27.05.2017 @ Musica Electronica Nova, PL-Wroclaw
NFM (National Forum of Music), Wroclaw
ACOUSMA FORUM // Heroines of Sound: Women Pioneers of Electroacoustic Music
curated by Bettina Wackernagel
Laurie Spiegel (* 20. September 1945, US)
Patchwork (Dec1974/ Apr 1975/ Mar 1976), 9.47'
Pentachrome (1974), 7.20'
Appalachian Grove I (1974), 5.20'
Teresa Rampazzi ( 31. Oct1914 – 16.Dec. 2001, Italy)
Environ (1970), 6.45'
Stereophonic Compostion (1970)
Atmen noch (1980), 15.10'
The programme highlights significant works of two leading female composers, who still qualify as an insider’s tip. Is starts-off introducing the American composer Laurie Spiegel. Spiegel has worked at the cutting edge of electronic and computer music over many years and is seen as a pioneer of the New York new-music scene. Moreover, Laurie Spiegel has been identified closely with the development of experimental color video, having collaborated with Nam June Paik, Bill and Louise Etra, and Tom DeWitt. She pioneered modes of composition that enabled improvising with computers, as well as the creation of dynamic and interactive software instruments. Her ’Music Mouse – An Intelligent Instrument’ (1986) for Macintosh, Amiga and Atari computers was among the earliest music software available to regular consumers, and most widely used in pop- and rock music. Laurie Spiegel’s ascousmatic stereophonic compositions were among the first computer generated works realized at Bell Laboratories, using GROOVE, a system of microcomputers interfaced with modular synthesizers developed by Max Mathews and F.R. Moore. Appalachian Grove was composed just after a visit to the Fiddler’s Grove Festival in North Carolina and is indicative of Spiegel’s affection for traditional banjo and fiddle playing. By means of computer control she creates a fascinating interplay of modal stereophonic hockets with changes from pointillistic pulses to more extended ones. As in case of Patchwork, she notes that the piece ’was composed in reaction to an overdose of heavy, sad, introspective contemporary music’.
Teresa Rampazzi created ambient music, long before Brian Eno conceived his idea of Ambient 1: Music for Airports in 1978. Rampazzi was an active and prominent figure in the Italian electronic music scene. Yet until today her work is hardly known, and her music has barely entered our cultural memory. As a former avant-garde pianist, Teresa Rampazzi decided to devote herself to electronic analogue music at the age of 50. In 1965 she co-founded the N.P.S. Group (Nuove Proposte Sonore), an experimental collective to research sound generation with analogue devices. Furthermore, Rampazzi founded and directed the CSC Computer Music Center (Centro di Sonologia Computazionale) at the University of Padua, where also Luigi Nono und Luciano Berio frequently worked. She published professional articles on electronic music and worked internationally: at the Utrecht Electronic studio, at the Catholic University in Washington and the EMS in Stockholm.
ACOUSMA FORUM // Heroines of Sound: A Fresh Look
curated by Bettina Wackernagel
Antje Vowinckel (*1964, Germany)
Ferrari, entre ( 2011), 6.45
The goal (2014), 9.52'
Both composers employ source material from acoustic instruments, objects and field recordings to explore sound in many facets and create rich sonic textures. While Bulot poetically explores the complexity of unheard phenomena in sound, Vowinckel represents a documentary approach shaping a narration of spoken words into music. Although their sonic results form highly differing sources, the artists share an aesthetic strategy of turning aspects of everyday life into music. Loïse Bulot started her career as a visual artists, thus her work builds an universe by means of visual art and music: hybrid electroacoustic and mixed compositions, graphic scores and live performances. Antje Vowinkel is a highly acclaimed German artist in the field of radiophonic sound compositions. Her works have been commissioned and broadcasted worldwide by public radio stations and presented at major festivals, such as ZKM Karlsruhe, TESLA Berlin, Biennale Bonn, Prix Italia, Festival for Contemporary Music Alicante/Spain, Hammer Museum Los Angeles, British Council, Berlin, and Humboldt-Lab.
Heroines of Sound 2017 wird gefördert mit Mitteln der Senatsverwaltung für Kultur und Europa, dem Musicboard Berlin, dem Adam Mickiewicz Institute (AMI), von impuls neue musik und der inm e.v. Berlin.
Heroines of Sound 2017 is supported by Senatsverwaltung für Kultur und Europa, Musicboard Berlin, Adam Mickiewicz Institute (AMI), impuls neue musik and inm e.v. Berlin.