Hello everyone, welcome to the forum of the project, where we will discuss every detail of the collaborative process. Please post some information about you, your web-site and 1-2 recordings/videos of representative works of yours until Sunday 10.11.
Hi! I am Márcio Steuernagel (very short bio bellow):
Márcio Steuernagel (1982) is a Brazilian composer, conductor and artistic researcher – currently Doctoral Candidate at the Dr. Artium Program of the Kunstuniversität Graz, where he lives. Steuernagel is Master in Music by the Federal University of Paraná, main conductor of the Orquestra Filarmônica da Universidade Federal do Paraná; Conducting and Composing Professor at the Escola de Música e Belas Artes do Paraná, conductor of the Ensemble Móbile, and a founding member of the Ensemble entreCompositores.
My research is on "Imperfection in music as a fundamental compositional and performative dimension". You can read a little bit more about it in the Doctoral School webpage (just click on my name):
You can check out some of my music on my soundcloud:
...and also, for recent productions related to my research, on these two videos bellow:
- Becoming – four études and an aria for solo oboe (Graz, 2019)
i. étude: dynamics (summoning)
ii. étude: registers (a bird)
iii. étude: multiphonics (quasi un corale, quasi Monteverdi)
iv. étude: repeated notes (take a didgeridoo)
Première: ZHdK, Zurich; 12.April 2019. Angela Calvo Rios, oboe.
- Études para Quijote, for solo harp (Graz/Zürich, 2019)
harmonic interference (a game of bells)
one-finger tremolo (fanfare)
basso (batutto, feroce)
ostinato (ad libitum, ma veloce)
arco (Aria on the G strings)
classical harmonic technique (a broken lullaby) – not performed in concert
Première: KUG, Graz; 30.May 2019. Rahel Schweizer, harp.
Last but not least, I enjoy very much collaborative projects! Looking forward to the next steps!
Hello everyone, my name is Karin and I am looking forward to this exciting project. I studied composition, music theory and electroacoustic composition in Leipzig and Zurich. My current research at the Doktoratsschule is about Poly-Works: Works, which can be played autonomously and simultaneously with other works. Here are some links about my work:
research project: http://doctorartium.kug.ac.at/deutsch/projekte.html
See you soon!
so cool to be part of this gang! Here's a bit about me. I finished Bachelor in composition in Graz with Clemens (after a whole study in medicine, which I abandoned subsequently). I finished my masters in composition in Stuttgart with Marco Stroppa and went to Ircam for a year. I stayed in Paris as a freelance for 4 years and then moved to USA to study with B. Ferneyhough at Stanford. Currently I am at UChicago for an exchange until the end of the year, then I go back to Stanford to finish my doctorate.
As for my music, I am curious about the notion of overload on information as well as bizzare, erroneous and inconsistent phenomena that comes out as a result. That's probably why I like working with heterophony, referencing, collage, decontextualization, and swift mood changes in music. Having been born in former Yugoslavia that fell apart as I was growing up, I am also very fascinated with framentation, deterioration and decay. Recently I started exploring the possibilities of using machine learning as augmentation of my compositional process.
'darkroom' and 'Laibach concerto' are two pieces created in recent time, both can be found HERE at the top of my soundcloud page, along with short piece descritpions.
You can also take a look at this YOUTUBE VIDEO of a piece "Tomorrow is the past of some distant future" in which I perform myself.
Anyway, totally excited to be here and meet you all (if only virtually for now) and get to know your musics. I really like Kosmas' collaborative concept and since my music is already so cut-up and often poses the question of authorship, I saw this as a step further that might enrich my work through a rather fun interactive way of composing.
All gratitude to Kosmas and all best to the rest of you!
My name is Stylianos Dimou - you can call me "Stelio" - and I am a composer of acoustic, mixed, and electroacoustic music.
Here is a brief biographical sketch:
Fulbright Scholar and participant of numerous International Composers Meetings, Festivals and Competitions, Dimou pursued advanced studies in Music Composition at the Aristotle University of Thessaloniki, Department of Music Studies (Greece, 2011, MM in Composition) and he subsequently undertook Graduate Studies at the Eastman School of Music (USA, 2013, MA in composition). Dimou has pursued advanced practical training in Electronic Music, at the Cursus program at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris, France (2017-18) and he was Composer and Music Researcher at the OeAD organization closely affiliated with the University of Music and Performing Arts Graz (2018-19). He is currently a Doctoral Fellow at Columbia University in the City of New York (DMA in Music Composition) and a composer in residence at the Cité Internationale des arts in Paris.
For further information, you can visit my personal webpage.
As a composer of acoustic and electroacoustic music, in the forefront of my research area is the topic of live interactivity utilizing technologies aimed at the ultimate blending among instrumental and electroacoustic entities. I am interested in artistic-technological frameworks where the technology is as equally involved as human beings in the realization and final execution of a musical piece of art. The implementation of DSP (Digital signal processing) and amplification on the instruments, along with the combination of electroacoustic sonic entities, introduces the genesis of an electrified sonic world. The emergence of such sonic conglomerate behaves as the sonic extension of the acoustic instruments forging ahead to the assemblage of a “hybrid sonic twin”. This collision can arguably be expressed as the “ground zero” of the reconceptualization of “complexity” either as a sonic or as a performance experience.
Striving to achieve a balance between inspiration and raw intuition, one fundamental principle of my music is the conception of the structure as a fluid and sculpted organism; this is achieved via microscopic manipulations of the timbral and gestural dimensions of the music. Blurred sonorities, harmonic fluidity and gestural formations are some of the ideas that he is elaborating on in his recent works. A spectral understanding that brings to the foreground of the musical surface a tone-color understanding of harmonic objects and pitch exploration pervades his music. Microtonality, primarily used in an intuitive way, helps him forge harmonic and gestural shapes. By adopting this concept in every microstructural and macrostructural level, he builds generalized structural shapes and promote a unified harmonic and gestural formation in his music.
Let me share with you some of my music
“les instances” (2019)
for diffused, synthesized sounds and large ensemble
questioning the “un..-“: in discomfort (2017)
for bass flute, bass clarinet, violin & violoncello
Quando l’an[I]ma è [S]atu[R]a: meaningless meandering for [Anit] (2014)
for amplified violin, cello & piano
Really looking forward to this wonderful collaboration!
-Peace and love.
I am Lula Romero, composer of electroacoustic and acoustic music and like most of you, a doctoral candidate at the University of Music and Performing Arts, Graz. Now comes a copy-paste from my biography:
"She holds degrees in composition, piano, and art history.
In her compositional work she explores the phenomenon of space in music with regard to structure and material and their relation to theories and practices of feminism and questions of social equality.
Romero has been awarded among others with the GIGA-HERTZ Production prize 2014 by the ZKM | SWR Experimentalstudio Freiburg, the Kompositionsstipendium 2015 and 2012 and the Berlin–Rheinsberger Kompositionspreis 2011, and the Residence at the Deutsches Studienzentrum Venedig (Venice) 2017 by the German Government. In 2019 her Portrait CD “Ins Offene” has been published by WERGO, “Edition Zeitgenössische Musik,” produced by the Deutscher Musikrat.
She lives and works in Berlin."
More information about me and samples of my work can be found at www.lularomero.com
Samples of my music:
ins Offene (2012-13), for ten instruments and live electronics; https://www.youtube.com/watch?v=99VkuPZKH-k
Zafraan Ensemble, electronics; Lula Romero
Entmündigung (2015-16), for two sopranos, alto and live electronics https://www.youtube.com/watch?v=yZWthxiksiI
Aki Hashimoto, Silke Evers, Noa Frenkel, electronics; Experimentalstudio
present/absent (2011), for baritone saxophone, double bass, percussion and piano, Vertixe Sonora https://www.youtube.com/watch?v=cexYZGihqHc
Looking forward to the collaboration with you all
Thank you everyone for your introductions, there was a problem with the posts which did not appeared immediately in the forum because they needed approval by the administrator. I want to apologize for that. I will change some settings so that you can post without moderation for now on.
Kosmas, one question: where do we post general questions/remarks, i.e., not regarding specifically one topic, but the project in general?
For example, I would like to ask if we could create a file depository, so we can find older files to re-work without necessarily having to find the original post in which the link that leads to the file is.
As I have other "processual" remarks like this, I would like to know how/were best to discuss them.
Dear Kosmas, dear all,
I find it very hard to reach the deadline for today, Apologies for that; I will try my best later tonight.
~ apollgies ain't gonna happen again.
thanks for letting me know, please try to upload your elaboration tomorrow so that you will have adequate time to prepare for the next deadline.