Studioforum

Woche 52 - 05 / 22.12.08 - 01.02.09

SMC´08
Stereoversionen der prämierten Werke, kuratiert von Folkmar Hein

Teil 1:
01. Thanos Chrysakis / INSCAPES 11_10 a / 2:20
02. Thanos Chrysakis / INSCAPES 11_10 b / 8:02
03. Sam Salem / They Sing for Themselves / 6:55
04. Ka Ho Cheung / FishyBahn / 9:49
05. Volker Hennes / The Maelstrom Method / 7:08
06. Annette Vande Gorne / Yawar Fiesta / 10:02

Teil 2:
07. Javier Alejandro Garavaglia / Pathetique / 15:32
08. Jef Chippewa / DUO a / 2:48
09. Jef Chippewa / DUO b / 0:56
10. Manuella Blackburn / The Fortune Teller The Crane / 5:10
11. Pei Yu Shi / Fall aus der Zeit / 10:01
12. Daniel Blinkhorn / Jeu fabrique / 10:00

01.-02. Thanos Chrysakis / INSCAPES 11_10 and 11_10 b / 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
FishyBahn 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.

07. 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.

08. - 09. 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.

10. 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.

11. 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.

12. Daniel Blinkhorn / Jeu fabriqué / 09:58
Recollections of industry, fabrication and the mechanical arts provided the foundation for jeu fabriquŽ· As a child, the seemingly endless mechanised space of my fatherâs 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 were be performed. This system was augmented by a 20 channel Klangdome and an Acousmonium provided by GRM Paris in the same hall. The simultaneous installation allowed 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 had a special focus on different concepts and technologies of spatialisation, including sound art, acousmatic music, stereophonic reproduction, and wavefield synthesis. The talks covered historical, aesthetical, technical as well as genre specific aspects of sound and space.

The Fifth SMC (SMC08) was 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.