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Skulpturale Aspekte in der Lautsprechermusik
No full textAnknüpfend an die Eröffnung der Ausstellung »Negativer Raum« liegen die ästhetische Erfahrung und die skulpturale Arbeit mit Klang und Lautsprechern im Fokus der Veranstaltung.
Vortrag und Buchpräsentation von Gerriet K. Sharma schaffen ein Verständnis medienspezifischer Raum-Klangphänomene. Im darauf folgenden Konzert mit dem neuen Lautsprechersystem, dem IKOsaederlautsprecher, werden Klänge als Skulpturen interpretiert
Que
No full textQue was composed between July and October 1969 in a studio of relatively limited possibilities. It is a short and simple piece structured around an expressive idea which converges with that stated by Mario Benedetti in his poem "Todos conspiramos" ("We all conspire"). It tries to be aggressive, and has recourse to rough or violently percussive textures, and - in general - to high-pitched registers contrasting with that of the male voice which constructs little by little, in the course of the composition, one phrase which re-elaborates, freely and with Benedetti's express authorisation, one and only one of the verses of his poem. Particular electronic circuits of departure in the compositional work establish processes serving as regulators of all parameters in the electronically produced sound, even if changes happen in the textural-timbric result. Que was built up exclusively with electronically generated sounds - except for the scarce apparitions of the spoken text -, but trying to avoid their natural tendency to the synthetic materials' asepsis, to the inorganicity, without re-conditioning them through the criteria of the immediate historic memory.
Que has been realised in the Laboratorio de M徭ica Electr溶ica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires. Armando Halty's voice microphonic takes have been done in Montevideo. The author feels in debt for the support received from Fernando von Reichenbach.
When reproducing this composition please take into consideration the following suggestion: Que has its point of maximum intensity (a ffff in perception) at 3'30". There are other "peaks" at 0'31", 1'16" and 2'08". The end should be followed by silence, without "clicks" or "plops" from the reproduction devices. To have a good balance of both channels, please take into account that the voice must sound approximately in the centre
Esos silencios
No full textEsos silencios (Those silences) are the silences of our daily vital experience of the seventies in almost all Latin America. "They are there but they aren't", I write for the first public performance. "We do not desire them, but they surround us always, until we finally succeed in breaking them". The piece was composed in 1978 and was revised in 1981. It was born at the same studio using exclusively materials of microphonic origin. Some of the sounds have been made with instruments constructed in Guatemala by Joaqu地 Orellana. The decision to bring to life the piece at that historic moment was convergent with the emotional experience that the pricking edges of the delicate drawings by the Argentinian-Uruguayan Mar誕 Carmen Portela and the gagged yell of the dramatic paintings by the Uruguayan Hilda L用ez meant to me.
In Esos silencios there is a will to establish large, apparently static, areas, with latent tensions, in a structure of full hard edges, almost without the concession of transitions, a fact that will appear accentuated in Apruebo el sol.
Esos silencios has been realised in Elac, peque撲 estudio de Montevideo, a modest cooperative installation. The materials of departure have been produced by the author.
When reproducing this composition please take into consideration the following suggestion: Esos silencios is very piano. Please adjust volume making inaudible the hiss of the original analogic tape. The piece is monophonic
MyCity, MySounds: Amble Skuse
No full textMittels der mit der App »MyCity, MySounds« gesammelten Audiodaten erstellt die schottische Komponistin und Gastkünstlerin Amble Skuse eine Live-Soundscape-Performance. Die Daten erhält sie aus ihrem eigenen Körper, wobei Biosensoren als Cyborg-Controller die Schnittstelle zwischen Körper und Stadt bilden
Giga-Hertz-Preis 2019
No full textVom 23. bis 24. November 2019 findet das diesjährige Giga-Hertz-Preis-Festival am ZKM statt. Der vom ZKM und dem SWR Experimentalstudio getragene Preis für Elektronische Musik wird in diesem Jahr bereits zum zwölften Mal vergeben. Für den Festakt werden namhafte VertreterInnen aus der internationalen Musik- und Kunstlandschaft erwartet