ARTikulationen 2016 An International Festival and Symposium on Artistic Research
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
ARTikulationen 2016 An International Festival and Symposium on Artistic Research
Contents
ARTikulationen – Introduction 6
ARTikulationen – Guest presentations 9
Keynotes 10
PEEK-research (FWF) at Kunstuniversität Graz 10
Short talks on artistic research 11
ARTikulationen – Program 13
Thursday, 6.10.2016 14
Friday, 7.10.2016 14
Saturday, 8.10.2016 16
Sunday, 9.10.2016 17
Abstracts and Biographies of our Guest speakers 19
Clive Brown
Artistic Research into Classical and Romantic
Performing practice 20
Marko Ciciliani
Atomic Etudes (WP, 2016) for Monome and live-electronics
(study for the PEEK project GAPPP) 22
Simon Emmerson
Universität für Musik Reflecting on Composition (and performance) as research 24
und darstellende Kunst Graz
Künstlerisch-Wissenschaftliche Wolfgang Hattinger
Doktoratsschule The music in the body – the body in music.
Leonhardstraße 82-84 Vom Körperausdruck des Dirigenten 25
8010 Graz - Österreich
+43/316/389-1803 Klaus Obermaier
doktoratsschulen@kug.ac.at (St)Age of Participation 26
doctorartium.kug.ac.at
Annegret Huber
www.kug.ac.at
Reasoning AS Art 27
Susanne Scholz Karin Wetzel
Die Virtuosität in der Solo-Violinliteratur The Work in the Work – Differentiation of Form in
vom 16. bis ins 18. Jahrhundert 28 Polyworks of the 20th and 21st Centuries 43
Abstracts and Biographies of our Rigorosum Candidates 31 Ricardo Schermann Eizirik
Maria Gstättner Luc Ferrari as Impulse Generator for Contextualized
Bassoon Performance – Improvisation, Composing 44
Intuition, Transformation 32
ARTikulationen – THE CONCERT 45
Antanina Kalechtys Thursday, 6.10.2016, 19.30 hrs
Neume and Sound – Investigations of Interpretation Opening Concert 46
and Singing Technique in Gregorian Chant on the
Basis of Propers at Women’s Festivals 33 Friday, 7.10.2016, 12.30 hrs
Lecture Recital by Susanne Scholz 48
Gerriet K. Sharma
Composing with Sculptural Sound Phenomena Venues and Public Transport 51
in Computer Music 34
Contact 54
Abstracts and Biographies of our Doctoral Students 37
Joel Diegert
Extending the Saxophone via Live Electronics 38
Hannes Dufek
The Birth of Wonder from the Spirit of New Music:
Utopian Potential in Contemporary Music Creation 39
Roxanne Dykstra
Transcriptions in the Repertoire for the Solo Viola 40
Susanne Fröhlich
The Recorder in the 21st century - the Helder Tenor
at the Intersection of Research and Practice 41
Dorothea Seel
110 Years of Discourse on the Sound Qualities of the
19th Century Flute 42
ARTikulationen – Introduction
The annual festival ARTikulationen of the Artistic Doctoral School Artistic Doctoral School lies on the actual artwork. Each year we also feature one artistic Organization and conception:
with its two formats THE FORUM and THE CONCERT is as much The Artistic Doctoral School of the research project of an experienced research team of our university Dr. Barbara Lüneburg
about art and research as it is about reaching out to our public. It University of Music and Performing Arts that has been distinguished by the Austrian Science Fund with the Senior Scientist, Artistic Doctoral School,
encompasses guest talks, concerts and networking opportunities Graz is delighted to host the first edition of funding for a multi-year artistic research PEEK-project. Kunstuniversität Graz
and serves as a platform for our doctoral candidates to present the festival and symposium ARTikulationen
their artistic and written work to an audience of international on artistic research. Mag. Anne Seibt
experts and to the university and local community. Consultant, Artistic Doctoral School,
LOCATION Kunstuniversität Graz
ARTikulationen is located at the University of Music and Perfor- For more information on the
THE FORUM ming Arts Graz and spreads out to local venues with international Artistic Doctoral School visit:
reach. In 2016 we will cooperate with the Grazer Kunstverein for doctorartium.kug.ac.at
THE FORUM is our annual symposium with talks of the doctoral “ARTikulationen – THE CONCERT“. Grazer Kunstverein, a space for
candidates and international guest lectures. Here the doctoral modern art at the historic Palais Trauttmansdorff is a place of inter-
candidates present the results of their ongoing research. Ad- national artistic discourse. The symposium “ARTikulationen – THE
ditionally, prominent artistic researchers present their current FORUM“ will be held at the Florentinersaal, a place in which many
or life-long research and will be invited to hold keynotes. spectacular symposia have taken place over the years.
THE CONCERT
THE CONCERT lets us connect with the public by presenting “Re-
search through Art“ and “Art through Research“ in form of lecture
recitals. The idea is to let the common audience partake in the
fascination and beauty of artistic research. Doctoral candidates
introduce the local community, colleagues from the university and
our international guests to their artistic work developed within
the framework of their research. The emphasis of the presentation
ARTikulationen – Introduction 6 7
ARTikulationen – Guest presentations
ARTikulationen – Guest presentations
Keynotes Short talks on artistic research
Klaus Obermaier (St)Age of Participation Annegret Huber Reasoning AS Art
(Barcelona) (Universität für Musik und darstellende Kunst, Wien)
Composer, choreograph
Christopher Redgate Rethinking the oboe: What does it take
Susanne Scholz Die Virtuosität in der Solo-Violinlitera- (Royal Academy of Music, London) to develop an instrument for the practi-
(Kunstuniversität Graz) tur vom 16. bis ins 18. Jahrhundert ce of the 21st century and in how far is
Early music and performance- (Christina Kwon – cembalo) this artistic research?
practice, baroque violin
Clive Brown Artistic Research into Classical and
Wolfgang Hattinger The music in the body – the body in (University of Leeds) Romantic Performance practice
(Kunstuniversität Graz) music. Vom Körperausdruck des Diri-
Deputy of the artistic doctoral school, genten
Conductor (Uli Rennert – piano) Simon Emmerson Reflecting on Composition (and perfor-
(De Montfort University, Leicester) mance) as research
PEEK-research (FWF) at Kunstuniversität Graz
Marko Ciciliani Atomic Etudes (WP, 2016) for Monome
(IEM – Kunstuniversität Graz) and live-electronics
(part of the research project GAPPP funded
by the Austrian Science Fund)
ARTikulationen – Guest presentations 10 11
ARTikulationen – Program
ARTikulationen – Program
ARTikulationen – THE CONCERT Thursday, 6.10.2016 Lunch break 12.30-14.00
Venue: Kunstverein Graz
Concert with short talks and performances of the doctoral candi- 19.30 Fagott Performance – Improvisation, Intuition, Transformation 14.00-16.00
dates Dorothea Seel, Susanne Fröhlich, Roxanne Dykstra and Joel Rigorosum Maria Gstättner
Diegert, as well as composer and artistic researcher Marko Cicili- Supervisors: Christa Brüstle, Wolfgang Rüdiger, Doris Ingrisch,
ani (IEM-KUG) who will present first results of his current artistic Gerald Preinfalk
research project GAPPP (funded by the FWF as PEEK project AR 3
164). Please, find a detailed program on page 46.
Reasoning AS Art 16.00-16.30
Annegret Huber
ARTikulationen – THE FORUM Friday, 7.10. 2016
Venue: Florentinersaal Artistic Research into Classical and 16.30-17.00
Greeting and Introduction 10.00-10.15 Romantic Performance practice
by Dr. Ulf Bästlein and Gemeinderätin Sissi Potzinger, member of Clive Brown
the Senate of the City of Graz
Dinner break 17.00-19.30
Die Geburt des Wunders aus dem Geist der neuen Musik. 10.15-11.30
Utopisches Potenzial in gegenwärtigem Musikschaffen Venue: Ira-Malaniuksaal
Hannes Dufek Komponieren mit skulpturalen Klangphänomenen 19.30-21.30
Supervisors: Manos Tsangaris, Annegret Huber, in der Computermusik
Clemens Gadenstätter, Christa Brüstle Rigorosum Gerriet K. Sharma
Supervisors: Marko Ciciliani, Robert Höldrich,
Elena Ungeheuer, Marko Stroppa
Artistic research in Ancient Music 11.30-12.30
Keynote Susanne Scholz
(detailed program on page 48)
ARTikulationen – Program 14 15
ARTikulationen – THE FORUM Saturday, 8.10.2016 Reflecting on Composition (and performance) as research 15.30 -16.00
Simon Emmerson
Venue: Florentinersaal
Live-Electronics as an Enhancement of the Saxophone 10.00-11.00
Joel Diegert Transcriptions in the Repertoire for Viola 16.00-17.15
Supervisors: Lars Mlekusch, Simon Emmerson, Roxanne Dykstra
Gerald Preinfalk, Gerhard Eckel Supervisors: Clive Brown, Nicolas Corti, Andreas Dorschel,
Georg Hamann
110 Jahre Diskurs um den Flötenklang im 19. Jahrhundert 11.00-12.00
Dorothea Seel Dinner break 17.15-19.30
Supervisors: Christoph Hammer, Manfred Hermann Schmid,
Markus Schön, Klaus Aringer Venue: LKH Pfarre
Neume und Klang – Untersuchungen zur Gesangstechnik 19.30-21.30
der Gregorianik anhand des Propriums von Frauenfesten
(St)Age of Participation 12.00 -13.00 Rigorosum Antanina Kalechyts
Keynote Klaus Obermaier Supervisors: Franz Karl Praßl, Gerhard Zeller, Barbara Boisits,
Stephan Zippe
Lunch break 13.00-14.15
ARTikulationen – THE FORUM Sunday, 9.10.2016
Die Blockflöte im 21. Jahrhundert – Der Helder Tenor im 14.15-15.25
Spannungsfeld zwischen Wissenschaft und Praxis Venue: Florentinersaal
Susanne Fröhlich Das Werk im Werk – die Ausdifferenzierung der Form 10.30-11.30
Supervisors: Chris Redgate, Peter Thalheimer, Andreas Böhlen, im Polywerk im 20. und 21. Jahrhundert
Klaus Aringer, Klaus Revers Karin Wetzel
Supervisors: Jörg Mainka, Martin Zenk, Isabelle Mundry,
Jörn Peter Hiekel
ARTikulationen – Program 16 17
Poster presentations of the doctoral candidates 11.30-12.15
The music in the body – the body in music. 12.15-13.15
Vom Körperausdruck des Dirigenten
Keynote Wolfgang Hattinger; guest: Uli Rennert – piano
Lunch break 13.15-14.45
Rethinking the oboe: What does it take to develop an 14.45-15.15
instrument for the practice of the 21st century and in
how far is this artistic research?
Chris Redgate
Luc Ferrari als Impulsgeber eines kontextbezogenen 15.15-16.30
Komponierens
Ricardo Scherman Eizirik
Supervisors: Manos Tsangaris, Martin Zenk,
Germán Toro-Pérez, Jörn Peter Hiekel
Final Feedback Round and Get Together 16.30-19.00
We would like to thank Kunstuniversität Graz for providing ten complimentary tickets for Paradise by Martin Hiendl,
Abstracts and Biographies of
our Guest speakers
a production of ORF musikprotokoll and Kunstuniversität Graz (Sunday, 9th of October, 19.30 hrs, at Mumuth, Leon-
hardstraße 15) Website: www.steirischerherbst.at/english/Programme/musikprotokoll-2016/Paradise
ARTikulationen – Program 18
Clive Brown, University of Leeds, UK Artistic Research into Classical and Romantic Biography Performing practice Mainstream modern practice in the performance of Classical Clive Brown was a member of the Faculty of Music at Oxford Uni- Clive Brown is Director of the CHASE Pro- and Romantic repertoire, both on modern and period instru- versity from 1980 to 1991 and is now Professor of Applied Musico- ject, which investigates the implications ments, is based primarily on the fallacious notion that com- logy at the University of Leeds. Monographs include Louis Spohr: of nineteenth- and early twentieth-cen- posers expected their notation to convey the same messages a critical biography (Cambridge, 1984; revised German edition tury performers’ annotations in music for to the performers of their own day as it does to contemporary 2009), Classical and Romantic Performing Practice (Oxford, 1999; string instruments. musicians. Their concept undoubtedly allowed for much gre- Chinese translation 2012), and A Portrait of Mendelssohn (Yale, ater flexibility of rhythm and tempo, as well as a less rigid con- 2003). He has also published many articles on historical perfor- https://chase.leeds.ac.uk cept of ensemble. Furthermore, in singing and on particular ming practice and, as a violinist, pursues practice-led research. He instruments expressive practices such as portamento, vibrato, has conducted many rare operas, including Haydn’s L’anima del keyboard arpeggiation and dislocation of the hands, were filosofo, Spohr’s Jessonda and Pietro von Abano, Schubert’s Fier- regarded as essential features of beautiful performance. rabras and Die Freunde von Salamanka, Anton Eberl’s Die Königin The critical challenge for performers of this repertoire is to find der schwarzen Inseln, Mendelssohn’s Die Hochzeit des Camacho, a way of rediscovering and responding to the hidden messages J. C. Bach’s Amadis de Gaule, and Salieri’s Les Danaides. His critical, that lie behind the notation of this period. Verbal documents performance-oriented editions of music include Brahms’ Violin alone are an insufficient guide, but early recordings by musici- Concerto and his complete Sonatas for one Instrument and Piano ans trained before the middle of the 19th century provide vital (Bärenreiter); Beethoven’s 1st, 2nd and 5th symphonies, Choral clues for understanding the assumptions that lay behind the Fantasia, and Violin Concerto, as well as a performing edition written word. Ultimately, however, it is only through practical of Mendelssohn’s Die Hochzeit des Camacho (Breitkopf und exploration that the possibilities offered by this knowledge can Härtel); Franz Clement’s D major Violin Concerto (AR-Editions); be internalised and incorporated into performance. A fruitful and Elgar’s Music for Violin (Vol. 37 of the Complete Edition). starting point is direct imitation of recorded models; by degrees this leads to freer, creative application of acquired techniques and stylistic practices to repertoire for which we have no re- levant early recordings. At the University of Leeds during the past two decades this approach has proved effective with a succession of my practice-led doctoral students, whose experi- ences provide a valuable basis for further research in this field. Abstracts and Biographies of our Guest speakers 20 21
Marko Ciciliani, Institute for Electronic Music and Acoustics (IEM),
University of Music and Performing Arts, Graz
Atomic Etudes (WP, 2016) for Monome and This affects the work on several technical levels – e.g. regar- Ciciliani is Professor for Computer-Music
live-electronics (study for the PEEK project GAPPP) ding the implementation of algorithms and the design of Composition and Sound Design at the In-
the interface – but also raises questions regarding the per- stitute for Electronic Music and Acoustics
“GAPPP: Gamified Audiovisual Performance and Performance ception: how do we create a balanced perception of events (IEM) of the Kunstuni Graz. In 2015 Cicili-
Practice“ is an arts-based research project conceived and taking place on a stage area and simultaneously on a virtual ani has been granted funding for a 3 year
run by composer and audiovisual artist Dr. Marko Cicilia- screen? How can the performer act as a mediator and invol- artistic research project titled “GAPPP –
ni (project leader). It is funded by the Austrian Science Fund ve the audience in the performance as “backseat-players”? Gamified Audiovisual Performance and
FWF (PEEK AR 364-G24) and located at the IEM – Institute Performance Practice”. It is funded as part
of Electronic Music and Acoustics at the University of Music of the PEEK program of the Austrian Sci-
and Performing Arts Graz in Austria (runtime 2016-2019). Biography ence Fund and will run from 2016-19.
Computer Games have become a fashionable area of research,
which has been covered by many different fields of research Marko Ciciliani (*1970, Zagreb) is a composer, audiovisual ar- www.ciciliani.com
in the humanities and in the arts. However, only to a compara- tist and researcher based in Austria. The focus of his work lies vimeo.com/channels/cicichannel
tively small extent have computer game elements been explo- in the composition of performative electronic music, often in
red in the realm of audiovisual composition and performance. audiovisual contexts. Lighting, laser designs or the use of live-
This artistic research project starts out with the assumption video are often integral parts of his compositions. The artistic
that player interactions and game strategies offer yet unex- combination of sound and light was also the topic of his PhD
plored models that can be applied in live audiovisual works. research that he completed at Brunel University London in 2010.
Game-interaction – and the doubling of the player in the game in
a virtual space – offer a large potential to create a liveness quality It is characteristic of Ciciliani’s compositions that sound is not
of a novel kind. This does not only concern the performer who only understood as abstract material but as a culturally shaped
is interacting with a responsive audiovisual system but can also idiom. The exploration of a sound’s communicative potential
engage an audience as “backseat-players”. This artistic research is as much in the foreground of his work as its objective sonic
project therefore sets out to explore the combination of game stra- quality. Ciciliani’s work is characterized by a conceptual ap-
tegies and performer interactions for its artistic potential beyond proach in which aspects of classical composition, sound and
the mere imitation of computer games. media-studies play tightly together. The different “genres” in
which Ciciliani’s music can be found are reflecting his mani-
The goal of the research is to develop a thorough understanding fold artistic activities. His music has been performed in more
of the potential of game based elements in audiovisual works. than 35 countries in Europe, Asia, Oceania and the Americas.
Abstracts and Biographies of our Guest speakers 22 23Simon Emmerson, Leicester Media School, Wolfgang Hattinger, Artistic Doctoral Biografie
Studium von Klarinette, Komposition,
De Montfort University, UK School, University of Music and Performing Dirigieren an der Kunstuniversität Graz,
Arts, Graz sowie Philosophie, Psychologie und
Pädagogik an der KF-UNI Graz. Er un-
terrichtet seit 1990 an der Abteilung für
Komposition, Dirigieren und Musiktheo-
Biography rie der Kunstuniversität Graz die Fächer
Simon Emmerson is Professor of Music, Harmonielehre, Analyse, Kontrapunkt
Technology and Innovation at De Mont- und Gehörbildung. 1995 gründete er
fort University, Leicester. Commissions das Kammerensemble szene instru-
include IMEB (Bourges), GRM (Paris) and mental für Komponistenportraits des
Inventionen (Berlin) festivals; Darragh ORF. Seither widmet sich das Ensemble
Morgan, Philip Mead, the Sond-Arte der Aufführung zeitgemäßer Musik
Ensemble (Lisbon). Recordings of his verschiedenster Richtungen mit mehr
Reflecting on Composition (and performance) works are available from Sargasso. Pre- The music in the body – the body in music. als 100 Rundfunkeinspielungen für ORF,
as research vious writings include The Language of Vom Körperausdruck des Dirigenten RAI, Radio Slovenija, Hessischer und
Electroacoustic Music (Macmillan, 1986), Bayrischer Rundfunk, sowie Konzerten
My field is electroacoustic music, including studio work (recor- Music, Electronic Media and Culture Ein häufig bemühtes Stereotyp benennt das Orchester als das in Europa und den USA. Von 1998-2004
ded sound), ‘mixed’ (live performance with recorded sound) and (Ashgate, 2000) and Living Electronic eigentliche Instrument des selbst stummen Dirigenten. Dieses war er Dirigent und Kapellmeister bei
live electronic (live performance with real-time transformation Music (Ashgate, 2007). Most recently hätte er ähnlich zu bespielen wie etwa ein Geiger seine Geige. den Vereinigten Bühnen Wien und arbei-
of sound). This may include scored and improvised components. editor (with Leigh Landy) and con- Tatsächlich jedoch ist das unmittelbare Instrument des Dirigenten tete dort u.a. mit Roman Polanski und
Many of the research students I have either supervised or exami- tributor to Expanding the Horizon of dessen Körper, durch den er seine innerlich vorgestellte und also Phillippe Arlaud zusammen. Darüber
ned have needed to produce a written document contextualizing Electroacoustic Music Analysis (CUP, erlebte Musik kommuniziert. Geschichtlich lassen sich an Franz hinaus dirigierte er zahlreiche Konzerte,
(in some way) their practice-based folio. This is usually described 2016). He was founder Secretary of Liszt und Arturo Toscanini zwei Prototypen für den Einsatz des Opern- und Rundfunkproduktionen.
as “reflecting on practice“. There are no set rules for this but a EMAS (The Electroacoustic Music Körpers beim Dirigieren festmachen. Liszt propagierte ein Mit- 2007 wurde er zum Ao.Univ.Prof. für das
range of approaches that each university or college (in the UK) Association of Great Britain) in 1979 und Nachzeichnen des musikalischen Flusses, ein körperliches gesamte Fach Musiktheorie habilitiert
can interpret in their own way, although a ‘core’ set of options has and a Trustee of its successor organi- Eingehen auf ihren Energieverlauf – ich nenne dies ein mimeti- und promovierte 2012 zum Dr.phil.
emerged. I shall review some of these and try to evaluate their sation ‘Sound and Music’ 2008-2013. In sches Dirigieren. Toscanini hingegen plädierte für ein akkurates 2013 erschien sein Buch Der Dirigent.
strengths and weaknesses. Then there are questions such as: What 2009-2010 he was DAAD Edgar Varese Ausführen der in der Partitur festgehaltenen Zeichen, ihre “wort“- Mythos, Macht und Merkwürdigkeiten
is a ‘research question’ for our practice? What is the equivalent of Visiting Professor at the TU, Berlin. genaue Realisierung – ich nenne dies ein ordnendes Dirigieren. – eine Arbeit über die (unbekannten)
the ‘literature review’? If ‘self analysis’ is impossible (and unwise!) Diese beiden Extrempositionen bedingen grundverschiedene Hintergründe des Dirigentenberufs. Als
what can replace it? These questions rest in turn upon the biggest Keynote addresses: ACMC 2011 (Auck- Körpersprachen, die sich vor allem von einem fundamental ab- Autor, Dirigent und Moderator betreut
question of them all – for what (and for whom) is a research degree land), ICMC 2011 (Huddersfield), Music weichenden Verständnis von Komposition und Schrift herleiten. er seit 2012 das Orchesterprojekt „YPC
by practice? [I shall be expressing my own personal opinions!] Science Technology 2012 (São Paulo), Als Konsequenz lässt sich behaupten, dass sich der entscheidende – Young People‘s Concerts“ von recrea-
WOCMAT 2012 (Taiwan), Audiomostly Impuls für den Körperausdruck im inneren Mitvollzug der Musik, tion – Großes Orchester Graz. Seit dem
2014 (Aalborg), AHEM 2016 (London) im psycho-somatischen Identisch-Werden findet. Ein moderner Studienjahr 2016/17 ist er Vorsitzen-
Dirigierunterricht hätte auf diese Anforderungen zu reagieren. der des Senats der Kunstuniversität.
Abstracts and Biographies of our Guest speakers 24 25Klaus Obermaier, choreographer, composer, visiting professor at Annegret Huber, Institute of Analyses, Theory and History of Music,
the University IUAV of Venice/Italy and Babes-Bolyai University in University of Music and Performing Arts Vienna, Austria
Cluj-Napoca/Romania
Biography Reasoning AS Art
In current debates on artistic/arts-based research we can still
Since more than two decades media- observe a certain degree of ‘Othering’: When academic re-
artist, director, choreographer and search fears that creative thinking may lead to findings too
composer Klaus Obermaier creates inno- vague to be considered as research ‘proper’, artists contend
vative works with new media in perfor- that the rationality of academic objectives leave most relevant
ming arts, music and installations, highly aspects in art unexplored. The differences seem irreconcilable.
acclaimed by critics and audience. However, choosing music analysis and composition as an ex-
Since 2006 he is visiting professor at the ample for ‘reasoning’ in musical structures I am going to argue
(St)Age of Participation University IUAV of Venice/Italy, since that there are several interfaces that are worth discussing.
2013 also at Babes-Bolyai University
“(St)Age of Participation“, a three year arts-based research project in Cluj-Napoca/Romania teaching in-
supported by the FWF, was a collaboration with the Ars Electro- teractive arts and performances.
In 2005 and 2008 he taught as an ad- Biography
nica Futurelab and took place between 2012 and 2015. Audience
participation in stage based performances, i. e., with professional junct professor for composition at the Annegret Huber, musicologist, music theorist and pianist; since
performers, was in the focus of this research. Webster University Vienna. In 2010 and 2008 professor for musicology (focus on music analysis) at the
2011 he held courses for choreogra- mdw – University of Music and Performing Arts Vienna (Depart-
In history theatre always was the platform where human expres- phy and new media at the Accademia ment of Musicology and Performance Studies); studies: Music
sion and new technological developments met. But if we think Nazionale di Danza di Roma. From 2006 for Secondary School Teachers (State University of Music and the
of the performance practice in Shakespeare‘s time, it was also a to 2014 he was jury member of the Performing Arts Stuttgart), music pedagogy piano (University of
place for social communication and interactions. Based on new international choreography competiti- Music Lübeck), instrumental study piano performance (mdw); Mag.
technologies to empower the audience, we investigated new on “no ballet“ in Ludwigshafen/Rhein, art. in music theory (mdw), Dr.phil. in musicology (Vienna Univer-
settings and narratives as well as findings from (social) flow theory. Germany. He gives lectures at interna- sity, thesis on Fanny Hensel’s “Lieder für das Pianoforte” as a form
tional universities and institutions. He of experimental composition); academic teaching: music analysis
In my talk I will start with an introduction why and how I started to lives in Vienna, Barcelona and Venice. as a main artistic subject in the degree programmes Compositi-
become interested in this topic and will follow with fundamental on/Music Theory, Conducting and Sound Engineering; focus of
questions and challenges which occurred during our research. And research: history of the teaching of composition, epistemologi-
because it was a practice-based research, I will present some of our cal problems of music analysis (especially in contexts of cultural
results. studies, gender studies, media studies and arts-based research).
Abstracts and Biographies of our Guest speakers 26 27Susanne Scholz, Institute of Early Music and Performance Practice,
University of Music and Performing Arts Graz
Die Virtuosität in der Solo-Violinliteratur vom rumentarium und den Kompositionen zuordenbaren Spieltechnik, Wert auf die Art der musikalischen wie
16. bis ins 18. Jahrhundert die sich in zahlreichen Aspekten wie der Haltung, Artikulation und szenischen Umsetzung und leitet selbst
Stimmung zeigt. die musikalische Seite der Produktionen
“Virtuosität” ist ein komplexer Begriff mit einer im Ursprung des Die Kompositionen von Bassano, Dowland/Schop, Playford/Mell, vom Konzertmeisterpult aus.
Wortes stark inhärenten, moralischen Komponente (“virtus” aus Baltzar, Vilsmayr und Bach stellen Werke dar, die, in völlig verschie- Zahlreiche Einspielungen zeugen von
dem Lateinischen bedeutet “Tugend”), die sich in der deutschen dener Umgebung und für gänzlich verschiedene Zuhörergruppen ihrer künstlerischen Tätigkeit. Die Umset-
Sprache im 19. Jahrhundert auf die heutige Bedeutung verengte dargeboten, über den Zeitraum von 170 Jahren als Soloviolinmu- zung ihrer künstlerische Forschung führ-
und auf das herausragende Können in einem gewissen Gebiet sik erklungen sind und in diesem Programm die weitreichende te zuletzt zu CD-Produktionen mit ihrem
beschränkt. Wandlung des Genres der instrumentalen Sololiteratur durch Zeit Ensemble “chordae freybergenses“ auf
und Umfeld hörbar machen. Renaissanceinstrumenten und zu einer
Das hier in Angriff genommene Thema will aber genau diese Aufnahme der Sonaten des Opus V von
exemplarische und an die Grenzen des Instrumentariums gehende A.Corelli mit dem Cembalisten Michael
Fähigkeit aufgreifen, welche einem musikalischen Vortrag eine Hell (beide Label “Querstand“).
besondere Spannung verleihen soll. Biographie
Ihre Unterrichtstätigkeit brachte sie von
Dieses Projekt geht erstens von der Prämisse aus, dass Komposi- Susanne Scholz wirkt als Geigerin auf Instrumenten der Renais- 1995-99 nach Wien, seit 1999 nach Leip-
tionen, wenn sie aus ihrem ursprünglichen Kontext gerissen und sance, des Barock und der Klassik wie auch als Leiterin von Ensem- zig und ab 2013 auch nach Graz, wo sie
dem dafür verwendeten Instrumentarium und der dazugehörigen bles vom Renaissanceconsort bis hin zum Opernensemble. Sie gibt als Professorin für Barockvioline bzw. für
Spieltechnik beraubt werden, die damit verbundene Virtuosität international Konzerte, Meisterkurse und Vorträge. Susanne Scholz Kammermusik/Barockorchester in steti-
verlieren und ihnen dadurch ein wichtiger Teil der von den Kom- studierte in Graz, Wien und Den Haag. Sie spielte mit diversen En- ger und intensive Zusammenarbeit mit
ponisten intendierten Attraktivität entzogen wird. sembles, wobei vor allem ihre kontinuierliche Arbeit mit “Les Arts KollegInnen in ganz Europa versucht,
Florissants”, Paris, und “La Petite Bande”, Brüssel, hervorzuheben Neugierde und Leidenschaft auf neue
Zum Zweiten soll im Umkehrschluss durch die Wiedereinbezie- sind. Fragestellungen innerhalb der Musikpra-
hung der damaligen aufführungspraktischen Realität mit entspre- xis weiterzugeben. Überdies beschäftigt
chendem Instrumentarium und der dazugehörigen Spieltechnik Große Opernproduktionen unter ihrer Leitung entstanden vor sie die Erforschung von neuem Reper-
den Kompositionen diese Komponente der Virtuosität wiederge- allem in Leipzig, viele davon als Erstaufführungen in heutiger Zeit, toire und deren Aufführungspraxis und
geben und für das Publikum nachvollziehbar gemacht werden. mit Opern von Heinichen, Telemann, Bononcini, Förster, Blow, die Frage, wie dieses an ein im Wandel
Im Blickfeld dieses Projekts befindet sich Musik von 1587 bis 1720, Hasse. Geichzeitig brachte sie wichtige Werke von Vivaldi, Purcell, befindliches Publikum weiterzugeben
die auf verschiedenen, jeweils dem Umfeld der Kompositionen Campra, Stradella, Fux, Draghi und Lully auf die Bühne. Bei allen ist.
adäquaten Instrumenten erklingt, gespielt mit einer diesem Inst- von ihr konzipierten Produktionen legt Susanne Scholz größten
Abstracts and Biographies of our Guest speakers 28 29Abstracts and Biographies of our Rigorosum Candidates
Maria Gstättner, Bassoon Performance Biography researcher on the team of the PEEK/FWF project “Quo Vadis, Teu- demands a continual connection back
felsgeiger?“ (Quo Vadis, Devil’s Violinist?) at the University of Music to artistic practice. The evaluation of
– Improvisation, Intuition, Transformation Maria Gstättner, born in 1977 in Mürz- and Performing Arts Vienna. Since 2011 she has been a doctoral theoretical data through the knowledge
zuschlag, Austria, lives and works in candidate at the University of Music and Performing Arts Graz. and experience gained through vari-
Vienna. She holds a degree in bassoon ous performance situations aids in the
performance from the University of construction of a methodical approach
Music and Performing Arts Vienna, to research question formulation. These
After my classical bassoon studies with interpretation as a central which she earned in 2005 with distinc- are found at the intersection between
discipline, I began to be interested in autonomous music making: tion. Her interest in resonance painting semiology as fundamental research
I began improvising and composing. Improvisation is defi- (Klangmalerei) paved the way for work and performance practice. The ultimate
ned in the dictionary as “unexpected,“ “spontaneous“ creation in composition, improvisation, and Antanina Kalechyts, Neume and Sound goal is a material contribution to the
(from the Latin improvisus). In his book “Improvisation: Its Na-
ture and Practice in Music“ Derek Bailey writes: “improvisation
interdisciplinary performance art, fields
in which she has been active since
– Investigations of Interpretation and field, enabling us to understand this
music in its breadth and depth, and
enjoys the curious distinction of being both the most widely 2006. Her compositions have been Singing Technique in Gregorian Chant on through this knowledge of its back-
practised of all musical activities and the least acknowledged performed at renowned festivals and ground, to find once more, as accura-
and understood.“ What are the reasons for this? Does improvi- venues for world music as well as for the Basis of Propers at Women’s Festivals tely as possible, its original sound.
sation – as is often claimed – truly intersect with composition? improvised and new music, among
What salient points are there to so-called instant compo- others Wien Modern, Styriarte, Cultural
sing? What are the open aspects of musical improvisation? Museum Chicago, Klangspuren Schwaz, Biography
These are but a few of the questions that have arisen in my and the Musikverein Wien, performed
doctoral research. Through the implementation of various mo- by such ensembles as Kontrapunk- Due to the long periods of time separating the origins of the Antanina Kalechyts is a multifaceted
des of improvisation to generate music, I immersed myself in te, the next step, and Platypus. fundamental Gregorian repertoire, first attempts at its notati- musician. Her wide range of musical in-
the field of intuitive music and its possibilities. Over the course Her musical oeuvre extends from work on, and the present day, the concept of correct performance terests led to Master’s degrees with Ho-
of more than two hundred public performances leading to the with the Vienna Philharmonic, Vienna practice and “original technique“ should be treated with great nours from the University of Music and
codification of a grounded theory, keywords vital to my research Symphony Orchestra, Vienna Radio caution. Many questions dealing with melody restoration, source Performing Arts Graz in church music,
began to emerge. These include the terms intuition, body, Symphony Orchestra (RSO), and Vienna reconstruction, and modality of source comparisons have been organ performance, and orchestral con-
space, awareness, and relationships. I reflect these key terms in Volksoper, to collaborations with con- researched and subsequently answered. Yet very few research ducting. Her focus on Gregorian chant
my work. I also relate them back to the bassoon as the physical temporary ensembles such as Klang- works deal with the transferability of performance practice. in the framework of her church music
instrument and tool with which I opened the research process: forum Vienna, Kontrapunkte, die reihe, In this dissertation, manuscripts from the original time period, studies was the basis for her intensive in-
auditory spaces, espistemic spaces, transformational spaces. and PHACE. In addition to numerous as well as selected newer manuscripts, are examined in order to volvement in this musical genre through
solo and chamber performances, she investigate how much information one can discern from these participation in numerous masterclasses
also performs on the stages of the Vien- sources about the method and practice of Gregorian chant. The and festivals. Antanina Kalechyts’ desire
Internal supervisors and external advisors: Gerald Preinfalk na Burgtheater and Volkstheater. Gstätt- focus of this dissertation is the exploration of the interpretation of to breathe new life into interpretations
and Christa Brüstle (University of Music and Performing Arts Graz), ner currently teaches at the University selected neume groups, melismas, and individual neumes, whose through both semiotics and personal
Wolfgang Rüdiger (Robert-Schumann-Hochschule Düsseldorf ), Do- of Music and Performing Arts Vienna. performance practice has heretofore either remained unexplored artistic conviction led to her founding
ris Ingrisch (Universität für Musik und darstellende Kunst Wien) From 2010 until 2012 she was a junior or has not yet been thoroughly investigated. This particular aspect the ensemble “Graces and Voices“.
Abstracts and Biographies of our Rigorosum Candidates 32 33As a scholar funded by the Artistic Doctoral School at the Uni- sahedron loudspeaker, a sound system Biography
versity of Music and Performing Arts Graz, Antanina Kalechyts developed at the Institute of Electronic
examines important questions on the interpretation of Gregorian Music and Acoustics at the University Gerriet K. Sharma, born in 1974 in Bonn, lives in Graz and Cologne
chant through the lens of her doctoral dissertation. As an orga- of Music and Performing Arts Graz. The and is a sound artist and composer. He studied at the Academy
nist, she performs in concerts across Europe (in countries such as central research question deals with of Media Arts Cologne (KHM) and graduated with a Diploma
Austria, Switzerland, Belgium, Germany, France, Italy, and Belarus) Shared Percetual Space (SPS): the space in Media Art. He later earned his Master‘s in Composition and
and has won several international prizes in organ performance. where composers, researchers, and the Computer Music at the Institute of Electronic Music and Acou-
In addition to her work as a church musician and repetiteur, public intersect. The artistic research stics (IEM) at the University of Music and Performing Arts Graz.
Antanina Kalechyts has conducted such diverse ensembles work is structured as a three-step pro-
and orchestras as the Musiktheater of the University of Mu- cess: using a series of electroacoustic He has worked for years with modern room and sound projec-
sic and Performing Arts Graz, Mumuth, Opera Graz, the Franz compositions that build on each other tion and electroacoustic sound sculpture in the context of his
Lehár Festival in Bad Ischl, and Sirene Operntheater Vienna. as an investigational framework, the artistic work. Additionally, he works with sound installations in
sculptural aspects of this sound pheno- public spaces. In 2010 he founded the ensemble “Kanzlei für
menon, its origin, stability, and repro- Raumbefragungen“ (Chambers for Space Inquiries). As of May
Internal supervisors and external advisors: Gerhard Zel- ductibility will be followed. Parallel to 2015 he holds the position of artistic researcher on the PEEK/
ler and Franz Karl Praßl (University of Music and Performing the compositional process, the attempt FWF project “Orchestrating Space by Icosaedral Loudspeaker.“
Arts Graz), Stephan Zippe (Hochschule für Musik und Theater will be made to codify a standardized
München), Barbara Boisits (Austrian Academy of Science). “language“ of terms for the generated He is the recipient of numerous honours, among others the
sound objects. Thirdly, a collaborati- position of composer-in-residence at ZKM | Center for Art and
on with engineers will enable me to Media in Karlsruhe. In 2014 the Kunststiftung Nordrhein Westfalen
take measurements and create phy- supported his sound installation series “Archipel,“ and in 2009 as
sical models with the aim of defining, well as 2011 he was resident of the PACT Zollverein Essen (centre
illustrating, and explaining through for performing arts and media art). In 2011/2012 he was awar-
Gerriet K. Sharma, psychoacoustics the artistically genera- ded a research stipend from the Federal Ministry of Science and
ted space-sound phenomenon. These Research bm:wf, Austria for his architecture/sound composition
Composing with Sculptural Sound interlocked investigatory methods series keine Ahnung von Schwerkraft (“Oblivious to Gravity”). In
Phenomena in Computer Music will inform the further compositional 2009 he received the renowned Chargesheimer Grant from the
process step by step and will lead to an City of Cologne. He was a recipient of a yearlong DAAD scholar-
increased understanding and genera- ship both in 2007 and 2009. He received the highest honour in
lized practice of artistic work with these the field of sound art, the Deutscher Klangkunst-Preis, in 2008.
phenomena. As to my research theme,
Through my dissertation I seek to investigate, both in theory and I deal with space and the perception
in practice, hitherto underexplored electroacoustic room-sound of space through art as well as within Internal supervisors and external advisors: Marko Ci-
phenomena that have emerged in conjunction with certain speci- art itself. I hereby participate through ciliani and Robert Höldrich (University of Music and Per-
fic sound production techniques in computer music over the last my dissertation in the quest for new forming Arts Graz), Marco Stroppa (Musikhochschule
forty years. For this work I will employ and further develop the ico- auditory aesthetics of space and sound. Stuttgart), Elena Ungeheuer (Universität Würzburg).
Abstracts and Biographies of our Rigorosum Candidates 34 35Abstracts and Biographies of our Doctoral Students
Joel Diegert, Extending the Saxophone via Live Electronics Hannes Dufek, The Birth of Wonder from active as an improvisational performer.
What may at first glance seem like a
the Spirit of New Music: Utopian Potenti- random combination of artistic pursuits
al in Contemporary Music Creation is, rather, the expression of a pulsing and
open curiosity tied closely to the spirit
of musical investigation. Hannes Dufek
is one of the three co-founders and one
Attempts to enhance traditional live music-making with electro- He has appeared in international My project deals with possibilities in art (as in life) of imagining of the artistic directors of Ensemble
acoustic processes in art music can be traced back at least to the festivals such as Wien Modern, Bre- utopias, turning them into reality, and making them effective. Platypus; additional responsibilities
early 1950‘s when the first research in electronic music was taking genzer Festspiele, Vienna SaxFest, Emerging from the thesis that new music finds itself in close in this field include Theaterkollektiv’s
place. The ensuing exponential advance of technology and the Synthermeia Festival in Greece and proximity to diverse utopias (or at least could, or should), I con- makemake productions since 2011,
development of powerful hardware and software has brought an at World Saxophone Congresses held textualize my own creative oeuvre within the framework of both as well as his position as Schriftführer
enormous range of possible electronically-generated sound to in Thailand, Scotland and France. His historical context and comparison to contemporary positions. (secretary of minutes) for IGNM Austria.
the fingertips of every musician with a laptop. Despite the signi- concertizing has brought him to 26 This search, or desire, for the utopian aspect of writing, the artist‘s In the course of these engagements,
ficant amount of artistic work that has been done, there remains countries in America, Europe and Asia. condition, yet also for the utopia of reality (in other words, the opportunities arose for international
a chasm for composers and forward-looking performers to fill. Joel is dedicated to the development performance situation) in music, is the balance point of my work, recognition and collaborations with
For many instrumentalists the prospect of employing electronics and promotion of contemporary music, which closely unites psycho-perceptual, sociological, and cultural- such organisations as Wien Modern,
to extend their instrument appeals to their desire for new modes having premiered countless works in theoretical observations along with more strictly musical interests. the Oldenburgisches Staatstheater, the
of artistic expression, but an imposing barrier to entry blocks all collaboration with modern composers. Central research questions are those which orient themselves Tonkünstler Orchestra, and ensembles
but the most tenacious. This research project takes the form of Joel has also performed with ensembles according to cultural milieu, the social function of (new) mu- such as Thürmchen Ensemble, Ensemble
an investigation of extended instrument from a hands-on perfor- including Musikfabrik, PHACE, FIVE SAX, sic, the realities and possibilities of this intersection, as well XX. Jahrhundert, SNIM, PLENUM, and
mance perspective, aiming to integrate software and hardware Module Saxophone Quartet, Solaris Duo as those that deal with relevant and effective transmission of Noisebridge. His scores are published by
tools while developing a corresponding performance practice. and the Vienna Saxophonic Orchestra. each diffuse emotional connotation of the utopian in objec- Verlag Neue Musik (Berlin), and he has
tive and salient points, after ever improved approaches and released recordings of his compositions
Biography their implementation in my own work. At the conclusion of on the MICA and Col Legno labels.
my research, I should possess a better understanding of the Hannes Dufek received an honorary
American saxophonist Joel Diegert has won prizes at several actual utopian motivating forces that I experience – a convin- mention for the Young Composers
major international competitions, including his first-prize win cing artistic practice and a utopian stance expressed through Award at the ISCM World New Music
of the 2006 North American Saxophone Alliance competition, this practice. A more authentic position with regard to the Days 2014, and is a recipient of this
and prizes at the 2011 Jean-Marie Londeix Saxophone Compe- music world and my own activities in the cultural sphere. year‘s State Grant for Composition
tition, the 2011 Gaudeamus Interpreters Competition, and the Internal supervisors and external (Staatsstipendium) from the Fede-
Saxiana International Chamber Music Competition in 2009. advisors: Gerald Preinfalk and Gerhard Biography ral Chancellery of Austria (BKA).
Joel has performed at prestigious venues, such as the Vienna Eckel (University of Music and Perfor-
Konzerthaus, Gasteig Munich, National Concert Hall in Taipei, ming Arts Graz), Lars Mlekusch (Konser- Hannes Dufek studied composition in Vienna and is active in many Internal supervisors and external ad-
Teatro del Lago in Chile, RadioKulturhaus Vienna, Odeon Theater vatorium Wien, ZHdK), Simon Emmer- areas of new music creation. In addition to his primary occupation visors: Clemens Gadenstätter and Chris-
Vienna, the Concertgebouw and Muziekgebouw in Amsterdam. son (De Montfort University Leicester). as composer and organiser, he works in areas such as theatre and ta Brüstle (University of Music and Perfor-
studio music. He has been the musical director, advisor, concept ming Arts Graz), Manos Tsangaris (HfM
developer, and curator for many varied projects and is frequently Dresden), Annegret Huber (Universität
für Musik und darstellende Kunst Wien)
Abstracts and Biographies of our Doctoral Students 38Roxanne Dykstra, Transcriptions in focused on musical and community Susanne Fröhlich, The Recorder in the on the Helder tenor recorder with J.
development of rural and artistically Fischer at the Akademie für Tonkunst,
the Repertoire for the Solo Viola disadvantaged communities, exploring 21st century – the Helder Tenor at the Darmstadt. As of October 2015 she is
musical engagement as a means to Intersection of Research and Practice a doctoral candidate at the University
promote social justice. She is founder of Music and Performing Arts Graz.
and co-director of the Orchestra North Susanne regularly presents concerts
Summer Program, a project unprece- and workshops both within Europe
Roxanne Dykstra is working to elaborate the repertoire of pre- dented in Canada for its rural focus and Since its beginnings in the 14th century, the recorder has been and internationally. As a former foun-
1915 works for solo viola through transcription and to use this demographic reach. Striving to bring undergoing a constant process of transformation as it continually ding member of the recorder quartet
repertoire in concert to explore the dynamics between perfor- greater levels of positive community weaves itself into the musical tapestry of the changing times. The QNG - Quartet New Generation, she
mer, composition and audience. The project thus necessitates engagement through artistic involve- variety of forms it has taken throughout history affords us the has performed as soloist, in various
two phases: first, a research and creation phase, building a varied ment, Roxanne works with immigrant possibility of working not only with historical instruments, but also chamber music formations, as well as
new repertoire by identifying suitable works and developing groups to Canada, and organizes tours with contemporary recorder models. Thus I work to answer the in the context of various productions
and implementing transcribing techniques. Dykstra is seeking to reach groups and communities questions of what role the recorder takes up in the 21st century, in the realm of opera and theatre,
transcription possibilities from repertoires of many Sources, that have little opportunity to expe- as well as to what degree contemporary recorder models can among others andcompany&Co, Con-
including obsolete instruments, less obvious repertoires such as rience professional performance. She enrich the repertoire, add to the catalogue of of available play- stanza Macras/dorkypark, and Opera
voice, piano or ensembles, and my own Canadian aural music has been recruited to help start the ing techniques, and expand recorder performance practice. Lab Berlin. She performed numerous
traditions. The second phase involves performing this repertoire, new Northern British Columbia Aca- In my research, I focus mainly on a certain model: the Helder premieres in world class concert hou-
bringing it to various audiences through solo viola concerts, and demy of Music, where she presently Tenor recorder. The Helder Tenor was developed in the 1990s ses and festivals, with such groups as
observing reception to these concerts by audiences of various is Head of Viola and Orchestras. by Maarten Helder and fulfills, according to my experience, all Ensemble Adapter, Collegium Novum
levels of experience, background and education. As a Canadian, Roxanne‘s work as solo, chamber and the requirements expected from a recorder in the 21st century: Zürich Figura Ensemble, Ensemble
Dykstra seeks to emphasize Canadian content and to compare orchestral violist has her regularly balanced volume, dynamic possibilities, extended pitch range, ICTUS, and Neue Vokalsolisten.
audiences in various parts of Canada with those of Europe. The performing across Canada and Euro- and increased tone colour possibilities. In modern orchestral Susanne has been awarded interna-
main question of her doctoral project: What repertoire is effective pe, occasionally to Australia, Russia instruments these characteristics are a given; however, when tional honours and scholarships in
on the viola, and what does this tell us about elements leading to and Turkey. She has volunteered considering the recorder, performers are often forced to rely on Berlin, Darmstadt, Göttingen, Kra-
effective performance? This fits into the larger question: how can extensively in orphanages and care many tricks and special techniques, and even then, they still must kow, New York, and Rotterdam. She
musicians effectively and positively engage all parts of society? facilities in Canada, Ukraine, Peru, and face many limitations imposed by the instrument. With regard to has lived and taught in Berlin from
Portugal. Roxanne is a grateful reci- method, extended instrumental techniques, and performance 2004. Since April 2010 she has held
Biography pient of the KUG doctoral stipend. practice, we find ourselves at a beginning point with a world a teaching position at the Berlin Uni-
of information yet to research, to gauge, and to document. versity of the Arts. Susanne is a reci-
Roxanne Dykstra earned the highest performance diploma in pient of the KUG doctoral stipend.
piano at the Royal Conservatory of Music (Canada) and a Masters Internal supervisors and external Biography
of viola performance at the Université de Montréal. She studied advisors: Nicolas Corti (ZHdK), Andreas Internal supervisors and external
chamber music at the Conservatorio di Milano and earned the Prix Dorschel (University of Music and Per- Susanne Fröhlich (born 1979 in Passau) studied recorder at the advisors: Andreas Böhlen, Klaus Aringer
de Master (viola) at the Conservatoire National Supérieur of Lyon. forming Arts Graz), Georg Hamann (Uni- Conservatorium van Amsterdam with P.T. Leenhouts. After gradu- and Peter Revers (University of Music
Roxanne‘s 15-year career as performer, teacher and director has versity of Music and Performing Arts Vi- ating with a concert diploma, she earned her Master‘s degree in and Performing Arts Graz), Christopher
enna), Clive Brown (University of Leeds). 2004 with distinction. She then studied with Prof. G. Lünebürger Redgate (Royal Academy of Music, Lon-
at the Berlin University of the Arts, where she earned her Konzert- don), Peter Thalheimer (HfM Nürnberg)
examen, likewise with distinction. In April 2015 she began studies
Abstracts and Biographies of our Doctoral Students 40Dorothea Seel, 110 Years of Discourse on the Sound Qualities Karin Wetzel, The Work in the Work – Differentiation of Form
of the 19th Century Flute in Polyworks of the 20th and 21st Centuries
In the concert world as well as in the context of music educa- München, Musica Antiqua Köln, and the Since the 1970s various composers have composed, independent- sity of Music and Performing Arts Graz.
tion, a stereotype persists that in the musical repertoire of the Concentus Musicus under the batons of ly from each other, polyworks: larger-scale “meta-works“ that con- Her compositional output encompasses
19th century, only a single type of flute was used: the cylind- such conductors as S. Rattle, R. Nor- sist of at least two works which can be performed either simultane- works for solo instruments, ensemble,
rical (mechanical action) flute of Theobald Böhm. In this dis- rington, T. Pinnock und N. Harnoncourt. ously or independently of each other. The principle of polyphony, orchestra, electroacoustic works, and
sertation, this assumption will be fundamentally questioned. She is active worldwide as a soloist and i.e. the unification and weaving together of idependent lines in installations. Her compositions have
To this end, original sources and instruments will be used to has given masterclasses for transverse, a phrase consisting of multiple lines, is applied in this context to been performed by such musicians and
support the assertion that during this time period, a wide ran- classical, and romantic flute at universi- the entire works themselves, as well as their constituent parts. ensembles as Ensemble Modern, Prime
ge of flute types was in fact employed, and their sound poten- ties and festivals in England, Germany, In the past 40 years, a number of compositions have appeared Recorder Ensemble, Johannes Kalitzke,
tial was well integrated into the compositions of the time. Austria, Singapore, the USA, and Latvia. which employ the formal ideas of polyworks in various ways. Antonio Politano, Ensemble Avantgarde,
By the 19th century, an intensive discourse about the “true flute As artistic director of the ensemble Up until now these concepts and their potential – where, Steffen Schleiermacher, Andrea Kiefer
sound“ had already arisen. Musical aesthetics differed from “Barocksolisten München“ she has consistently, unusual conceptions of time are found – have (accordion), and the Leise Dröhnung
region to region and from composition to composition. Today brought to the stage the Vivaldi concer- not been sufficiently researched. This dissertation aims to Duo. Her works have been featured at
this range of variations has been evened out in “historical perfor- ti and solo concerti by J. Zach. In 2016 close this gap. Through leading research questions, such such festivals as the Archipel Festival
mance practice.“ The study of the 19th century flute is regularly she will perform further Zach concerti as how various forms of polyphony and layering interlock Geneva, Spring in Havana, ICMC Athens,
reduced to merely the Böhm flute, which did not even exist in its as well as concerti by J. S. Bach. She within the formal structure of a polywork, comparative me- cresc… Biennale für moderne Musik
present form at that time. An integral component of the disser- records for Hänssler Classic. In 2015 thods will be applied in order to analyze and contextualize Frankfurt Rhein-Main, and Tagen für
tation is musical examples, which demonstrate the vast range she received a research fellowship for the studied polyphonic approaches and techniques. neue Musik (New Music Days) Weimar.
of tone variations found in instruments of this time period. her Doctoral work from the University Karin Wetzel received scholarships
of Music and Performing Arts Graz. Biography from the “Studienstiftung des deut-
Biography schen Volkes des DAAD“ and the
Karin Wetzel was born in 1981 in Berlin and began her musical Swiss Bundesstipendium (grant). In
Dorothea Seel graduated with distinction from her studies education early with piano studies. She took her first composition 2011 she was Artist in Residence at
in Flute Performance at the University Mozarteum Salz- lessons with Gerhard Tittel in Berlin, later studying composition the Villa Aurora in Los Angeles.
burg, followed by a degree in Early Music in Trossingen. Internal supervisors and external ad- and music theory with Claus-Steffen Mahnkopf and Gestine Schö-
A specialist for flute performance practice of the 18th and 19th visors: Markus Schön and Klaus Aringer der at the University of Music and Theatre Leipzig. She enriched Internal supervisors and external
centuries, since 1996 she has focused on orchestral repertoire, (University of Music and Performing her musical education through exchange semesters abroad at the advisors: Isabel Mundry and Jörn
working with orchestras such as The English Concert, The Orches- Arts Graz), Christoph Hammer (Univer- Sibelius Academy Helsinki and CNSM Paris, as well as through com- Peter Hiekel (ZHdK), Jörg Mainka
tra of the Age of Enlightenment, New London Consort, London sity of Augsburg), Manfred Hermann position and media technology studies with Germán Toro-Pérez at (HfM Hanns Eisler Berlin), Martin
Baroque, London Classical Players, Concerto Köln, Hofkapelle Schmid (University of Tübingen) ICST Zürich. As of 2014 she is a Doctoral candidate at the Univer- Zenck (Universität Würzburg).
Abstracts and Biographies of our Doctoral Students 42 43You can also read
