläufen und Schichtungen.
"The mountain trembled to its very base, and the rock rocked. I threw myself upon my face, and clung to the scant herbage in an excess of nervous agitation.(...) As I felt the sickening sweep of the descent, I had instinctively tightened my hold upon the barrel, and closed my eyes. For some seconds I dared not open them --while I expected instant destruction, and wondered that I was not already in my death-struggles with the water." Excerpt from "A Descent Into the Maelstrom" by Edgar Allan Poe.
Das Stück wurde am 8. Februar 2008 im Rahmen der "EuCuE Concert" – Serie in Montreal uraufgeführt.
06. Annette Vande Gorne / Yawar Fiesta (opera) / 2nd part 2007 / 10:00
Opera on a booklet from Werner Lambersy Women' Chorus, Act II : Combattimento 10 :00 2007 Soprano : Françoise Vanhecke Contraltos : Fadila figuidi, Annette Vande Gorne Space format : 7.1 Can space, written and performed live, lead to expression and dramatization Music Opera. Even if the project does not disclose any singer on stage, which will be human and silent, a great deal of the sound material relates to human voice. It is not an electroacoustic work (with its abstract materials and writings reseaches), but the dramatization of a text by notably placing objects and spatial shapes. The booklet, written on an incantatory and ritual mode of antic tragedies, reflects dual fights we are facing, civilisations fights symbolised by those of eagles and bulls in Andean village. Those for instance of appealling desire and rough strength. In the bourgeoisy ladies chorus of Act II, dramatic singing and lyrism came step by step to the surface, with an unstoppable clearness. Result therefrom an hybrid writing, that combines spaces, energies, morphologes and harmonic colors.
Produced at Studio Métamorphoses d’Orphée, Musiques & Recherches, Ohain (Belgique). Creation of Chorus II : Bruxelles, théâtre Le Marni, festival « L’Espace du Son », 17 octobre 2007
Chœur II Taureau, nous quitterons pour toi l'habit de lumière, car la génisse de l'aube, nous l'avons entendu gémir sous les coups de ta croupe, et le lait de tes reins, nous l'avons vu fumer dans les vallées brumeuses du matin ; ton piétinement de sabot, nous en avons nourri nos âmes ; nous rêvons aux verges nocturnes du mystère ; voici que nous brosserons, du gant de crin de nos cris, ton courage. Cela, pour que luise l'obscur et soit peigné et présentable le poème à la robe revêche et rude de ta vitalité.
sound in space – space in sound
5th Sound and Music Computing Conference, Berlin, Germany, Thur July 31st 2008 - Sun August 3rd 2008
Every era develops its specific, culturally defined awareness of space as well as forms of its aesthetic reification. In music, we can trace a development from an architectural place of sound to the symbolical space of formal and structural projections and finally to the imaginitive, musically immanent space of compositional fantasy. From thereon the actual space can be functionalised musically, it can, however, also be opened to and expanded by technical spaces. These, as digital simulations, enable both universal manipulation and boundless scaling. The conception of an "acoustic cyberspace" becomes constitutive for new aesthetical conceptions of form as well as for the generation and manipulation of sounds.
In 2007 the Technische Universität Berlin has installed the largest wavefield synthesis system worldwide with 832 channels and 2700 loudspeakers in a 700 seats lecture hall. During the 5th SMC „Space in Sound – Sound in Space“ works for this system will be performed. This system will be augmented by a 20 channel Klangdome and an Acousmonium provided by GRM Paris in the same hall. The simultaneous installation allows a combination of different sound systems with their individual qualities as well as an analytical listening of the same works performed on different systems.
The scientific program of the SMC08 will have a special focus on different concepts and technologies of spatialisation, including sound art, acousmatic music, stereophonic reproduction, and wavefield synthesis. The talks will cover historical, aesthetical, technical as well as genre specific aspects of sound and space.
The Fifth SMC (SMC08) will be organised by the German Association of Electroacoustic Music (DEGEM) in collaboration with the Audio Communication Group, Technische Universität Berlin.
www.smc08.org
Elektronische Studios aus ganz Deutschland und dem Ausland werden hier portraitiert und stellen ihre aktuellen Projekte, Forschungsvorhaben und Entwicklungsarbeiten vor. Das Studio-Forum dient langfristig dem Austausch zwischen den Studios als Produktionsstätten vielfältiger elektroakustischer Musik und Klangkunst.