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Johannes Kreidler, Stefan Prins & Daniel Linehan, Anne-May Krüger

Thu 26 July 2018, 10.00 – 14.00
Lichtenbergschule (Mensa)

In english (Kreidler, Prins & Linehan) and german (Krüger). Free admission.

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10.00 Lecture Johannes Kreidler:
Music or Media Art?

In recent years, the use of multimedia in the eld of New Music has greatly increased: video, performance, concept, social interaction, installation setups, etc. These practices question the concept of “music” as a primarily sonic development in time along with the institutions based on it, which, despite the expansion since atonality, nevertheless exist in separate genres. But is the concept of music really expanding beyond institutions now or does it actually dissolve completely into “media art”? Then the compositional categories would be time, space, sound, semantics, participation, etc. Referring to the composer’s own works from recent years, such categories are considered as compositional practice.

11.30 Lecture Stefan Prins & Daniel Linehan:
A Third Space — a transdisciplinary collaboration

After a creation process of about three years, choreographer/dancer Daniel Linehan and composer Stefan Prins premiered their transdisciplinary project Third Space (for seven dancers, ten musicians, conductor, live-electronics and live-video) at the Münchener Biennale für Neues Musiktheater in June 2018. In this presentation they will shed some light on the collaborative creation process, it’s central concepts (intimacy, privacy, mediation, …) and how these informed dance, music, dramaturgy and staging, while looking for a non-binary, hybrid performance space.

13.00 Lecture-Performance Anne-May Krüger:
Giro del letto

Performing historical works for live performers and tape today poses fun- damental problems for those involved. In Luigi Nono’s La fabbrica illuminata a particularly important factor is the identity of the live voice and the pre- recorded voice, which originally belonged to Carla Henius, the work’s first performer. What implications result from the fact that the live and tape voices today no longer belong to the same singer? On the one hand, the project “Giro del letto”, part of Anne-May Krüger’s larger project “Music for Voices: On the Role of Singer Personalities for the Development of New Vocal Music”, is concerned with a musicologically-underpinned realization of La fabbrica illuminata with the original tape. On the other hand, Krüger has carried out on exemplary updating of part of the tape in the context of a “laboratory version”, with some of the vocal material recorded by a new performer. What insights does this attempt to retrace processes of production offer?

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