Online ISSN See all formats and pricing Online. Prices are subject to change without notice. Prices do not include postage and handling if applicable. Volume 16 Issue 2 Dec , pp. Volume 15 Issue 2 Dec , pp. Volume 14 Issue 2 Oct , pp. Volume 13 Issue 2 Oct , pp. Volume 12 Issue 2 Dec , pp.
Volume 11 Issue 1 Dec , pp. Volume 10 Issue 1 Dec , pp. Volume 9 Issue 3 Dec , pp. Volume 8 Issue 1 Dec , pp. Volume 7 Issue 1 Dec , pp. Volume 6 Issue 1 Aug , pp.
Volume 5 Issue 1 Dec , pp. Volume 4 Issue 1 Dec , pp. Volume 3 Issue 1 Dec , pp. Volume 2 Issue 1 Dec , pp. How do I move? Is there music without movement?
The visitors are dancers and DJs at the same time. Like in a club, music becomes a movement machine, which paradoxically can only be activated and controlled by movement. While dancing, the music develops individually.
here Sound, visual projection and individual movement in space merge into an interactive installation - a symbol for the "museum in motion". There is cooking, boiling and steaming going on in the musical laboratory kitchen of the Musikhochschule Trossingen: When Anika Neipp invites you to the Cookbook Session at the Kulturfabrik Kesselhaus, lecturers from the Musikhochschule and musicians from the regional scene meet an exceptional international artist in a cosy living room atmosphere.
In the best sense of a fusion cuisine, the spontaneous encounter merges the most diverse musical genres and unusual instrumentations, garnished with a love of improvisation and unbridled joy of playing, into a great musical tasting menu. In accordance with the feast for the ears, Kesselhaus host Markus Santo also serves the favourite food and drink of the respective guest artist.
An experience for all senses. We hope you like it! The event format "The Cookbook Sessions" brings together different departments and genres at the Musikhochschule Trossingen once a year. In addition to the concert highlight on Saturday evening, students from various subjects at the University of Music will be exploring new musical methods and recipes on the respective topic of the Cookbook Session in a workshop together with the guest artist and the team of lecturers.
With The Cookbook Sessions Vol. Lars Ulrik Mortensen, a world-class harpsichordist and improviser, was won as a guest. Under the musical motto "Early Music meets Jazz and Pop", early music and jazz merge live on stage. The concert will take place on Saturday, 12th of October , hrs in the Kulturfabrik Kesselhaus.
Kesselhaus host Markus Santo will again serve the favourite food and drink of the musical guest. What is on the menu this time, however, will not be revealed yet. Kesselhaus host Markus Santo served a "Signature Dish" and the guest star's favourite drink to the music. Butter the rye bread. Mix horseradish with sour cream and spread on the buttered bread. Put the ice cubes in a Longdrink glass.
Add brown rum and lime juice and fill up with ginger beer. Garnish with lime slices. Reservoir is a festival dedicated to experimental music and media arts at the Linachtalsperre Linach Dam in the Black Forest, organized by the Faculty of Digital Media of the Hochschule Furtwangen University in cooperation with the Kulturverein Global Forest. After a successful premiere in , a continuation of Reservoir is planned. More than years after the electric revolution, the Linach Dam — an extraordinary piece of architecture from the s spanning the idyllic valley of the Linach creek at meters — became the setting and resource of a festival for electric, electronic and digital arts.
The evening program featured a selection of international artists performing electroacoustic music accompanied after sunset by projection mapping onto the dam. Since the 50th anniversary of the Apollo 11 landing module on the lunar surface took place at pm on the night of the festival, this first edition of the festival was dedicated to the 50th anniversary of the first moon landing. In the afternoon, the first edition of the festival began with a program of audiovisual installations and concerts, with free admission to the dam site.
Sounds can be placed anywhere around the listener amidst the dome-shaped loudspeakers of the new Klangpavillon. The listener no longer perceives the sound frontally, but is enveloped by a complex immersive sound environment in which sounds move continuously and can lend even very abstract sounds an emotional gesture and spatial presence. The round tent construction of the Klangpavillon is equipped with 31 loudspeakers and a vibration channel floor shaker is built into the wooden floor.
Workshops, Studios, Academies. Man schenkt der Werbebotschaft eventuell deutlich mehr Aufmerksamkeit. Together, experimental sound art, crossover projects and concerts are conceived and performed. Drehscheibe Dresden. Selbst wenn man Indizien pro Phraseologismus hat, ist es nicht leicht, die Grund- bzw. ITCO was doing business without scarcity. Sijthoff u.
Old boy, "more haste, less speed", less is more — in everyday use the rhetorical figure of "Oxymoron" seems rather insignificant. In the process of creating a baroque opera, however, the clash of two supposedly mutually exclusive opposites becomes a powerful stylistic device. The tensions are created as in nature, where powerful electrostatic charges in the form of lightning and thunder can express themselves powerfully. Music, too, lives from contrasts, just as all earthly life and the cosmos are determined by polar rhythms — and so we are in the middle of baroque theatre: it tells of human life in the field of tension between elementary forces of nature, divine powers and contradictory affects.
With "Orfeo" by Claudio Monteverdi, the Trossingen University of Music picks up on a masterpiece of Baroque music that enjoys the reputation of being the first opera in music history. At its premiere in , instrumental music, singing, dance and stage were understood as a unity for the first time. In Monteverdi's work, narration takes place on all artistic levels; it uses language and poetry, transforms them into music, sounds and gestures that unfold in dance, which in turn enters into a multi-layered dialogue with architecture, painting and sculpture in the space of the stage set.
The multi-layered dialogue of the Baroque opera is reinterpreted and expanded in Trossingen: the Institute for Early Music develops music, singing, and explores the Baroque stage languages of dance, gesture, and drama. Together with dancers, this framework is refined, expanded and brought to the stage in intensive rehearsals. The Landeszentrum works with state-of-the-art digital means, video technology, digital scenography, virtual reality and audio technology, thus forming a strong counterpart to the historical performance practice of the Institute for Early Music.
Here the circle to the Oxymoron closes. On closer inspection, modern technology is not a foreign body to the aesthetics of the Monteverdi era, but an antithesis that can generate expressive tensions. And it can subtly integrate itself into the Baroque. This is closely related to the virtual worlds of our time.
Within the framework of the Trossingen production "in stile rappresentativo", space and spatiality are at the centre of the digital staging, which allows us, as it were, to trace a line of tradition back to early compositional practices. Fra Ruffino d'Assisi, the cathedral music director in Padua, first wrote eight-part psalms "a coro spezzato" around , i. Adrian Willaert further developed this technique, especially in his eight-part Salmi spezzati of The invention of spatial music in the 16th century thus immediately preceded the compositional work of Claudio Monteverdi St Mark's Basilica in Venice, whose illustrious list of famous music directors also includes Monteverdi in , stands paradigmatically for the relationship between architecture and compositional idea: the position of sound becomes the parameter of music.
This period thus marks a climax of visionary, sensual creativity in music and the reception of sound. It was not until the 20th century that this idea of immersive sound was taken up again and developed further. This was only made possible by the detachment of sound from the instrument through the universal sound converter, the loudspeaker.
Architects and composers jointly explored the fascination of spatial sound with the new technical possibilities. This material will also be used to create a metadramaturgy in the course of Monteverdi's original compositions and to consciously confront them with modernity. In addition, the extension of the stage space with digital scenographic elements by Thorsten Greiner and Dagmar Vinzenz creates a conscious counterpoint to the historical performance practice of the Institute for Early Music. Among other things, they transform characteristics of Baroque stage sets and stagings into abstract visual geometric forms and algorithmically generated particle streams.