teorije in prakse sodobne glasbe/ theory and techniques of contemporary music / 2010

Osnovna ideja projekta Teorije in Prakse Sodobne Glasbe je združitev in vzpostavitev dialoga med posameznimi vejami sodobnih zvočnih praks, kot tudi izboljšanje informiranosti ter aktivni prispevek k zvišanju ravni izobrazbe posameznikov s področja sodobne glasbe. V slovenskem prostoru zaznavamo primanjkljaj na področju javnega izobraževalnega sistema na kar se skušamo odzvati s projektom Teorije in Prakse Sodobne Glasbe. Namen praktičnega dela projekta oz. delavnic je uvajanje v osnovne tehnike in programska orodja za produkcijo elektro-akustične glasbe. Poudarek je na predstavitvi vsebin in konceptov, ki na akademskih raziskovalnih inštitutih iz tujine sodijo med ustaljene prakse, kot tudi na predstavitvi najsodobnejših mednarodnih trendov v kompozicijski tehniki. Cilj delavnic in predavanj je predstavitev mednarodnih smernic v produkciji elektro-akustične glasbe ter podajanje vpogleda v nekatere aktualne umetniške koncepte sodobnih zvočnih praks. Predavatelji - priznani skladatelji iz Avstrije in Nemčije - bodo predstavili svoje aktualne skladbe, podali poglede na razvoj kompozicijskih pristopov skozi 20. in 21. stoletje, ter umestili svoja dela v širši kontekst sodobnih zvočnih umetnosti.

The main idea behind the project Theory and Techniques of Contemporary Music is creating a platform for discussing different aspects of contemporary sound based practices, as well as complementing the current education standard of the Slovenian national education system, representing the field of Contemporary music. The purpose of the „Techniques“ part of the project an introduction into the basic languages and programing environments for the production of electronic music. The focus will be on examining the standardized software tools and computational methods deployed at international academic research institutes, while the “Theory” part of the project will deal with the presentation of contemporary artistic trends in musical composition. The goal of combining the workshops and lecture-presentations is thus, to provide a complete framework introducing the techniques of electronic music production along with some selected artistic concepts and aesthetics from the field of contemporary musical composition. The invited lecturers – established composers from Austria and Germany – will play some of their recent pieces, discuss their viewpoints on the development of compositional approaches throughout the 20th and 21st century, and position their own work into a broader context of sonic arts.

12. AprilElisabeth Harnik (A)

19. AprilChristoph Herndler (A)

5. MajVasja Progar (Slo)

12. MajVasja Progar (Slo)

17. MajPeter Ablinger (D) 19. MajVasja Progar (Slo)

26. MajVasja Progar (Slo)

13. JunijGerriet Sharma (D) 17 JunijAlberto de Campo (D)

Rojena 1970 V avstrijskem Gradcu. Sprva študira klasični klavir. Deluje na področju instrumentalne in vokalne improvizacije. Kasneje kot pianistka in vokalistka interpretira lastne kompozicije ter raziskuje različne improvizacijske pristope. Na Univerzi za Glasbo in Dramske Umetnosti v Gradcu študira kompozicijo in glasbeno teorijo pod mentorstvom Beata Furerja. Njena glasba (komorna, instrumentalna, vokalna, teatralna) je redno izvajana na koncertih in festivalih sodobne glasbe. Nastopa kot solistka, prav tako pa sodeluje v različnih avstrijskih in mednarodnih zasedbah improvizirane glasbe. 2005 prejme nagrado “Music Promotion Prize” mesta Graz. 2006 – štipendija zvezne kanclerije. 2007 – Avstrijska državna štipendija za kompozicijo in štipendija Andrzej-Dobrowolski dežele Štajerske. 2008 – rezidenčna umetnica kompozicijskega foruma Mittersil. 2010 – rezidenčna umtnica v Art OMI International Arts Center v New Yorku.

Elisabeth Harnik was born in 1970 in Graz. She first studied classical piano. After working at instrumental and vocal improvisation she began her professional career as a pianist and singer by interpreting her own compositions and performing in various forms of improvised music. She then studied composition and Music theory with Beat Furrer at the University of Music and dramatic Art in Graz. Her compositions (chamber music, ensemble music, vocal music, music for theatre…) have been performed regularly at concerts and festivals for contemporary music. Besides her solo performances she is member of many ensembles for improvised music. She has recorded or performed with many national and international musicians. The city of Graz awarded her the Music Promotion Prize in 2005. In 2006 this was followed by a grant from the Federal Chancellery. In 2007 she was the official holder of the Austrian State grant for compostion and the Styrian Andrzej-Dobrowolski grant. In 2008 she was artist in residence at the Komponistenforum Mittersill. In 2010 she will be artist in residence at the Art OMI International Arts Center in N.Y.

www.elisabeth-harnik.at

12. April

Elisabeth Harnik (A)Predavanje / Lecture

Galerija ŠKUC - 20.00

Rojen 1964 v Avstriji. Študira orgle in kompozicijo pod mentorstvom Romana Haubenstock-Ramatija. Študij elektro-akustične glasbe opravi na Univerzi za glasbo na Dunaju. Študijska izmenjava na inštitutu CCRMA, na univerzi Stanford v Kaliforniji, USA. 1997 ustanovi skupino EIS. Njegova dela zajemajo grafične partiture – ki ji je možno realizirati tudi v neglasbenih oblikah kot so video in instalacijske postavitve. Njegove kompozicije je potrebno razumeti kot produkt izvirnega notacijskega pristopa. Med tem, ko je poslušalec konfrontiran zgolj z zvokom, je izvajalec deležen tudi grafičnih simbolov. Zvočni rezultati, ki ni izvorno niso reprezentirani v partituri so nepredvidljivi tako za izvajalca kot za poslušalca. Herndlerjev način notacije tako zagotavlja določeno mero spontanosti za publiko in glasbenike. Ne gre torej za improvizacijo, temveč za notacijo, ki omogoča odprt prostor katerega običajno zasledimo zgolj pri improvizacijskih pristopih. V njegovih delih notacija ne služi zgolj definiciji oz. kompoziciji glasbenih parametrov temveč je primarno usmerjena v iskanje grafičnih form, ki temeljijo na geometričnih metodah. Herndler je skladatelj, ki živi v dobi tehnološko sofisticiranih metod multiplikacije/reprodukcije. Prav zato pa je zanj ključnega pomena iskanje pogojev in strategij kako ujeti nekaj česar ni možno reproducirati.

Born in 1964 (Austria), studied the pipe organ, composition with Roman Haubenstock-Ramati, electro-accustic at the Vienna-University of Music and was visiting scholar at CCRMA/Stanford University. In 1997 he founded

the ensemble EIS. Attributed to his work are graphical forms of notations which can be performed not only musically but also through other medias, as well as sound installations and video work. His compositions in general, should be regarded in light of their notation. Whereas the listener is only confronted with the sounds, the interpreter is confronted with the signs. The sound result, which is not represented in any way in the notation, remains as unforeseen to the interpreter as to the listener. In this way, the notation ensures spontaneity for both the audience and the performer. This is not improvisation, but the notation determines free spaces which one otherwise only finds in improvisation. In his work notation is no longer an act of composition but is reduced to a process of finding a graphical form, mainly through geometric methods. As a composer living in a time of highly developed technologies of replication, it is essential for him to create conditions which capture what one can¹t replicate.

http://www.herndler.net

19. April

Christoph Herndler (A)Predavanje / Lecture

Galerija ŠKUC - 20.00

Vsa predavanja so brezplačna. Kotizacija za 16 urno delavnico

(Uvod v PD - Pure Data) znaša 40 eur za posameznike, 80 za

predstavnike nevladnih organizacij in 150 za komercialni sektor.

Prijave pošljite na: delavnica@ljudmila.org

Rojen 1986 v Sloveniji. Je komponist in eksperimentalni glasbenik / zvočni umetnik. Sprva samouk na električni kitari (rock, jazz); 3 leta obiskoval privatno glasbeno šolo. V tem času tudi član dveh glasbenih skupin. Nadaljeval s samostojnim študijem glasbene teorije ob analiziranju del klasike. Leta 2007 sprejet na redni študij kompozicije in glasbene teorije na Akademiji za glasbo v Ljubljani pod mentorstvom prof. Uroša Rojka. Trenutno področje interesa je v komuniciranju informacij, ki se jih ne da enostavno posredovati z logičnim jezikom, kot tudi ne samo preko jezika umetnosti; zato se njegovi performansi manifestirajo v različnih oblikah, po potrebi podprtih z izvirnimi tehnološkimi rešitvami, saj ‘za izraz vsebine uporabi sredstva, ki jih narekuje samo sporočilo dela’.

Born in 1986 in Ljubljana (Slovenia), and has been living there ever since. His musical path began in high school, as a self-taught guitar player, and continued by attending a private music school. In 2005 he finished the high school and went on to study Biotechnology at Biotechnical Faculty (Ljubljana). In 2007 he began, in parallel, the study of Composition and Musical Theory on Academy of Music (Ljubljana, Slovenia) in the class of Uros Rojko. Recently his main focus is on communicating the information that cannot be mediated solely by the means of the logical language neither only by the artistic language. Therefore his performances can take many different forms, usually ranging from the sounds provided by the spectra of acoustical means to electronic and digital transformation and generation of sounds, often including some non-musical elements, since he ‘lets the means of serving the information be dictated by the message itself’.

www.vasjaprogar.si

5. / 12. / 19. / 26. Maj

Vasja Progar (Slo)Delavnica / Workshop

5. Maj – Ljudmila – 17.00 – Delavnica / Workshop 1‘Uvod v PD (Pure Data)’ / ‘Introduction to PD – 1’ – 4 ure / hoursOdprto-kodno orodje za audio/video procesiranje v realnem času - Pure Data (PD): predstavitev programskega okolja, primeri projektov. Glasbeni parametri I: predstavitev in razlaga osnovnih prvin zvoka (tonska višina, trajanje, dinamika), spoznavanje in raziskovanje le-teh preko PD.An open source tool for real-time audio/video processing - Pure Data (PD): presentation of software environment, projects examples. Sound parameters I: presentation and explanation of the basic elements of sound (pitch, duration, dynamics), exploring them through PD.

12. Maj – Ljudmila – 17.00 – Delavnica / Workshop 2‘Uvod v PD (Pure Data)’ / ‘Introduction to PD – 2’ – 4 ure / hoursRačunalniška glasba I: kratek uvod in predstavitev, kontrolni vs. avdio tok, osnovne tehnike, primeri projektov. Glasbeni parametri II: zvočni spekter, teksture, šum; spoznavanje preko PD.Computer Music I: a brief introduction and demonstration, control vs. audio stream, the basic techniques, projects examples. Sound parameters II: sound spectrum, texture, noise; exploring through PD.

19. Maj – Ljudmila – 17.00 – Delavnica / Workshop 3‘Uvod v PD (Pure Data)’ / ‘Introduction to PD – 3’ – 4 ure / hoursRačunalniška glasba II: predstavitev možnosti nadzora parametrov, interakcija, načrtovanje glasbenih tekstur; kompleksnejše tehnike. Glasbeni parametri III: zvočne ovojnice, modulacija (frekvenčna, amplitudna), procesiranje (efekti); spoznavanje preko PD.Computer Music II: presentation of possibilities to control the parameters, interaction, design of musical textures, more complex techniques. Sound parameters III: sound envelopes, modulation (frequency, amplitude), processing (effects) exploring through PD

26. Maj – Ljudmila – 17.00 – Delavnica / Workshop 4‘Uvod v PD (Pure Data)’ / ‘Introduction to PD – 4’ – 4 ure / hoursPD-Gem: vključevanje in procesiranje videa/slike, interakcija z glasbo in drugimi zunanjimi signali. Glasbeni parametri IV: širši aspekt - kompozicijske tehnike, evolucija materiala, integracija z drugimi mediji, spletna interakcija.PD-Gem: integration and processing of video / images, music and interaction with other external signals. Sound parameters IV: broader aspect - compositional techniques, the evolution of material, integration with other media, web interactivity.

Rojen 1959 v Schwanenstadt, v Avstriji. Po prvotnem študiju grafične umetnosti se je navdušil nad Free Jazzom. Konča študij kompozicije v Gradcu in na Dunaju pod mentorji: Gösta Neuwirth in Roman Haubenstock-Ramati. Od leta 1982 živi v Berlinu, kjer je iniciral in realiziral številne festivale in koncerte. 1988 ustanovi zasedbo “Zwischentöne”. 1993 je bil gostujoči profesor na Univerzi za Glasbo v Gradcu. Kot gostujoči dirigent je vodil zasedbe: ‘Klangforum Wien’, ‘United Berlin’ in ‘Insel Musik Ensemble’. Od leta 1990 deluje kot samozaposleni umetnik – glasbenik. Je eden redkih umetnikov, ki danes uporabljajo hrup brez kakršnegakoli simbolizma, torej zgolj hrup sam po sebi, kot glasbo. Veliko zanimanja vlaga v vprašanja o naravi zvoka, časa in prostora. Njegova dognanja so z vpogledi v repeticijo/monotonijo, redukcijo/odvečnost, gostoto/entropijo itd. postavila na glavo mnoge temeljne predpostavke v glasbi.

Peter Ablinger was born in Schwanenstadt, Austria in 1959. He first studied graphic arts and became enthused by free jazz. He completed his studies in composition with Gösta Neuwirth and Roman Haubenstock-Ramati in Graz and Vienna. Since 1982 he has lived in Berlin, where he has initiated and conducted numerous festivals and concerts. In 1988 he founded

Rojen leta 1946 v Avstriji, kjer je študiral zvočni inženiring, klasično kompozicijo in Jazz Kitaro. Kot gostujoč raziskovalec ter kasneje kor direktor raziskovalne skupine na inštitutu CREATE, na Univerzi v Kaliforniji – Santa Barbara, je sodeloval z Curtisom Roadsom. Raziskoval je eksperimentalne oblike zvočne sinteze ter napisal uradni priročnik za glasbeno-programsko orodje “SuperCollider”. Med 1999 in 2007 uči na Inštitutu za elektronsko glasbo (IEM) v Gradcu ter na različnih mednarodnih inštitutih za računalniško glasbo. Med 2001 in 2004 je asistent na KHM v Kölnu, kjer realizira projektes Stephanie Thiersch, Billom Fontano, in Andreasom Boshardom. Med 2005 in 2007 je vodilni raziskovalec na projektu SonEnvir na IEM v Gradcu, kjer z interdisciplinarno ekipo znanstvenikov raziskuje aplikativne možnosti sonifikacije različnih podatkovnih tipov. Od 2009 je profesor generativne in računalniške umetnosti na “Institute for Time-based Media”, na umetniški Univerzi v Berlinu.

Born 1964, studied sound engineering, classical composition and jazz guitar in Austria. As guest researcher and later research director at CREATE, UC

the Ensemble Zwischentöne. In 1993 he was a visiting professor at the University of Music, Graz. He has been guest conductor of ‘Klangforum Wien’, ‘United Berlin’ and the ‘Insel Musik Ensemble’. Since 1990 Peter Ablinger has worked as a freelance musician. Peter Ablinger is one of the few artists today who uses noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not for opposing something, or being disobedient or destructive; not for everything, for eternity, or for what-have-you. As in all these cases of music deliberately involving noise, noise is the case, but for Ablinger: this alone. Peter Ablinger has also come a long way in questioning the nature of sound, time, and space (the components usually thought central to music), and his findings have jeopardized and made dubious conventions usually thought irrefutable. These insights pertain to repetition and monotony, reduction and redundancy, density and entropy.

ablinger.mur.at

Santa Barbara, he worked with Curtis Roads on experimental synthesis instruments, and wrote the official tutorial for the music programming environment SuperCollider. From 1999-2007, he taught at the IEM Graz, and since 1999, he has taught workshops and master classes at international institutions for computer music, such as CNMAT Berkeley, the Institute of Sonology The Hague, and the Central Conservatory Bejing. From 2001-2004, he was assistant professor at KHM Cologne, realizing projects with Stephanie Thiersch (experimental dance), Bill Fontana (sound installations), and Andres Bosshard (complex sound systems for installations and live performance). From 2005-2007, he was lead researcher in the SonEnvir project at IEM Graz, where an interdisciplinary team of scientists studied the applicability of sonification in diverse data sets. Since 2009, he is Professor for Generative Art/Computational Art at the Institute for Time-based Media, Arts University Berlin.

earweego.net pbup.goto10.org realtime-research.net

Rojen leta 1974 v Nemčiji. Živi v Kölnu in Gradcu. Opravil podiplomski študij Zvočne umetnosti, računalniške glasbe in performansa na Akademiji za medijske umetnosti (KHM) v Kölnu. Trenutno na študiju Elektro-akustične kompozicije na Inštitutu za elektronsko glasbo (IEM) na Univerzi za glasbo in uprizoritvene umetnosti v Gradcu. Od 1990 je član različnih eksperimentalno-glasbenih zasedb. Koncerte, delavnice inštalacije in performanse izvaja na na številnih festivalih po vsem svetu. Glavni aspekt njegove aktivnosti je prostorska porazdelitev elektro-akustičnih skladb skozi sistem „Ambisonic“ in transformacija v 3D-zvočne skulpture. Postavlja prostorko-specifične zvočne instalacije v javnih prostorih in zgradbah. Raziskuje kompozicijo in performans in v okviru radiofonskih del, kjer umerjeno prepleta govor, tekst in zvok. Ukvarja se z raziskovanjem odnosa med zvokom in sliko v avdio/vizualnih inštalacijah, filmu, na televiziji in v teatru.

Born in 1974 in Bonn, Germany. Lives in Cologne and Graz. Postgraduate Studies (MFA) in Soundart, Computermusic and Performance at the Academy of Media Arts (KHM) in Cologne. Master Studies in Electroacoustic Composition at the Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts in Graz. Since 1990 member of various ensembles for experimental music and sound art. Concerts, workshops, installations and performances at several festivals for electroacoustic music and sound art in Europe and abroad. Key aspects of activity are Spatialization of electroacoustic compositions in Ambsonics and transformation into 3D-Soundsculptures. Sight specific sound installations in public places and buildings. Composition, production and performance of radiophonic ‘Hörstücke’ (ars acoustica) with focus on the equitable combination of speech, text and sound. Artistic research in the field of sound-picture relations in audio-visual installations film, tv and theatre.

www.gksh.net

17. Maj

Peter Ablinger (D)Predavanje / Lecture

Galerija ŠKUC - 20.00

17. Junij

Alberto de Campo (D)Predavanje / Lecture

Galerija ŠKUC - 20.00

13. Junij

Gerriet Sharma (D)Predavanje / Lecture

Galerija ŠKUC - 20.00