Kompositionen

Hier findest du Kompositionen, die UserInnen mit Soundscapes erstellt haben.

  • Wide Open Windows

    Risto Holopainen

    Eine Komposition von:
    Risto Holopainen studied composition at the Norwegian State Academy in 1994-1998 and completed a PhD in music technology at the University of Oslo in 2012. The dissertation, Self-organised Sound with Autonomous Instruments: Aesthetics and experiments, investigates sound synthesis with so-called feature-feedback systems and addresses the question of how far automated approaches to composition may be taken. His compositions include chamber music and electroacoustic music for concert, dance and radiophonic works, in addition to computer animations and video. In 2008 his first solo CD Garbage Collection was released on MERE Records.
    window
    Summer in Oslo: people get drunk and try to sing. Construction workers are doing their job. Children play and magpies chatter. Most recordings were made in my apartment with open windows, but people passing by outside are often so noisy that they can be recorded with closed windows just as well. A brief segment was recorded in the botanical garden which is within walking distance from home. The domestic sounds of cooking and playing with a modular analog synthesizer blend with the city's buzzing soundscape.
    Mehr erfahren über: Risto Holopainen

    Eine Komposition von:
    Risto Holopainen studied composition at the Norwegian State Academy in 1994-1998 and completed a PhD in music technology at the University of Oslo in 2012. The dissertation, Self-organised Sound with Autonomous Instruments: Aesthetics and experiments, investigates sound synthesis with so-called feature-feedback systems and addresses the question of how far automated approaches to composition may be taken. His compositions include chamber music and electroacoustic music for concert, dance and radiophonic works, in addition to computer animations and video. In 2008 his first solo CD Garbage Collection was released on MERE Records.
    Hochgeladen am: 05.09.2013
  • Dioramas from Caparo

    Dalis Crespo

    Eine Komposition von:
    Dalis Crespo, Venezuela. Sound artist, researcher and experimental luthier. Experimental Creator formed on Integral Design and Sound Art carrers, which has an individual and collective work that consists of variety of sound pieces geared towards soundscape, installation, performance and radio-art through hybrid creations that assume the reinterpretation and interdisciplinary experimentation in various media and expressive formats. So far, he has developed several individual and collective exhibitions presented in Venezuela. Among his work on individual presentations Postludio2010, Imaginarios de Aldea, 2011. He has also had guest appearance at festivals such as: Muestra Expositiva de Instalaciones y Esculturas Sonoras ARS SONORUS, Segundo y Tercer Encuentro Iberoamericano de Arte Sonoro PARLANTE. As for his collective work, he directed the Primer Encuentro Experimental de Paisajes Sonoros RESONANCIAS and is the co-director of CONTICINIO, sound installation. At this time, he is studying Integral Design and work as director of ECOUS, project about researching, documentation, design and experimental development on acoustic ecology and sound art.
    Whistles, Whispers. Incessant tiny sounds gradually fill up this piece. Overlapping harmonic acoustic images make from biofonic sources as main sound mark. Leaving a sense of infinity, the composition is finally a collage of brief dynamic snapshots. Fleeting dioramas about Caparo Forest, Pica 8 zone, EEC - Venezuela.
    Mehr erfahren über: Dalis Crespo

    Eine Komposition von:
    Dalis Crespo, Venezuela. Sound artist, researcher and experimental luthier. Experimental Creator formed on Integral Design and Sound Art carrers, which has an individual and collective work that consists of variety of sound pieces geared towards soundscape, installation, performance and radio-art through hybrid creations that assume the reinterpretation and interdisciplinary experimentation in various media and expressive formats. So far, he has developed several individual and collective exhibitions presented in Venezuela. Among his work on individual presentations Postludio2010, Imaginarios de Aldea, 2011. He has also had guest appearance at festivals such as: Muestra Expositiva de Instalaciones y Esculturas Sonoras ARS SONORUS, Segundo y Tercer Encuentro Iberoamericano de Arte Sonoro PARLANTE. As for his collective work, he directed the Primer Encuentro Experimental de Paisajes Sonoros RESONANCIAS and is the co-director of CONTICINIO, sound installation. At this time, he is studying Integral Design and work as director of ECOUS, project about researching, documentation, design and experimental development on acoustic ecology and sound art.
    Hochgeladen am: 04.09.2013
  • The sheep from the end of the world

    Felix BLUME

    Eine Komposition von:
    Felix BLUME Born in the South of France in 1984, Felix BLUME studied sound in Toulouse and in the famous cinema school INSAS in Bruxelles.  He mainly works as a sound man for independent documentaries and sometimes with video- artists. He spends his time between Europe and Mexico and travels around the world for his shootings. He records soundscapes during his trips and shares them on the internet. Only recently did he start making sound creations, turning his soundscapes into “sound postcards” produced and broadcasted by ARTE Radio.
    In the land of fire, at the south-end of America. Plain and forest everywhere. Some farms where thousand of sheep are raised for their wool. Every year, during the mowing, the shepherd go through the fields to push the sheep to the central farm. On horses, walking, with their dogs, they're going on an invisible line, identifying the yelling from the others. In the barn, the motors and the gears move the blades to mow the sheep. Sounds recorded by Felix BLUME http://www.felixblume.com Mix by Charlie Marcelet Produced by ARTE RADIO http://www.arteradio.com/son/616152/terre_de_feu/ Sounds recorded during the shooting of EL PUESTO (documentary film by Aurélien Leveque)
    Mehr erfahren über: Felix BLUME

    Eine Komposition von:
    Felix BLUME Born in the South of France in 1984, Felix BLUME studied sound in Toulouse and in the famous cinema school INSAS in Bruxelles.  He mainly works as a sound man for independent documentaries and sometimes with video- artists. He spends his time between Europe and Mexico and travels around the world for his shootings. He records soundscapes during his trips and shares them on the internet. Only recently did he start making sound creations, turning his soundscapes into “sound postcards” produced and broadcasted by ARTE Radio.
    Hochgeladen am: 30.08.2013
  • Soundscape with amphibian vocalizations of Physalaemus fischeri

    Dalis Crespo

    Eine Komposition von:
    Venezuelan Sound artist, researcher and experimental luthier. Experimental Creator formed on Integral Design and Sound Art carrers, which has an individual and collective work that consists of variety of sound pieces geared towards soundscape, installation, performance and radio-art through hybrid creations that assume the reinterpretation and interdisciplinary experimentation in various media and expressive formats. So far, he has developed several individual and collective exhibitions presented in Venezuela. Among his work on individual presentations Postludio2010, Imaginarios de Aldea, 2011. He has also had guest appearance at festivals such as: Muestra Expositiva de Instalaciones y Esculturas Sonoras ARS SONORUS, Segundo y Tercer Encuentro Iberoamericano de Arte Sonoro PARLANTE. As for his collective work, he directed the Primer Encuentro Experimental de Paisajes Sonoros RESONANCIAS and is the co-director of CONTICINIO, sound installation. At this time, he is studying Integral Design and work as director of ECOUS, project about researching, documentation, design and experimental development on acoustic ecology and sound art.
    The melancholy song of frogs Physalaemus fischeri, is the main mark in this hybrid composition that playfully combines two elements: a night soundscape estuary at Caparo Forest Reserve, at Barinas State, along with poems interpreted as sound poetry. The resulting sound image shows an interpretation of a peaceful, cadent plunged night soundscape immersed into the swing of these almost human vocalizations of amphibious species original to some areas in Venezuela.
    Mehr erfahren über: Dalis Crespo

    Eine Komposition von:
    Venezuelan Sound artist, researcher and experimental luthier. Experimental Creator formed on Integral Design and Sound Art carrers, which has an individual and collective work that consists of variety of sound pieces geared towards soundscape, installation, performance and radio-art through hybrid creations that assume the reinterpretation and interdisciplinary experimentation in various media and expressive formats. So far, he has developed several individual and collective exhibitions presented in Venezuela. Among his work on individual presentations Postludio2010, Imaginarios de Aldea, 2011. He has also had guest appearance at festivals such as: Muestra Expositiva de Instalaciones y Esculturas Sonoras ARS SONORUS, Segundo y Tercer Encuentro Iberoamericano de Arte Sonoro PARLANTE. As for his collective work, he directed the Primer Encuentro Experimental de Paisajes Sonoros RESONANCIAS and is the co-director of CONTICINIO, sound installation. At this time, he is studying Integral Design and work as director of ECOUS, project about researching, documentation, design and experimental development on acoustic ecology and sound art.
    Hochgeladen am: 29.08.2013
  • Präludien

    Thomas Taxus Beck

    Eine Komposition von:
    Komposition bei Bojidar Dimov an der RMS Köln; Studium der Musikwissenschaft, Kunstgeschichte und Germanistik an der Universität zu Köln; Studium der Komposition/Elektronische Komposition bei Hans Ulrich Humpert an der Hochschule für Musik Köln; Cursus de composition et d‘informatique musicale, IRCAM, Paris. Leiter des Fachbereichs Komposition, Musiktheorie und Improvisation an der RMS Köln. Seit 2007 kompositorischer Leiter der Response-Projekte der Philharmonie Köln. Preise, Auszeichnungen und Stipendien, u.a. -Honorable Mention Citation Award 2010, National Academy of Music Thessaloniki, Griechenland; -Deutscher Klangkunst-Produktionspreis 2008 des Westdeutschen Rundfunks und des Skulpturenmuseums Glaskasten, Marl; -1. Preis Mobius Award 2007 (gemeinsam mit zinnobergruen), New York, USA; -1. Preis Prix Ars Acustica 2003, internationaler Wettbewerb des Westdeutschen Rundfunks; -Preis des 9. Internationalen Kompositionswettbewerbs des Wiener Sommer-Seminars für Neue Musik 2003, Wien, Österreich; -Stipendium des Visby International Centre for Composers, Gotland, Schweden; Stipendium des ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe; Stipendium des Internationalen Musikinstituts Darmstadt imd und der Fachhochschule Medien, Darmstadt; Arbeitsstipendium der STUDIOS INTERNATIONAL, Interdisziplinäres Zentrum für Kunst und Medientechnologie, Denkmalschmiede Höfgen; Förderstipendium des Landes NRW; Reisestipendium Paris; Stipendium der Stiftung Kulturfonds Berlin; Künstlerhaus Lukas, Ahrenshoop; Arbeitstipendium des Künstlervereins onomato und der Stadt Düsseldorf.
    Thomas Taxus Beck
    Die Aufnahmen von Menschen, die gemeinsam warten, unterscheiden sich akustisch je nach Warte-Ort. Das Klangmaterial besteht aus dem halblauten Stimmengewirr der wartenden Opernbesucher im Saal unmittelbar vor Beginn, dem gedämpften Warten der Kirchenbesucher, der aufgekratzten Stimmung wartender Rockkonzertbesucher, dem angespannten Warten der Reisenden am Hauptbahnhof, der nervösen Atmosphäre wartender Besucher eines Amtes sowie der Wartesituation in einer Musikschule. Ausschließlich diese Klänge wurden elektronisch bearbeitet und zu einer Komposition weiterentwickelt. Der Titel Präludien bezieht sich auf die Eigenheit des Wartens: eine gebundene Zeit in Erwartung des Eigentlichen. Während einer Wartesituation wird die Komposition in einer stereophonen oder quadrophonen Version ohne Ankündigung gestartet. Die Lautsprecher befinden sich dabei im Raum, z.B. als Quadrat. Die Komposition beginnt mit dem Stimmengewirr, mischt sich mit den Geräuschen der Besucher, entwickelt sich, tritt zurück. Die Grenzen zwischen aufführen und zuhören verschwimmen zunächst, bis sich die Komposition als eindeutig gestaltetes Gebilde zu erkennen gibt. Es entsteht ein akustisches Zusammenwirken und eine klangliche Durchmischung von Hörern und Komposition. Der Gesamtaufbau von Präludien ist so konzipiert, dass einige Abschnitte miteinander getauscht werden können, ohne dass dadurch der innere Zusammenhang verlorengeht. Je nach Aufführungssituation bzw. Wartesituation erhält die Komposition einen anderen Beginn und eine andere Reihenfolge der Abschnitte. Eine Komposition durch die Geräusche zufällig Anwesender akustisch verändern zu lassen, öffnet das fixierte und durchstrukturierte Werk und führt es in die unmittelbare Lebenswirklichkeit der Wartenden zurück: Eine gegenseitige Beeinflussung der klanglichen Wirklichkeiten. Die akustische Erweiterung, welche sich in der jeweiligen Aufführungssituation durch die Aktionen der Anwesenden ergibt, findet ihre klangliche Entsprechung in der gestalteten Komposition.
    Mehr erfahren über: Thomas Taxus Beck

    Eine Komposition von:
    Komposition bei Bojidar Dimov an der RMS Köln; Studium der Musikwissenschaft, Kunstgeschichte und Germanistik an der Universität zu Köln; Studium der Komposition/Elektronische Komposition bei Hans Ulrich Humpert an der Hochschule für Musik Köln; Cursus de composition et d‘informatique musicale, IRCAM, Paris. Leiter des Fachbereichs Komposition, Musiktheorie und Improvisation an der RMS Köln. Seit 2007 kompositorischer Leiter der Response-Projekte der Philharmonie Köln. Preise, Auszeichnungen und Stipendien, u.a. -Honorable Mention Citation Award 2010, National Academy of Music Thessaloniki, Griechenland; -Deutscher Klangkunst-Produktionspreis 2008 des Westdeutschen Rundfunks und des Skulpturenmuseums Glaskasten, Marl; -1. Preis Mobius Award 2007 (gemeinsam mit zinnobergruen), New York, USA; -1. Preis Prix Ars Acustica 2003, internationaler Wettbewerb des Westdeutschen Rundfunks; -Preis des 9. Internationalen Kompositionswettbewerbs des Wiener Sommer-Seminars für Neue Musik 2003, Wien, Österreich; -Stipendium des Visby International Centre for Composers, Gotland, Schweden; Stipendium des ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe; Stipendium des Internationalen Musikinstituts Darmstadt imd und der Fachhochschule Medien, Darmstadt; Arbeitsstipendium der STUDIOS INTERNATIONAL, Interdisziplinäres Zentrum für Kunst und Medientechnologie, Denkmalschmiede Höfgen; Förderstipendium des Landes NRW; Reisestipendium Paris; Stipendium der Stiftung Kulturfonds Berlin; Künstlerhaus Lukas, Ahrenshoop; Arbeitstipendium des Künstlervereins onomato und der Stadt Düsseldorf.
    Hochgeladen am: 27.08.2013
  • listening at the end of the world

    Susanna Niedermayr

    Eine Komposition von:
    Susanna Niedermayr *1972, Vienna (AT), studied fine arts and political sciences. From 1995 to 2000 she was a member of WochenKlausur, a Vienna-based international group of artists who have made sociopolitical interventions at the invitation of art institutions and cultural organisations since 1993. She has been working as an editor, presenter, web designer and curator for the ORF (Ö1, FM4) since 1996, amongst others as a presenter of ORF Ö1 Kunstradio. In 2002 she set up line_in:line_out. Since 2007 she has co-curated the ORF festival musikprotokoll im steirischen herbst. Since 2008 she has been one of the two editors-in-chief of the new music program of ORF Ö1, and as a part of this also co-producer of the radio series ORF Ö1 Zeit-Ton, for which she has been working as an editor since 2000. She has published in various publications and has worked as an advisor and curator for Wien Modern, Wiener Festwochen and Turning Sounds (Warsaw), among others. She is co-author of European Meridians – New Music Territories, PFAU, 2002/2003. Susanna Niedermayr lives and works in Vienna.
    pack-ice above the norwegian archipelago Spitsbergen/Svalbard
    My personal summer soundscape 2013. The field recordings on which my soundscape composition „listening at the end of the world“ is based on, i recorded on the 24th of July, 81°02.026'N in the pack-ice above the norwegian archipelago Spitsbergen/Svalbard, on deck of my swimming hotel Plancius. While my fellow passengers were all on the front deck trying to get the best picture of the polar bear, which was just wondering around right in front of the ship, i found a quiet place in the back near the sea surface, where i recorded the variously sounding ice floes, which were passing by the hull planking of the in that moment very slowly moving vessel. There was no wind, the sea was like a mirror and i had probably one of the most impressive sound-experiences of my life. - headphones recommended -
    Mehr erfahren über: Susanna Niedermayr

    Eine Komposition von:
    Susanna Niedermayr *1972, Vienna (AT), studied fine arts and political sciences. From 1995 to 2000 she was a member of WochenKlausur, a Vienna-based international group of artists who have made sociopolitical interventions at the invitation of art institutions and cultural organisations since 1993. She has been working as an editor, presenter, web designer and curator for the ORF (Ö1, FM4) since 1996, amongst others as a presenter of ORF Ö1 Kunstradio. In 2002 she set up line_in:line_out. Since 2007 she has co-curated the ORF festival musikprotokoll im steirischen herbst. Since 2008 she has been one of the two editors-in-chief of the new music program of ORF Ö1, and as a part of this also co-producer of the radio series ORF Ö1 Zeit-Ton, for which she has been working as an editor since 2000. She has published in various publications and has worked as an advisor and curator for Wien Modern, Wiener Festwochen and Turning Sounds (Warsaw), among others. She is co-author of European Meridians – New Music Territories, PFAU, 2002/2003. Susanna Niedermayr lives and works in Vienna.
    Hochgeladen am: 26.08.2013

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