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Dr. Oliver Schneller

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Room: EN 323
Telephone: +49 30 - 314 22327
Office hours: by arrangement

CV

Oliver Schneller was born in Cologne studied composition at Columbia University, New York where he completed his doctorate in composition with Tristan Murail in 2002. From 2002-2004 he worked as a compositeur en rechercheat IRCAM. He was a guest artist/researcher at the SWR-Experimentalstudio in 2007, a guest artist at ZKM Karlsruhe in 2009, at GRM/Radio France in 2013, and at I.C.A.T. Virginia Tech in 2017. 

His works have been performed at numerous international music festivals including Festival Présences Paris, Biennale Quatuor á cordes Paris, MATA New York, Tanglewood, Aspen, June in Buffalo, the “Millenium Stage Series" at the Kennedy Center in Washington DC, Festival Résonances, Festival Agora Paris, Wien Modern, Munich Biennale, Beijing Modern, Maerzmusik Berlin, Witten Tage für Neue Kammermusik, Ultraschall Berlin, Musica, IFNM Darmstadt, Musicacoustica Beijing, ICMC 2002 and 2003, and Takefu New Horizons Festival (Japan). He has received commissions from radio stations in Germany, IRCAM, the Fromm Foundation, Meet The Composer, Radio France, Beijing Modern, Tanglewood, ZKM Karlsruhe, SWR Radio Symphony Orchestra Stuttgart, Radio France and the Berliner Festspiele. His works have been performed by ensembles such as Orchestre National de France, China Symphony Orchestra, Deagu Philharmonic, Ensemble modern, Ensemble Intercontemporain, Ensemble Recherche, musikFabrik, Ensemble Mosaik, Ictus, Court-Circuit, Speculum musicae, Wet Ink, New York New Music Ensemble and Tanglewood Symphony Orchestra.

The focus of Oliver Schneller’s composition and research lies in the creation of works which combine musical instruments, architectural spaces, and live computer processing. Often his works include spatial parameters such as particular combinations of instruments and loud speakers distributed throughout the performance space. From 2009-2010 Schneller held a professorship in composition at the Conservatory of Music in Stuttgart (sabbatical replacement for Prof. Marco Stroppa). From 2012-2015 he was a professor of composition at Hannover Conservatory of Music, where he was also the director of «Incontri – Institute for New Music». In 2014 he was on the faculty of the Darmstadt International Summer Course in Composition, and in 2015 at the Beijing International Composition Workshop (BICW). Since 2015 he serves as professor of composition and director of the Eastman Audio and Research Studio (EARS) at the Eastman School of Music in Rochester, NY. 

Publications

• Die Auflösung des Klangs, in Postionen: “Digital Natives”, Heft 116, August 2018, pp. 24-29


• Neue Musik in Arabischen Ländern, in Lexikon Neue Musik, Metzler Verlag, 2016, pp. 181-186


• Klangforschung und Komposition. Einige Gedanken zum spektralen Ansatz, in Neue Zeitschrift für Musik, 02, 2013, pp. 26-32 

• Die Sprache zur Musik oder die Musik zur Sprache bringen?, in Neue Zeitschrift für Musik, 05 September/Oktober 2011, pp. 16-19 

• Klänge einer Ausstellung. Anmerkungen zum kontrapunktischen Soundparcours von Taswir, in TASWIR. Islamische Bildwelten und Moderne, Nicolai Verlag Berlin, 2009, pp. 133-137 

• Akustisches Modell und komponierte Struktur, in: Institut für Neue Musik und Musikerziehung, Darmstadt 2008, Schott Verlag Mainz, 2009, pp. 183-189 

• Sechs Werke von Sebastian Stier. Schott Verlag / WERGO Edition Zeitgenössische Musik (D.M.R.), Booklettext WER 6569 2 (2008) 

• Wittener Tage für Neue Kammermusik: Konzerte, Klanginstallationen, Performances, Gespräche, Film : 20. bis 22. April 2007 / [Programmbuch Harry Vogt, Frank Hilberg, Saarbrücken. Pfau, 2007, S. 127 

• Migration and Identity: Perspectives in Contemporary Arabic Music, in: Jahrbuch der Berliner Gesellschaft für Neue Musik, Pfau Verlag, 2006, pp. 127-139 

• HörRaum Stadt Jahrbuch der Berliner Gesellschaft für Neue Musik 2003/2004, Pfau Verlag 2006, pp. 99-100 

• Raumklang-Klangraum: Über Pierre Boulez Répons, in: Magazin der Berliner Philharmoniker, October 2005, pp. 38-40 

• Braucht die Neue Musik den Kammermusiksaal? in : Bauwelt 8/05 (2005): pp. 26-27


• Tristan Murails Terre d’Ombre in: Berliner Festspiele (Hg.), MaerzMusik. Festival für aktuelle Musik 2004, Saarbrücken Pfau Verlag 2004, pp.138-139


• A Contemporary Response to Charles Ives, in: Berliner Festspiele (Hg.), MaerzMusik. Festival für aktuelle Musik 2004, Saarbrücken (Pfau) 2004, pp. 146-153


• Klangschicht und Zeitharmonik. Begegnung mit Gottried Michael Koenig.Programmheft zu den “3. 

Magdeburgischen Concerten”. Festtage zur Musikgeschichte Magdeburgs, October 2003 

• Music und Raum Research Commission from the House of World Cultures (HKW) Berlin 2003 

• Sonic Arts in Germany. M.I.T. Press Computer Music Journal 26, 4 (Spring 2002): pp. 54-57 

• Chambres Séparées, KOMA, entrop, Zwischenwelten: Gerhard Winkler." M.I.T. Press Computer Music Journal 25, 1 (2001): pp. 75-76 

• Musical Material Matters Current Musicology 67/68 (Winter 2002): pp. 156-174
• "IRCAM at Columbia 1999." M.I.T. Press Computer Music Journal 24,2 (2000): pp. 94-96 (also published in: Dossier d'Information IRCAM, No 18 (October 2000): pp. 136-138) 

• "Music und Utopie." Universalmaschine Heft 02, Berlin (2001): pp. 68-70 

• "Donald Martino's Concerto for Alto Saxophone and Orchestra." [CD-liner text]
New World Records. Recorded Anthology of American Music, No. 80529-2 (1998) 

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