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External Links

The following links point to external sites which deal extensively with the documentation of electroacoustic music and the history of the Electronic Studio:

  • The Documentation of Electroacoustic Music [1] contains information on over 33781 electroacoustic works. A FileMaker version offers broad search functionality.
  • 50 Jahre TU Studio [2] offers a detailed look into the first 50 years of the Electronic Studio (German only).

  • The Festival Inventionen [4] (active from 1982 to 2010) was of central importance to the artistic operation of the studio.

  • The TU Studio legacy page [6] points to the historical version of the studio website (German only).

A Short History of the Electronic Studio

The Electronic Studio at Technical University Berlin has existed for 55 years. The conditions for a music studio began to take shape in 1949 when Hans Heinz Stuckschmidt was named professor of music history (recording of sound examples in the specially prepared "studio lecture hall" H 2053). Starting in 1954, Fritz Winckel organized a series of lectures on "music and technology", as well as two international conferences on electroacoustic music in the 1960s. He also began teaching the class "studio technology" in the winter semester 1954/55.

That same year, the first artistic studio production came into being when Wilfried Schröpfer created the music for Harry Kramer's puppet show "Mechanisches Theater" ("mechanical theater"). It was only in 1961 that all spatial, staff and equipment resources were consolidated and an archive for "experimental" music began to be built, which forms the basis of the present studio archive.

The beginning of the artistic development of the studio was marked by Boris Blacher's tape music piece "Skalen 2:3:4". It was followed in 1966 by Blacher's "Zwischenfälle bei einer Notlandung", written for the Hamburg State Opera, which was the first to utilize only loudspeaker music for entire scenes. In 1970, Blacher composed "Musik für Osaka", a seven channel piece of spatial music that was created for the German Pavillion at the 1970 World Fair, for which Winckel's research group had developed the audio equipment and technology.

The year 1974 represented a critical turning point: Blacher died, Winckel retired, Rüfer left Berlin. Only Manfred Krause remained, with the support of the new studio director Folkmar Hein and the research assistant Ingrid Bihler. The continuation of the course of study was agreed upon in 1979 and ensured by a contractual agreement between TU and HdK. Manfred Krause was named as head of the research group. At the same time, the Electronic Studio opened itself to the international world, in large part due to the guest professors Herbert Brün (1978) and Jozef Patkowski (1979) and a cooperation with the Artists in Berlin Programme of the German Academic Exchange Service (DAAD) since approximately 1979. The resulting activities and productions can be considered the actual breakthrough of the TU Studio with far-reaching consequences: the festival "Inventionen" is founded in 1982, coupled with strongly extended local and international public activities. The entry into computer music is made possible in 1984 at the initiative of guest professor Klaus Buhlert and thanks to a generous donation of the company DEC. After several relocations, this development leads to the construction of a completely new studio in the EN building in 1996. This purpose-built facility is ideally suited to every kind of room sound and is used for correspondingly oriented research, teaching and composition. It forms a meeting place for students, lecturers and guests alike.

Folkmar Hein

Translated from the original German by Jonas Margraf

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