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Aesthetical Concepts of Music and Technology

In this lecture series different composers and sound artists will present their views and their artistical strategies concerning all aspects of music, sound, and technology. Seminars will include sound examples and discussions. The course is offered for students in the European Course for Musical Composition and Technologies (ECMCT) in particular, but it is open to students of media communication and audio technology at the TU Berlin

Zeitraum und Ort

Zeitraum: 21.04.2008- 14.07.2008
Wochentag / Zeit: Montag 16-18 Uhr
Raum: EN 324

Dozenten und Tutoren

Ansprechpartner: Folkmar Hein
Lokal and international guests
Eckehard Güther

Weitere Informationen

Veranstaltungstyp: Ringseminar (Lecture Series)
Umfang: 2 SWS
Voraussetzung: keine
Veranstaltungsnummer: 0135 L 315

Termine, Sprecher, Themen

Gilles Gobeil [1]
am Beispiel eines Entstehungsprozesses erlaubt der kanadische Komponist einen Einblick in die individuelle Ästhetik seines Komponierens.
Folkmar Hein
Aesthetic … hidden discussion about beauty [2] …
Robin Minard [3]
Robin Minard will discuss his different approaches to composing for sound installations and concert music. The presentation will include audio and visual examples of his work.
Martin Supper [4]
"Space as Instrument"
Edwin van der Heide [5]
He will address the following interrelated topics from the perspective of his own work:
- the behaviour of a medium as aesthetic concept
- the experience of a medium as a human with its corresponding dimensions
Thomas Troge [6]
Between Scylla and Charibdis - Technological seduction and aesthetic orientation loss.
A composer today may feel challenged by the nearly overwhelming technological possibilities for sound and  multimedia creation, manipulation, distribution and so on. On the other side, he might feel disorientated by the loss of an acknowlegded aesthetic concept or canonical rules in our european culture.  Anyway, he has to find his own way and to develop his own aesthetic criterias  – and to struggle for the acceptance of the latter.
Miguel Azguime [7]
The integration of instrumental and electroacoustic means in my music for instruments and electronics will be explained and discussed, as an example of the relationships and interdependency of each one of those esthetical and technological worlds. On one side the instrumental world is used as a model for synthesizing and processing sounds, and on the other side the synthetic and digital signal processing worlds are used as models for the instrumental writing. Main focus and sound examples will be taken from "Derrière Son Double" for ensemble and electronics and "...Momemt à l'Extrêmement" for cello and electronics.
10 Uhr!!
Wolfgang Heiniger [8]
The Composed Visitor, about time perspectives in 'sound art'
the lecture describes and discusses differences of compositional means and techniques in 'sound art' compared to other musical artworks on the basis of their different approach in forming time perspectives and acts of perception of the audience.
Bernhard Leitner [9]
André Ruschkowski [10]
"Hearing Pictures and Seeing Sounds" - About the relationship between visual and sound structures and some options for their transformation into each other. With a lot of examples from my recent audiovisual works.
this talk will be kindly sponsored by the Savannah College of Art and Design [11]
Fabien Levy [12]
"To compose a composer... Soliloque [13] sur [X, X, X et X]" is not exactly a work, but more a meta-score, that the computer generates in real-time from the analysis and from samples extracted from other works of the concert. It means that for every concert, the generated work is different, not only because the material that constitutes this mosaic is made from the remainder of the sonorities of other pieces, but also because the organization of this mosaic is related to the parameters calculated from the analysis of the samples.
Beside the project, we will discuss how new technologies could even deconstruct, aesthetically, the concept of work (for instance here, a contextualized meta work), and the difficult question in electroacoustic composition of the possibility to compose both with complex sounds and with cognitive structures."
more Infos [14] about the project (pdf)

Trevor Wishart [15]
Agostino Di Scipio [16]
Hans Tutschku [17]
This Talks will take place at the SMC [18]-Paper-Sessions

Materialien, Texte

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Copyright TU Berlin 2008