sounds only

Woche 30-36 / 28.07. - 07.09.08

SMC´08 Stereoversionen der prämierten Werke Teil 2

01. Javier Alejandro Garavaglia / Pathétique / 2006/2007 / 15:30
02. - 03. Jef Chippewa / DUO / 1997/98 / 02:47
04. Manuella Blackburn / The Fortune Teller, The Crane aus Origami / 2007 / 05:10
05. Pei Yu Shi/ Fall, aus der Zeit …/ 2006 / 09:59
06. Daniel Blinkhorn / Jeu fabriqué / 09:58

01. Javier Alejandro Garavaglia / Pathétique / 2006/2007 / 15:30
Das Stück besteht aus Materialen aus Beethovens Klaviersonate Op. 13, C Moll (Introduktion - Grave), nämlich die ersten 3 Akkorden: C Moll, die Subdominante (als verminderter Septakkord) und C Molls VII7 (auch ein verminderter Septakkord). Die von Beethoven verwendeten Akkordpositionen verursachen, dass denen Klang sehr reich in Obertönen ist. Deshalb versucht das Stück den reichen Inhalt des Spektrums zu untersuchen und zu transformieren. Es kann so gesehen werden, als die Erkundung mittendrin des Klangs selber aus der Sicht des Zuhörers zu motivieren. Diese Reise ist doppeltseitig: einerseits bezieht sich auf den neuen spektralen Resultate; anderseits, auf die Räumlichkeit des Klanges (Mehrkanaligkeit in 5.1 bzw. 8.0) Die verwendete DSP Prozesse schließen solche aus wie: Time strechting, Pitch Shifting, Granular Synthese, Filtern, Hüllkurven Modellierung, usw. Folgende Audiosoftware wurde benutzt: C-Sound, Lisp Programmierung, Audiosculpt, GRM Tools, SoundHack, Peak, Nuendo 3.0, usw.

02. - 03. Jef Chippewa / DUO / 1997/98 / 02:47
DUO was composed in the concordia ea studios between 1997 and 1998. The compositional and perceptual experience of DUO offers the potential for comprehension of musical interactions and appreciation of the correspondence of timbre and articulation types between two radically different worlds of sound production (that of the [alto] saxophone and of the analog synthesizer), instead of a lethargic experience of linear continuity, and establishment of familiarity on a superficial level. Thanks to Yves Charuest for his openness and flexibility as a performer and as a musician.

04. Manuella Blackburn / The Fortune Teller, The Crane aus Origami / 2007 / 05:10
a. The Fortune Teller (otherwise known as paper-foldy-thing) is a representation of regularity. Its final symmetrical form is flexible – stretching outward and collapsing inwards, while its function, as a method of concealing and revealing hidden fortunes, is presented as a game of chance.
b. The Crane is a representation of good fortune. It is an agile bird with a fleeting presence and swift movements.

05. Pei Yu Shi/ Fall, aus der Zeit …/ 2006 / 09:59
A friend of mine wanted to realise a dance project about Ingeborg Bachmann and she sent me one of her poems and texts to be set to music. My aim was to get an insight into the inner world of the poet. I was asking for her moods when she wrote the poems. Then I began to try to set a poem by Ingeborg Bachmann musically and to hint at a mental and emotional change on different levels through the process of scenic narrative.

Fall ab, Herz Fall ab, Herz vom Baum der Zeit, fallt, ihr Blätter, aus den erkalteten Ästen, die einst die Sonne umarmt', fallt, wie Tränen fallen aus dem geweiteten Aug!
Fliegt noch die Locke taglang im Wind um des Landgotts gebräunte Stirn, unter dem Hemd preßt die Faust schon die klaffende Wunde.
Drum sei hart, wenn der zarte Rücken der Wolken sich dir einmal noch beugt, nimm es für nichts, wenn der Hymettos die Waben noch einmal dir füllt.
Denn wenig gilt dem Landmann ein Halm in der Dürre, wenig ein Sommer vor unserem großen Geschlecht.
Und was bezeugt schon dein Herz? Zwischen gestern und morgen schwingt es, lautlos und fremd, und was es schlägt, ist schon sein Fall aus der Zeit.

06. Daniel Blinkhorn / Jeu fabriqué / 09:58
Recollections of industry, fabrication and the mechanical arts provided the foundation for jeu fabriqué… As a child, the seemingly endless mechanised space of my father’s workshop, and all the sonic activity contained within, became augmented through my imagination. Each time I would visit the workshop, an expansive spectral palate seemed to unfold, where work tools, the shapes and sounds of these tools and the spaces surrounding them provided vehicles of discovery… Tools became toys, articulating the imagined. The workshop was a place of motion, industry and invention…Positioned within dense foliage (and home to much birdlife), I was not surprised to find that my recollections of the workshop were entwined with images of its surrounds. Throughout the work, intersecting patterns, gestures and spaces are presented to the listener, modulating between the abstract and the concrete…Images are plotted, and sights and sounds unravel as recollection and chimera become fused. The material heard in the piece was generated from recordings of toy tools, real tools, imagined spaces and real spaces, all of which attempt to typify some of the sonorities and imagery found within an environment of fabrication, invention and imagination.

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

Hier werden Produktionen aus Archiven der Elektroakustischen Musik, wie z.B. dem Archiv der DEGEM oder dem IDEAMA- und dem DEGEM-Archiv des ZKM, dem Archiv des elektronischen Studios der TU Berlin sowie anderen internationalen Archiven und Dokumentationen elektroakustischer Kunst unter verschiedenen Aspekten präsentiert.