Intro

Heroines of Sound 2022

Frühe und aktuelle Held*innen elektronischer Musik
Live-Konzerte, Performance, Sound Art, diskursive Panels, Workshops und Filme
7.— 9. Juli 2022

Pía Alvarado Arróspide (PE) // Claudia Sofía Alvarez (PE) // Anna Arkushyna (UA/AT) // Norma Beecroft (CA) // Sebastian Berweck (DE) // Annesley Black (CA/DE) // Macri Cáceres (PE) // Zosha Di Castri (CA/US) // Naid Cruz (PE) // Dorit Chrysler (AT/ DE) // Misha Cvijović (RS/DE) // Marcelle Deschênes (CA)// Chantal Dumas (CA) // Alessandra Eramo (IT/DE) // Ensemble LUX:NM (DE) // Ensemble KNM Berlin (DE) // Anna Friz (CA) // Mariam Gviniashvili (GE/NO) // Juliana Hodkinson (GB/DE) // Ale Hop (PE/DE) // Mirela Ivičević (HR/AT) // Monique Jean (CA) // Yemit Ledesma (PE) // Kirstine Lindemann (DK) // Nicole Lizée (CA) // Svetlana Maraš (RS/CH) // Sarah Nemtsov (DE) // Isa Otoya (PE) // Laura Robles (SZ/DE) // Ana Maria Rodriguez (AR/DE) // Micheline Coulombe Saint-Marcoux (CA) // Charlotte Seither (DE) // Paula Schopf (CL/DE) // Ann Southam (CA) // Kotoka Suzuki (CA/US) // Roxanne Turcotte (CA) // Viktoriia Vitrenko (UA/DE) // Hildegard Westerkamp (DE/CA) // Ying Wang (CN/DE) // Alla Zagaykevych (UA) // Yiran Zhao (CN/DE)

 

Nicole Lizée © Murray Lightburn

Credits

Produktion: Heroines of Sound
Künstlerische Leitung: Bettina Wackernagel
Ko-Kuratorinnen: Annesley Black, Sabine Sanio

Produced by Heroines of Sound
Artistic Director: Bettina Wackernagel
Co-curators: Annesley Black, Sabine Sanio

Förderer: Hauptstadtkulturfonds, Ernst von Siemens Musikstiftung, Mariann Steegmann Foundation, Norsk Kulturrådet/Arts Council Norway, Koda Kultur (DK)

Supported by the Culture Capital Fund, Ernst von Siemens Musikstiftung, Mariann Steegmann Foundation, Norsk Kulturrådet/Arts Council Norway, Koda Kultur (DK)

Kooperationen/Cooperations: Radialsystem, Klang (DK), Institut für Medienarchäologie (AT), Goethe Institut, Musica Electronica Nova (PL)

Program 7 July

THURSDAY JULY 7, 2022

18.00
OPENING – Studio C, Foyer and Saal

Sound Bar – Heroines of Sound Selection 2022
Film and Sound – Studio C

17.30–19.30
PANEL I – Studio B

Resonance Dream – Digital Reception and Gender
With: Alexandra Cárdenas, Tanja Ehmann, Marta Forsberg, Irene Kurka, Rosanna Lovell, Diana McCarty, Melissa Taylor
Keynote: Ania Mauruschat
Moderation: Gina Emerson

20.00
CONCERT I – Halle
mit dem Ensemble LUX:NM

Limbo

Mariam Gviniashvili – Chaos and Awe
8-channel fixed medium, video (2022, WP)
commissioned by Heroines of Sound with support of Norsk Kulturrådet

Anna Arkushyna – Doyouhearme?
for voice & loopers (2017) 10.55′

Alla Zagaykevych – Signs of Presence
voice, piano (2021/22) 10.55′

Ying Wang – Illuminations
voice, piano, electronics (2022) 8′

Stimme, Klavier – Viktoriia Vitrenko

CONCERT with Ensemble LUX:NM

Misha Cvijović – Penumbra
for saxophone, trombone, percussion, piano, accordion & electric guitar (2019) 10′

Mirela Ivičević – Heart Core
for ensemble (2021) 15′

Juliana Hodkinson – Small transactions
(2022, UA) 20′
commissioned by Ensemble LUX:NM* and funded by the Ernst von Siemens Musikstiftung

Charlotte Seither – Echoes of O’s
for one or more performers or any movable entities (2007) 3.49′
Video – Florian Japp
Performance – Zoé Cartier / Silke Lange / Ruth Velten

Kotoka Suzuki – Orison
three music box players and electronics (stereo) (2017, German premiere) 8.15′

Ensemble LUX:NM
Ruth Velten, saxophone | Damir Bačikin, trumpet | Florian Juncker, trombone | Lukas Böhm, drums | Neus Estarellas Calderón, piano | Silke Lange, accordion | Marc Sinan, electric guitar | Zoé Cartier, cello
Martin Offik, directoion

22.00
CONCERT II – Saal
with Aleksander Wnuk

Sarah Nemtsov – En face: Solitude
version for amplified percussion solo (2018/2020) 30′

Hildegard Westerkamp – Beneath the Forest Floor
2-channel fixed medium (1992) 17.23′

Nicole Lizée – Katana of Choice
extented solo drum-kit, electronics and video (2014/16) 19′

Percussion – Aleksander Wnuk

Program 8 July

FRIDAY JULI 8, 2022

Sound Bar – Heroines of Sound Selection 2022
Film and Sound – Studio C

15.00 – 17.00
WORKSHOP – Studio C

Alexandra Cárdenas – Live-Coding Introduction

16.00 – 18.00
PANEL II – Studio B

Contexts of Electronic Music in Peru
With: Pía Alvarado Arróspide, Claudia Sofía Alvarez, Ale Hop, Laura Robles, Ana Maria Rodgriguez
Keynote: Theresa Beyer
Moderation: Vanessa De Michelis

18.00 – 19.30
PANEL III – Studio B

Dissolving Borders – Electronic Music and Performance
With: Annesley Black, Juliana Hodkinson, Kirstine Lindemann, Kotoka Suzuki
Keynote: Barbara Lüneburg
Moderation: Giada della Bonta

20.00
CONCERT I – Saal/Halle

OTHER EYE – Yiran Zhao & Kirstine Lindemann
live electronic performance and projection

other eye
for two performers, amplification, live projection, and light (2018)

other hand
performer, sound design, amplification, objects and video (2020)

The Minimoog Project

Kirstine Lindemann – Trio
For two performers, contact mics, vocoders and Minimoog (2022, German premiere) 12′

Svetlana Maraš – Scherzo per oscillatori
(2022, WP) 12′
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung

Dorit Chrysler – Fracture 22
for theremin and Minimoog (2022, WP) 14′
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung

Misha Cvijović – Iktuarspok
for Minimoog and Tape (2021, WP) 10′

Annesley Black – Hurry up the machine – I have struck a big Bonanza
for Minimoog (WP of new version) 5′
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung

Minimoog – Sebastian Berweck
Theremin – Dorit Chrysler
Performance – Kirstine Lindemann

Zosha Di Castri – The Dream Feed
(2021/22, WP)
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung

Voice, performance – Alessandra Eramo

22.00
CONCERT II – Halle
Tape Concert (curated by Annesley Black)

Norma Beecroft – Elegy and Two Went to Sleep
for soprano, flute, percussion and tape (1967) 8′

Ann Southam – Boat, River, Moon
2-channel fixed medium (1972) 23.55′

Micheline Coulombe Saint-Marcoux – Arksalalartôq
stereo fixed medium (1970-71) 6.45′

Chantal Dumas – Magnétisme terrestre
2-channel fixed medium (2017-19) 3.19′

Monique Jean – A Farewell to S.O.S.
2-channel fixed medium (1998/99) 9.20′

Roxanne Turcotte – Zone d’exclusion / Fukushima
shakuhachi, fixed medium (2013), 4.34′

Marcelle Deschênes – Le bruit des ailes
stereo fixed medium (2000/02) 10.55′

Anna Friz – Imperfect Breath
fixed medium (2019) 8.40′

Programm 9 July

SATURDAY JULY 9, 2022

Sound Bar – Heroines of Sound Selection 2022
Film and Sound – Studio C

14.00 – 16.00
WORKSHOP – Studio B

Macri Cáceres – Sound exploration with ceramic flutes

17.00 – 19.30
PANEL IV – Studio B

Book Presentation: Gender and New Music
– Critical Reflections and Cultural-Political Interventions

With: Vera Grand and Nina Noeske (Hrsg.), Ying Wang, N.N.
Keynote: Simone Heiligendorff
Moderation: Sabine Sanio

20.00
CONCERT I – Halle
with Ensemble KNM Berlin

Paula Schopf — MAGALLANES IV
field recordings, electronics, video (2021/22, UA) 24′
video – Eduardo Velásquez (Magallanes, CL)

La incertidumbre del mañana
Ensemble KNM Berlin & RETAMA – Female composers collective (Lima)

Ana Maria Rodriguez – Savia de Bosque
for flute(s), soprano saxophone, trio basso, fixed media & electronics (2022, WP)

RETAMA – Female composers collective:
Pía Alvarado Arróspide – Of the uncertain

ceramic flutes, contrabass clarinet, viola, cello and electronics (2022, WP)

Claudia Sofía Alvarez – Collective distortion
soprano saxophone, contrabass clarinet, viola, cello, double bass, female voice and electronics (2022, WP)

Naid Cruz – C.N.V
cello and electronics (2022, WP)

Yemit Ledesma – Anonymous orchids
double bass, female voice and electronics (2022, WP)

Isa Otoya – AMARAS
ceramic flutes, viola, cello, double bass, female voice and electronics (2022, WP)

voice – Claudia Sofía Alvarez und Isa Otoya
ceramic flutes – Macri Cáceres

Ensemble KNM Berlin
Theo Nabicht, soprano saxophone/contrabass clarinet | Kirstin Maria Pientka, viola | Cosima Ger-hardt, violoncello | Jonathan Heilbron, double bass

22.00
CONCERT II – Saal

AGUA DULCE
Laura Robles & Ale Hop – Performance
cajón/percussion, electric guitar, electronics (2022, WP)

Artists

Mariam-1---Photo_Balint-Laczko

Mariam Gviniashvili

Mariam Gviniashviliis an Oslo-based composer and sound artist, born in Georgia. Her compositional focus is on investigating the role of spatiality in music whereby her artistic practice also extends to audiovisual works in which she explores the relationships between 3D sound and moving image. Gviniashvili completed her master studies in electronic music composition and electronic music media at the Norwegian Academy of Music, Franz Liszt Academy of Music and Tbilisi State Conservatoire. She ist he recipient of numerous awards including the Prix Ars Electronica and PRIX CIME and has been commissioned by Notam, ZKM Karlsruhe, Nordic Voices and KUPP. Her music is regularly performed at international venues such as Ars Electronica, Klingt Gut, New York City Electroacoustic MusicFestival and Ultima in Oslo.

Mariam Gviniashvili – Chaos and Awe
8-channel fixed medium, video (2022, WP)
commissioned by Heroines of Sound with support of Norsk Kulturrådet
norsk-kulturradet

In an age of global instability, the threat of chaos looms. Or is the threat more spectral than real? The fear of chaos may simply be our response to living in a world controlled by powerful forces beyond our understanding.
– Mark W. Scala, Chaos and Awe, 2018

Fear, Control, Deception, Discrimination, Struggle, and Survival. These are crucial topics for an artist of immigrant background, I personally relate to. The composition is based on recordings and samples from Buchla synthesiser with different frequency ranges, timbres and dynamics, human voice and speech, various percussion instruments and bowed instruments for sustained, drone-like sounds. The same visual parameters used for image interpolation will also be used to control sound.
Chaos and Awe was the title of the exhibition of 50 paintings curated by Mark W. Scala at the Frist Art Museum. The artists in the exhibition dramatically reflect the effects of globalism, mass migration, mass control, radical ideologies, and complex technologies, forces whose unfathomable scale and powerful influence can frighten people. This exhibition has become an inspiration for me to create the currant composition.

WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Mariam Gviniashvili

Photo © Balint Laczko

Claudia Sofía Alvarez

Claudia Sofía Alvarez is currently completing her bachelor’s degree in music composition at the National University of Music in Peru. Her latest works have been performed at the 2022 Women Composers Festival of Hartford (US), 2021 International Young Composers Academy in Ticino (CH) and Ictus Ensemble’s 2021-22 season (BEL). Her music has been released on albums including ABLAZE Records Pierrot Ensemble Series Vol. 4 and TIERRA: Acousmatic Works of Women Composers of the UNM.

FRIDAY 8 JULY, 2022
16.00 – 18.00 – PANEL II – Studio B

Contexts of Electronic Music in Peru
With: Pía Alvarado Arróspide, Claudia Sofía Alvarez, Ale Hop, Laura Robles, Ana Maria Rodgriguez
Keynote: Theresa Beyer
Moderation: Vanessa De Michelis

SATURDAY JULY 9, 2022
20.00 – CONCERT I – Halle
with Ensemble KNM Berlin & RETAMA – Female composers collective (Lima)
La incertidumbre del mañana
Claudia Sofía Alvarez – Collective distortion
soprano saxophone, contrabass clarinet, viola, cello, double bass, female voice and electronics (2022, WP)

Thursday 7 July, 2022

Claudia Sofía Alvarez

Anna Arkushyna

Anna Arkushyna(*1989 in Lutsk, Ukraine) composes solo and chamber works with electronics and experiments with non-traditional instruments, also employing uncommon objects. She studied at the Ukrainian National Tchaikovsky Academy of Music with Yevhen Stankovych, the University of Music and the Performing Arts Graz with Beat Furrer, and the Institute of Electronic Music and Acoustics Graz. Since 2020, she has studied at the University of Music and Performing Arts Graz with Franck Bedrossian. Her music has been widely performed at international festivals and in projects with ensemble Musikfabrik, Ensemble intercontemporain, Ensemble Modern, and many others. She was recently awarded the Music Fellowship Prize of the city of Graz.

Anna Arkushyna – Doyouhearme?
for voice & loopers (2017) 10.55′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Anna Arkushyna

Alla_Zagaykevych

Alla Zagaykevych

Alla Zagaykevych (*1966) ist ukrainische Komponistin, Performance-Künstlerin, Kuratorin elektroakustischer Musikprojekte und Musikwissenschaftlerin. Sie studierte an der Nationalen Musikakademie der Ukraine in Kiew und besuchte 1995/96 den Jahreskurs für Komposition und Musikinformatik am IRCAM (Paris). Ihr Werk umfasst symphonische, instrumentale und vokale Kammermusik, elektroakustische Kompositionen, multimediale Installationen und Performances, Opern und Filmmusik. 2017 wurde sie als beste Komponistin mit dem Preis Golden Dzyga der ukrainischen Filmakademie ausgezeichnet. Seit 1997 ist sie Dozentin an der Kompositionsabteilung der Nationalen Musikakademie der Ukraine in Kiew, wo sie das Studio für elektronische Musik gründete. Sie ist seit 2003 die künstlerische Leiterin von Electroacoustics Kiew und seit 2010 die Präsidentin der Vereinigung für elektroakustische Musik der Ukraine.

Alla Zagaykevych – Signs of Presence
voice, piano (2021/22) 15′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Alla Zagaykevych

Ying Wang

Ying Wang (*1976 in Shanghai, China) studied composition with York Höller, Rebecca Saunders, and Johannes Schöllhorn at the Hochschule für Musik und Tanz Köln, as well as electronic music composition, and then contemporary music at the Hochschule für Musik und Darstellende Kunst Frankfurt. In 2012, she was at IRCAM in Paris. In addition to the fellowship of the German Academy Rome in 2020, she has received many other grants, including from the SWR Experimental Studio and the Edenkoben Herrenhaus. Her numerous awards include the Giga-Hertz Prize in 2013, the IRINO PRIZE for chamber and orchestral music in Tokyo in 2014, and the Heidelberger Künstlerinnenpreis in 2017. Ying Wang has collaborated on her compositions with renowned orchestras such as the Deutsche Radio Philharmonie, the Gürzenich Orchestra Cologne, and the Avanti! Chamber Orchestra, Helsinki. She lives in Berlin.

Ying Wang – Illuminations
Stimme, Klavier, Elektronik (2022) 8′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Ying Wang

Photo © Maria Frodl

Viktoriia Vitrenko

Viktoriia Vitrenko is an exceptionally versatile musician who has achieved success as both conductor and singer. As a choral conductor and fellowship holder of the DIRIGENTENFORUM, she has also conducted the Berlin Philharmonic Choir. As a singer, she has performed at the National Opera of Ukraine and at the Opera Forward Festival in the Netherlands, as well as at numerous European festivals including NOW! Festival and Gaudeamus Muziekweek. Cultural and social exchange plays a central role for Viktoriia Vitrenko. She sees herself as a mediator for Ukrainian culture and an active promoter of contemporary music. Collaborating with artists outside the field of music is an integral part of her creative work. To this end, she has launched several projects and ensembles, including InterAKT (*2017), a cross-art initiative focusing on socio-political and technological issues. She lives in Stuttgart, Germany.

Limbo
voice, pianoViktoriia Vitrenko
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Viktoriia Vitrenko

Photo © Oliver Röckle

Misha Cvijović

Misha Cvijović (* Serbia) is a Serbian composer and pianist. She was a composition student of Eun-Hwa Cho at the Hochschule für Musik Hanns Eisler Berlin and composes orchestral and chamber music, electroacoustic music, works for opera and music theater, as well as theater and film music. Misha Cvijović’s compositions have been performed throughout the world, including at SONIC MATTER Zürich, MaerzMusik and the Cannes Film Festival by many contemporary music ensembles and orchestras, such as Zone Experimentale Basel, Zafraan Ensemble and Orchestra Radio Television Serbia. Misha Cvijović was awarded a fellowship from the Berlin Senate Department for Culture and Europe 2021 and from the Musikfonds 2021 for her trio Splitsignals Berlin. She lives in Berlin.

Misha Cvijović – Penumbra
for saxophone, trombone, percussion, piano, accordion & electric guitar (2019) 10′
WHEN: Thursday July 7 [See day program]

Misha Cvijović – Iktuarspok
for Minimoog and Tape (2021, WP) 10′
WHEN: Friday July 8 [See day program]

Thursday 7 July, 2022 / Friday 8 July, 2022

Misha Cvijović

Mirela Ivičević

Mirela Ivičević (b. in Split, Croatia) explores the subversive potential of sound in her work. She brings fragments of reality into a surreal acoustic world, usually leading to a patchwork of rapid shifts and surprising twists accompanied by distorted apparitions of post-Yugoslavian reality, blocks of noise and traces of trip-hop pop. She studied composition at the Academy of Music in Zagreb and the University of Music and the Performing Arts Graz with Beat Furrer, and media composition at the mdw – University of Music and the Performing Arts Vienna. Among other awards, she was a guest of the DAAD Artists-in-Residence Program. Since 2010 she has been co-curator of the festival Dani Nove Glazbe Split in Croatia. She is co-founder of the Black Page Orchestra, an ensemble for radical and uncompromising contemporary music, and currently lives in Vienna.

Mirela Ivičević – Heart Core
for ensemble (2021) 15′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Mirela Ivičević

© Anka Bardeleben Photography

Juliana Hodkinson

Juliana Hodkinson (b. 1971, UK) works with instruments, objects, electronics, text, voice and visual formats. Field recordings, foley and ripped media figure alongside abstract concepts and social relations in both her live and installation works. Juliana Hodkinson studied musicology and philosophy at King’s College Cambridge, and Japanese Studies at the University of Sheffield, and holds a PhD from the University of Copenhagen on the subject of silence in music and sound art. She has received major accolades such as the Carl Nielsen Prize, the Stuttgart Composition Prize, and the Danish Arts Foundation 3-year open working grant. She is presently Associate Professor in Composition at the Grieg Academy in Bergen, Norway, and Associate Professor in Classical and Electronic Composition at the Royal Academy of Music in Aarhus, Denmark. She lives in Berlin.

Juliana Hodkinson – Small transactions
(2022, UA) 20′
commissioned by Ensemble LUX:NM* and funded by the Ernst von Siemens Musikstiftung
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Juliana Hodkinson

Photo © Anka Bardeleben Photography

© Julia Baier

Charlotte Seither

Charlotte Seither (*1965 in Landau, Germany) studied composition, piano, German language and literature, and musicology in Hanover and Berlin. She obtained a doctorate in philosophy in 1998. Her works have been performed at numerous festivals, including Wien Modern, ISCM World Music Days Tongyeong in South Korea, and the Venice Biennale. She has received numerous prizes and awards, including first prize in the Prague Spring International Music Competition, the Prize of the Ernst von Siemens Music Foundation, and the German Music Authors prize. She was also awarded a fellowship by the German Ministry of Culture for a one-year stay at the Villa Massimo, the German Academy in Rome. She is a member of the GEMA Supervisory Board and the European Academy of Arts and Sciences in Salzburg.

Charlotte Seither – Echoes of O’s
for one or more performers or any movable entities (2007) 3.49′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Charlotte Seither

Photo © Julia Baier

© Guanglong Peng & Hengjie Zhao

Kotoka Suzuki

Kotoka Suzuki (b. in Tokyo, Japan) studied composition at Indiana University and Stanford University with Jonathan Harvey. Her work encompasses both multimedia and instrumental works, including interactive audio-visuals in both concert and installation formats. Her works often explore themes such as living, breathing, and wind. Suzuki’s music has been presented at international venues such as the ZKM | Media Museum, Lucerne Festival and ISCM World Music Days, and has been performed by the Arditti Quartet, the Pacifica Quartet and the Mendelssohn Chamber Orchestra Leipzig, among others. Suzuki has received numerous awards and grants and was a guest of the DAAD Artists-in-Residence Program in 2001/02

Kotoka Suzuki – Orison
three music box players and electronics (stereo) (2017, German premiere) 8.15′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Kotoka Suzuki

Photo © Guanglong Peng & Hengjie Zhao

Ensemble LUX:NM

LUX:NM contemporary music ensemble berlin was founded by Ruth Velten and Silke Lange in 2010, with the aim of realizing self-created and versatile chamber music programs with a flexible group of instruments. The intensive ensemble work makes extraordinary new projects possible: interdisciplinary projects as well as intercultural approaches naturally find their place here. The ensemble’s instrumentalists are chamber musicians who are much in demand, have received awards at international competitions, and can regularly be found performing on major concert stages and festivals, including the Warsaw Autumn, MaerzMusik, and Festival de Música Contemporánea Chile. In 2017, the album LUXUS was awarded the German Record Critic’s Award and was placed on their List of the Best. In 2018 the album STRANDGUT and in 2021 the album DARK LUX was released.

Concert with Ensemble LUX:NM
Ruth Velten, saxophone | Damir Bačikin, trumpet | Florian Juncker, trombone | Lukas Böhm, drums | Neus Estarellas Calderón, piano | Silke Lange, accordion | Marc Sinan, electric guitar | Zoé Cartier, cello
Martin Offik, direction
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Ensemble LUX:NM

© Neda Navaee

Sarah Nemtsov

Sarah Nemtsov (*1980 in Oldenburg, Germany) studied composition in Hanover and Berlin with Nigel Osborne, Johannes Schöllhorn and Walter Zimmermann. Her music captivates through sensitively sounded setups, through complex and energetic textures, musical stratifications, interactions between acoustic instruments and electronics, as well as references to other arts and other media. Sarah Nemtsov has received numerous awards and scholarships, including the Busoni Composition Prize of the Berlin Academy of the Arts. In 2020, she was nominated for the Opus Klassik Prize in the category »Composer of the Year«. Nemtsov’s works are performed at internationally renowned festivals – such as the Donaueschinger Musiktage, Wien Modern and ECLAT festival. Teaching positions brought her with a DAAD short-term lectureship to the University of Haifa in Israel and to the Darmstadt summer course. She lives in Berlin.

Sarah Nemtsov – En face: Solitude
version for amplified percussion solo (2018/2020) 30′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Sarah Nemtsov

Photo © Neda Navaee

Hildegard Westerkamp

Hildegard Westerkamp (*1946 in Osnabrück, Germany) is a sound artist, sound researcher, composer of electroacoustic music, sound ecologist, flutist, pianist, and author. Her works, which have been performed worldwide, chiefly focus on aspects of the acoustic environment. Westerkamp moved to Canada in 1968, studied music at the University of British Columbia and joined the World Soundscape Project at Simon Fraser University to explore soundscapes under the direction of R. Murray Schafer. She later taught courses in acoustic communication at Simon Fraser University and has written extensively on soundscapes, acoustic ecology, and listening. She is a founding member of the World Forum for Acoustic Ecology and lives in Vancouver.

Hildegard Westerkamp – Beneath the Forest Floor
2-channel fixed medium (1992) 17.23′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Hildegard Westerkamp

© Murray Lightburn

Nicole Lizée

Nicole Lizée is a composer and video artist. She creates new music from an eclectic mix of influences including early MTV videos, turntablism, rave culture, Hitchcock, Kubrick, Alexander McQueen, thrash metal, early video game culture, and 1960s psychedelia and modernism. She is fascinated by the glitches made by outmoded technology and captures, notates, and integrates them into live performance. Nicole Lizée received a Master of Music degree from McGill University in 2001 and has since received over 50 commissions for new works, including from the Kronos Quartet, Carnegie Hall, and the New York Philharmonic. Among numerous awards, her most recent include the prestigious 2019 Prix Opus as Composer of the Year and the SOCAN Jan. V. Matejcek Award. She lives in Montreal.

Nicole Lizée – Katana of Choice
extented solo drum-kit, electronics and video (2014/16) 19′
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Nicole Lizée

Photo © Murray Lightburn

© Dominika Wiak

Aleksander Wnuk

Aleksander Wnuk (b. 1987) is a multi-percussionist, performer and sound artist. In addition to creating his own sound projects, he focuses on performing contemporary music. He is particularly interested in the corporeality of performance, post-instrumental themes, and intermedial projects. He is currently a member of the ensemble Spółdzielnia Muzyczna and the Krakow Improvisers Orchestra. He has trained at the Stanisław Moniuszko Academy of Music in Gdansk, The Royal Danish Academy in Copenhagen, the Darmstädter Ferienkurse and the impuls Akademie in Graz, among others. He completed his PhD at the Krzysztof Penderecki Academy of Music in Krakow, where he currently teaches in the Percussion and Contemporary Music Department.

Concert with Aleksander Wnuk
Percussion – Aleksander Wnuk
WHEN: Thursday July 7 [See day program]

Thursday 7 July, 2022

Aleksander Wnuk

Photo © Dominika Wiak

OTHER EYE

The composer-performer duo OTHER EYE (Yiran Zhao and Kirstine Lindemann) breaks with the traditional postulate that music is primarily sound. In their musical performances, they usually work without conventional instruments, but instead with the finest physical impulses, which are scrutinized through the media. The collective kicked off their collaboration as participants in the final concert of the workshop with Jennifer Walshe and David Helbich at the 2018 International Summer Courses Darmstadt. This program, too, offers a highly differentiated, nuanced catalog of movements and gestures that coagulate in multiple combinations into ever new sound narratives.

OTHER EYE – Yiran Zhao & Kirstine Lindemann
live electronic performance and projection
other eye
for two performers, amplification, live projection, and light (2018)
other hand
performer, sound design, amplification, objects and video (2020)

Friday July 8, 2022

OTHER EYE

© Kristoffer Juel Poulsen

Kirstine Lindemann

Kirstine Lindemann is a Danish composer and performer. In her work the body and sound form part of an exploration of the limitations and the possibilities of connection posed by the body when it is understood as a musical instrument. She studied at the music academies in Helsinki, Amsterdam and Odense from where she did her advanced post-graduate studies as a physical performer and instrumentalist. In 2021 she was granted the Carl Nielsen Prize. Earlier years she’s received the 1st prize in the TUF chamber music competition in Iceland and the Dioraphte Gold Award at Amsterdam Fringe Festival along with numerous grants. Lindemann has toured in Europe and South Africa as both an instrumentalist, composer and performer. She is an active member of the feminist ensemble Damkapellet (DK) and together with composer-performer Yiran Zhao she forms the duo OTHER EYE.

OTHER EYE – Yiran Zhao & Kirstine Lindemann
live electronic performance and projection

Kirstine Lindemann – Trio
For two performers, contact mics, vocoders and Minimoog (2022, German premiere) 12′
Performance – Kirstine Lindemann

Friday July 8, 2022

Kirstine Lindemann

Photo © Kristoffer Juel Poulsen

© Lazara Marinkovic

Svetlana Maraš

Svetlana Maraš (*1985, Serbia) works at the intersection of experimental music, sound art, and new media. After graduating from the renowned Aalto University (Helsinki) where she worked as a research assistant, she studied composition and art at institutions such as Columbia University School of the Arts, the Mozarteum International Summer Academy and the Darmstadt Summer Course. Svetlana Maraš has presented her work internationally at festivals such as CTM (Berlin), Ars Electronica (Linz), and ISEA (Dubai). She was recently awarded the prestigious Serbian composition prize Mokranjac and the Vitomir Bogić prize by Radio Belgrade as best young radiophonic composer. From 2016 to 2021 Svetlana Maraš was artistic director at Electronic Studio Radio Belgrade. Since September 2021 she is Professor of Creative Music Technology at the University of Applied Sciences and Arts Northwestern Switzerland and co-director of the Electronic Studio Basel.

Svetlana Maraš – Scherzo per oscillatori
(2022, WP) 12′
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung

Friday July 8, 2022

Svetlana Maraš

Photo © Lazara Marinkovic

Dorit Chrysler

Dorit Chrysler (born in Graz, Austria) first studied musicology in Vienna before beginning her solo career in New York in 2000. Since then, the composer, producer and singer has performed with the San Francisco Symphony Orchestra and collaborated notably with Cluster, Adult, CERN, Carsten Nicolai, and Laurie Spiegel. Alongside a residency at Pioneer Works NY and a grant from the Knightsbridge Foundation, she has received commissions from MoMA in New York and the Biennale di Venezia. As director of the NY Theremin Society, she supported the release of the THEREMIN 100 compilation featuring 50 international theremin performers to commemorate the 100th birthday of the instrument in 2020. She is the founder of the Kid Cool Theremin School in New York, the first international school for theremin, and of the »Dame Electric« festival, dedicated to female pioneers of analog electronic music. Dorit Chrysler currently lives in New York.

Dorit Chrysler – Fracture 22
for theremin and Minimoog (2022, WP) 14′
commissioned by Heroines of Sound with support of the Ernst von Siemens Musikstiftung

Friday July 8, 2022

Dorit Chrysler

Annesley Black

Annesley Black (b. in Ottawa Ontario, Canada) studied composition with Brian Cherney in Montreal, with York Höller in Cologne and Mathias Spahlinger, Orm Finnendahl (electronic music) and Cornelius Schwehr (film music) in Freiburg. She has appeared as an improviser and sound director in Canada, Austria, Switzerland and Germany; her collaborations with renowned artists range from film, dance and theater productions to multi-media installations/performances. Her works have been performed internationally by various ensembles including Ensemble Modern and hr-Sinfonieorchester. Among her many awards and distinctions for her work is the Composer Prize from the Ernst von Siemens Musikstiftung (2019) and a portrait CD from Deutsche Musikrat, 2014. Since 2018, Black has been a member of the Academy of Arts, Berlin and the Canadian Music Centre.

Annesley Black – Hurry up the machine – I have struck a big Bonanza 

for Minimoog (WP of new version)
Auftragswerk der Heroines of Sound finanziert durch die Ernst von Siemens Musikstiftung

Tape-Konzert (kuratiert von Annesley Black)

Friday July 8, 2022

Annesley Black

Sebastian Berweck

With over 250 world premieres to his name, Sebastian Berweck is one of the most sought-after interpretersofexperimental contemporary music. He is known for his energetic interpretations of unusual repertoire in-and outside the piano as well as working with electronics. Sebastian Berweck holds a PhD from the University of Huddersfield, is a member of stock11and Lange//Berweck//Lorenz, and lives in Berlin.

The Minimoog Project
Minimoog – Sebastian Berweck

Friday July 8, 2022

Sebastian Berweck

© David Adamcyk

Zosha Di Castri

Zosha Di Castri is a Canadian composer/pianist/sound artist living in New York. She is currently the Francis Goelet Assistant Professor of Music at Columbia University. Her work (which has been performed in Canada, the US, South America, Asia, and Europe) extends beyond purely concert music including projects with electronics, installations, and collaborations with video and dance. She has worked with such ensembles as the San Francisco Symphony, Montreal Symphony Orchestra, the National Arts Centre Orchestra, the L.A. Philharmonic, the Chicago Symphony Orchestra, the New York Philharmonic, ICE, Wet Ink, Ekmeles, the NEM, and Talea Ensemble among others.

Zosha Di Castri – The Dream Feed (2021/22, UA)
commissioned by Heroines of Sound with the support of Ernst von Siemens Musikstiftung

Friday July 8, 2022

Zosha Di Castri

Photo © David Adamcyk

©: Pau Ros

Alessandra Eramo

Alessandra Eramo (b. 1982 in Taranto, IT/DE) is an artist and vocalist who works with sound performance and installation, text-sound composition, video and drawing, exploring latent acoustic territories of the human voice and noise as sociopolitical matter. She was trained in classical singing and studied Fine Arts and Performance in Milan, Stuttgart and Venice. She has performed and exhibited internationally at many festivals and galleries, such as Audiorama Stockholm, Liverpool Biennial 2012 or 54th Venice Biennale. She was Artist in Residence at Elektronmusikstudion (EMS) in Stockholm and Harvestworks Digital Media Arts Center in New York City amongst others. She is co-founder of Corvo Records – vinyl & sound art production and lives in Berlin.

Zosha Di Castri – The Dream Feed
(2021/22, WP)
commissioned by Heroines of Sound and funded by the Ernst von Siemens Musikstiftung
Voice, performance – Alessandra Eramo

Friday July 8, 2022

Alessandra Eramo

Photo ©: Pau Ros

Norma Beecroft

Norma Beecroft (*1934 in Oshawa, Canada) is a composer, producer and broadcaster. Next to flute and piano, she studied composition with John Weinzweig, Aaron Copland, and at Darmstädter Ferienkurse with Bruno Maderna. She also had electronic music classes with Myron Schaeffer and worked with Mario Davidovsky at today’s Computer Music Center at Columbia University in New York. Her musical interest lies in the exploration of mixed media. In her works, the choice and blending of timbres let electronically produced or altered sounds appear more as an extension of vocal and instrumental sounds rather than as an alien alternative. Beecroft received a Major Armstrong Award with her documentary »The Computer in Music« (1976). She twice won the Canada Council’s Lynch-Staunton Award for composition. She co-founded the New Music Concerts series in Toronto in 1971 and later taught electronic music and composition, including at York University (from 1984-87).

Norma Beecroft – Elegy and Two Went to Sleep
for soprano, flute, percussion and tape (1967) 8′

Friday July 8, 2022

Norma Beecroft

Ann Southam

Ann Southam (b Winnipeg 1937, d Toronto 2010) completed her musical studies at the University of Toronto and the Royal Conservatory of Music in the early 1960’s. She began a teaching and composing career which included a long and productive association with modern dance. As well as creating music for some of Canada’s major modern dance companies and choreographers including The Toronto Dance Theatre, DanceMakers, and Rachel Browne, she was an instructor in electronic music at the Royal Conservatory of Music in Toronto. While a great deal of her work was electroacoustic music on tape, in her later years she became increasingly interested in music for acoustic instruments. Ann Southam’s work was commissioned through the Canada Council, the Ontario Arts Council, and the CBC, and has been performed in Canada, Europe and the U.S. She is a member of the Canadian Music Centre and a founding member of the Association of Canadian Women Composers. She was the recipient of the Friends of Canadian Music Award in 2001. Ann Southam passed away November 25, 2010.

Ann Southam – Boat, River, Moon
2-channel fixed medium (1972) 23.55′

Friday July 8, 2022

Ann Southam

Micheline Coulombe Saint-Marcoux

Micheline Coulombe Saint-Marcoux (b. 1938 in La Doré, Canada, d 1985) was a composer and music educator. Her orchestral compositions were strongly influenced by her electroacoustic work, while her interests also included music theater and poetry. Saint-Marcoux studied at the Conservatoire de musique du Québec à Montréal (CMQM), and the Conservatoire de Paris with Yvonne Hubert, Gilbert Amy, Claude Champagne, Pierre Schaeffer and others. She received numerous commissions for compositions, such as from the Orchestre symphonique de Montréal. In 1967 she won the Prix d’Europe for the composition of Modulaire, a work for orchestra and Ondes Martenot. She founded the Groupe international de musique électroacoustique de Paris (1969) and, after returning to Montreal in 1971, she taught at the Conservatoire de musique de Montréal where she established an electroacoustic composition studio. Saint-Marcoux died on February 2, 1985 of a brain tumor at the age of 46.

Micheline Coulombe Saint-Marcoux – Arksalalartôq
stereo fixed medium (1970-71) 6.45′

© Michel Risse

Chantal Dumas

Chantal Dumas – Magnétisme terrestre
2-channel fixed medium (2017-19) 3.19′

Friday July 8, 2022

Chantal Dumas

Photo © Michel Risse

Monique Jean

Monique Jean (*1960) studied electroacoustic composition at the Université de Montréal with Francis Dhomont. In addition to her acousmatic compositions, her work is also regularly associated with video and experimental films, with dance and with installations. She is interested in the tensions, fractures and shocks of sound materials in order to achieve a transmutation of the real into the poetic. Finalist in several international competitions, including Ciber@rt Valencia, Spain, Musica Nova in Prague, Czech Republic and the Electroacoustic Music Competition in Bourges, France, her works are regularly performed and broadcast during numerous international concerts and festivals. Monique Jean lives and works in Montreal.

Monique Jean – A Farewell to S.O.S.
2-channel fixed medium (1998/99) 9.20′

Friday July 8, 2022

Monique Jean

Photo © Civitalla Ranieri

Roxanne Turcotte

Roxanne Turcotte (b. 1960 in Montréal, Canada) is a composer, keyboardist and sound designer. She has built her aesthetics around a playful and cinema-like art of integration, often with a socio-political flavor, tinged with poetry and humor. After studying piano and composition at the Conservatoire de musique de Montréal, Roxanne Turcotte graduated as the first woman of her generation in the electroacoustic composition program at the Université de Montréal in 1988. Her music has won numerous awards and distinctions including most recently the Prix Jan V. Matejcek pour la nouvelle musique classique (SOCAN) or the Concours international de musique électroacoustique et d’art sonore de Bourges, France. She is asked to sit on composition juries, and she has been active in the Quebec and European avant-garde community for years.

Roxanne Turcotte – Zone d’exclusion / Fukushima
shakuhachi, fixed medium (2013), 4.34′

Friday July 8, 2022

Roxanne Turcotte

Marcelle Deschênes

Marcelle Deschênes (b. 1939 in Price, Canada) is a composer, whose works encompass multimedia performances, installations, video productions, electroacoustic and instrumental music as well as actions with non-musicians. She studied at the Université de Montréal followed by advanced training and work at the Groupe de Recherches Musicales with Pierre Schaeffer, François Bayle and Guy Reibel, and at the Université Paris 8. Deschênes returned to Canada in 1971 and took a teaching and research position at the electronic music studio of Université Laval. She has received numerous international awards, including several times prices at the Concours International de Musique Electroacoustique de Bourges. She founded in1979 the electroacoustic studio Bruit Blanc and the following year became a professor at the Université de Montréal where in 1991 she continued to teach electroacoustic composition.

Marcelle Deschênes – Le bruit des ailes
stereo fixed medium (2000/02) 10.55′

Friday July 8, 2022

Marcelle Deschênes

Anna Friz

Anna Friz (b. 1970 in Vancouver, Canada) is an artist and musician who creates media art, sound and transmission art. She specializes in self-reflexive radio for broadcast, installation or performance, where radio is the source, subject, and medium of the work. She studied Media Studies at Concordia University in Montréal and received her PhD in Communication and Culture from York University in Toronto in 2011. From 2011 to 2013 Anna Friz partook in a postdoctoral fellowship in the Department of Sound at the School of the Art Institute of Chicago. Her work has been presented at festivals worldwide. Her recent awards include a Hellman Fellowship (2018), the Phonurgia Nova residency award (2019) and a Rydell Visual Arts Fellowship (2022). In 2015 she joined the Film and Digital Media department at University of California in Santa Cruz, where she is currently Associate Professor.

Anna Friz – Imperfect Breath
fixed medium (2019) 8.40′

Friday July 8, 2022

Anna Friz

Paula Schopf

Paula Schopf is a Chilean artist and has been active as a DJ and musician for over 20 years under the stage name Chica Paula. Upon invitation from the German artist Gudrun Gut, she joined the Berlin artist collective Ocean Club. Her productions have appeared since 2003 on the Berlin label Monika Enterprise. Together with the musician Max Loderbauer, Schopf recorded her first album »42 Mädchen« in 2003, followed by »Under The Balcony« in 2007. To this day, she produces remixes for bands and artists such as Donna Regina and Hauschka. Paula Schopf works with electronic sounds, utilizing soundscapes and field recordings as aesthetic and compositional source material. The detailed examination of sound in urban spaces and its inherent social, historical, and political realities has become her main interest. Paula Schopf lives in Berlin.

Paula Schopf — MAGALLANES IV
field recordings, electronics, video (2021/22, UA) 24′
video – Eduardo Velásquez (Magallanes, CL)

Saturday July 9, 2022

Paula Schopf

Ana Maria Rodriguez

Ana Maria Rodriguez is a composer that links the spontaneity of improvisation with fully composed scores. She studied composition, piano, history, and philosophy in Buenos Aires and electronic music as well as algorithmic composition at the Phonos studio in Barcelona. AnA Maria Rodriguez has composed numerous pieces, concert installations, mixed media, or music theater works for a wide range of instruments using live-electronics and computer technology. In 2005 she founded the women-only ensemble ‘Les Femmes Savantes’. Her works have been performed at major festivals throughout Europe and abroad including: Berlin in Lights (Carnegie Hall NYC) and Donaueschinger Musiktage. She lives and works in Berlin.

Ana Maria Rodriguez – Savia de Bosque
for flute(s), soprano saxophone, trio basso, fixed media & electronics (2022, WP)

Saturday July 9, 2022

Ana Maria Rodriguez

Pía Alvarado Arróspide

Pía Alvarado Arróspide is a Peruvian composer who holds a bachelor’s degree in music composition. Her latest works have been performed at the 2nd Young Composers Premiere Festival (2020), the Concert in Commemoration of the International Day of Indigenous Women of the Ministry of Culture of Peru (2021) and the Interlight – Cirrus Light Concert during the UNESCO Week of Sound (2022). She is currently in the masters program in composition at the International University of La Rioja in Spain.

Pía Alvarado Arróspide – Of the uncertain
ceramic flutes, contrabass clarinet, viola, cello and electronics (2022, WP)

Saturday July 9, 2022

Pía Alvarado Arróspide

Photo © Johnny Chavez C.

Rosa Naid Cruz

Rosa Naid Cruz is currently studying composition with professor Jose Sosaya at the National Music University in Peru. Her works have been premiered both inside and outside the country, including at Synapse II “Concert for the Premiere of Works by Composition Students” 2019, Meeting Between Composers and Interpreters, organized by the Faculty of Fine Arts of the University of La Plata (ARG), and PumPum Yachkan (2021) organized by Asimtria.

Naid Cruz – C.N.V
cello and electronics (2022, WP)

Saturday July 9, 2022

Rosa Naid Cruz

Yemit Ledesma

Yemit Ledesma holds a bachelor’s degree in music composition from the National University of Music in Peru and a master’s degree in composition with new technologies from the International University of La Rioja in Spain. A special aspect of her works is their link to important characters, legends, and gods of ancient cultures, in addition to using music as a descriptive and narrative language. Her work has been performed at various festivals and has been released on albums including TIERRA: Acousmatic Works of Women Composers of the UNM (2022). Since 2018, she has been professor of composition of the National University of Music in Peru.

Yemit Ledesma – Anonymous orchids
double bass, female voice and electronics (2022, WP)

Saturday July 9, 2022

Yemit Ledesma

Isa Otoya

Isa Otoya is a Peruvian composer, songwriter, and music producer and a founding member of RETAMA. She holds a bachelor’s degree in music composition from the Peruvian University of Applied Sciences (UPC). She has composed soundtracks for documentaries, short films, and multidisciplinary artist projects. Alongside this, she is developing her career as a singer-songwriter and musical producer. In July 2021, she released her first conceptual solo album »De un acorde«.

Isa Otoya – AMARAS
ceramic flutes, viola, cello, double bass, female voice and electronics (2022, WP)

Saturday July 9, 2022

Isa Otoya

© Joshi Guzmán

Macri Cáceres

Macri Cáceres, born in Lima, Peru and member of RETAMA, is a performer, composer, improviser and builder of ceramic flutes. Her research into the sonic possibilities of ceramic flutes has led her to harmonic exploration during the construction process and an investigation into the creative possibilities of composition and collaboration with other artists and disciplines, most recently at Donaueschingen Global 2021. She studied music and composition at the Universidad Peruana de Ciencias Aplicadas (UPC) and was awarded the diploma in sound creation with new technologies from the Mexican Center for Music and Sonic Arts (CMMAS). She is currently a fellow at Postcolonial Recherche, a project of Ensemble Recherche.

La incertidumbre del mañana
ceramic flutes – Macri Cáceres

Saturday July 9, 2022

Macri Cáceres

Photo © Joshi Guzmán

© Anja Weber

Ensemble KNM Berlin

Since its founding in 1988, the Ensemble KNM BERLIN has presented programs throughout the world that reflect a curiosity to explore the unknown and a willingness to confront the most pressing themes of our times. The ensemble presents compositions, concert installations, and concert projects created in close cooperation with composers, authors, conductors, artists, and stage directors from around the world. Since 2014, KNM Berlin has been increasingly committed to musical, multi-perspective networking with intercultural collaborations worldwide. KNM Berlin has earned an international reputation both with its own productions as well as in repeat guest appearances at important music festivals. KNM was awarded the German Record Critics’ Award in March 2009 and 2010 for its collaboration with the composer Beat Furrer.

Concert with Ensemble KNM Berlin & RETAMA – Female composers collective (Lima)
La incertidumbre del mañana
Ensemble KNM Berlin
Theo Nabicht, soprano saxophone/contrabass clarinet | Kirstin Maria Pientka, viola | Cosima Ger-hardt, violoncello | Jonathan Heilbron, double bass

Saturday July 9, 2022

Ensemble KNM Berlin

Photo © Anja Weber

Ale Hop

Alejandra Cardenas aka Ale Hop (born in Peru) is an artist, researcher and experimental instrumentalist. In her complex pop arrangements and contemporary electronic music – characterized as »omnivorous pop experimentalism« (The Wire Magazine) – she utilizes a diverse repertoire of extended techniques for electric guitar and real-time sampling devices. Ale Hop’s solo career began with a Red Bull Music Academy residency and a performance at the London platform Boiler Room. Since then, she has performed at festivals including CTM in Berlin and NRMAL in Mexico City, and presented her work at exhibitions and concerts worldwide. She holds a degree in sound studies and studied the history and theory of science and technology. She lives in Berlin and is currently working on the topic of Artificial Intelligence for her PhD dissertation.

AGUA DULCE
Laura Robles & Ale Hop – Performance
cajón/percussion, electric guitar, electronics (2022, WP)

Saturday July 9, 2022

Ale Hop

© Peter Tümmers

Laura Robles

Laura Robles (*1981, Eswatini in Africa) is a composer and percussionist who was raised in Lima, Peru where she had access to the rich Afro-Peruvian musical tradition at a young age. She is widely regarded as an important player of the cajón, a box-shaped percussion instrument originally developed by slaves from West Africa. Robles founded several bands, including El Astrocombo and Stretch it to The Limit, as well as the social education initiative Parió Paula. In addition, she performs with theater and dance companies as well as with renowned folklore, jazz and rock musicians both in Peru and at international festivals. In 2012 she moved to Berlin and founded the Berlin version of her Astrocombo Band, which won the Studio Prize of the City of Berlin in 2014.

AGUA DULCE
Laura Robles & Ale Hop – Performance
cajón/percussion, electric guitar, electronics (2022, WP)

Saturday July 9, 2022

Laura Robles

Photo © Peter Tümmers

Panels

PANELS

7. Juli 2022 – 17.30 Uhr – Studio B
Eröffnungs-Panel / Opening Panel
ResonanzTraum – Digitale Rezeption und Gender / Resonance Dream – Digital Reception and Gender

mit: Alexandra Cárdenas, Tanja Ehmann, Marta Forsberg, Irene Kurka, Rosanna Lovell, Diana McCarty, Melissa Taylor
Keynote: Ania Mauruschat
Moderation: Gina Emerson

in englischer Sprache / in English language

Seit der Pandemie ist die Digitalisierung der musikalischen Rezeption in der elektronischen Musik unverkennbar. Diskussionsthemen des Panels sind u. a. mit dem digitalen Raum verbundene Chancen zu Teilhabe und Diversifizierung von Publikum, Künstler*innen und ästhetischen Positionen, Zugangsbarrieren der elektronischen Musik sowie die Bedeutung der Digitalisierung für die Verwirklichung gesellschaftlicher Visionen. Diskussionsteilnehmer*innen sind Komponist*innen und Musiker*innen ebenso wie Kurator*innen, Konzertveranstalter*innen, Produzent*innen und Blog-Aktivist*innen.

[ENG]
Since the pandemic, the digitalization of musical reception in electronic music has become undeniable. Discussion topics for the panel include the opportunities that the digital space provides for the participation and diversification of audiences, artists, and aesthetic positions, electronic music’s barriers to accessibility, and the meaning of digitalization for the realization of social visions. Discussion participants are composers and musicians as well as curators, concert producers, and blog activists.

8. July 2022 – 16 Uhr – Studio B
PANEL II
Kontexte der elektronischen Musik in Peru / Contexts of Electronic Music in Peru

mit: Pía Alvarado Arróspide, Claudia Sofía Alvarez, Ale Hop, Laura Robles, Ana Maria Rodgriguez
Keynote: Theresa Beyer
Moderation: Vanessa De Michelis

in englischer Sprache / in English language

Im Sommer 2020 gründeten junge Student*innen und Absolvent*innen verschiedener Musikhochschulen in Lima RETAMA, das erste peruanische Komponist*innen-Kollektiv. Im Fokus dieses Kollektivs liegt die Entwicklung neuer Räume für kollaborative Projekte mit Künstlerinnen unterschiedlichster Bereiche. In den bisher realisierten Projekten »Figures« und »Phonetic Imaginary« kombinierten die beteiligten Künstler*innen zeitgenössischen Tanz, Poesie, Collage, Musik und audiovisuelles Material. Das Gespräch über die aktuelle Situation für Künstler*innen in Peru nehmen wir zum Anlass, einige grundsätzliche Fragen zur Situation der weiblichen elektronischen Musik in Lateinamerika und zur Globalisierung der Musik zu diskutieren.

[ENG]
In the summer of 2020, young students and graduates of various music conservatories in Lima founded RETAMA, the first Peruvian women composers’ collective. The focus of this collective is on the development of new venues for collaborative projects with artists from the most diverse fields. In the two projects realized up until now, »Figures« and »Phonetic Imaginary«, participating artists combined contemporary dance, poetry, collage, music, and audio-visual material. A conversation about the current situation of women artists in Peru will provide the impetus to discuss some basic questions regarding the situation of electronic music by women in Latin America and the globalization of music.

8. July 2022 – 18 Uhr – Studio B
Panel III
Entgrenzungen – Elektronische Musik und Performance / Dissolving Borders – Electronic Music and Performance

mit: Annesley Black, Juliana Hodkinson, Kirstine Lindemann, Kotoka Suzuki
Keynote: Barbara Lüneburg
Moderation: Giada della Bonta

in englischer Sprache / in English language

Die Aneignung moderner Medien hat in den Künsten zur Sensibilisierung für deren performative Dimension geführt. Während in den letzten zwanzig Jahren Video und Videokamera auf die Konzertpodien gelangten, herrscht dort, trotz Happening und Performance Art, bis heute eine streng am Virtuositätsideal orientierte Vorstellung von körperlicher Disziplin. Komponist*innen, Musiker*innen und Performer*innen spielen nur selten mit dem performativen Moment der Musik, noch immer wird die Bedeutung des Performativen für die Konzertsituation gerne unterschätzt oder ausgeblendet.

[ENG]
The appropriation of modern media has led to a heightened awareness of the performative dimensions in the arts. Whereas during the last twenty years, video and video cameras have moved to concert podiums, despite Happenings and Performance Art, a notion of physical discipline strictly oriented toward an ideal of virtuosity still prevails. Composers, musicians, and performers play only rarely with the performative moment of music; the importance of the performative element for the concert situation is still willingly underestimated or suppressed.

9. July 2022 – 16 Uhr / Studio B
Panel IV
Buchpräsentation: Gender und Neue Musik – Kritische Reflexion und kulturpolitische Interventionen
Book Presentation: Gender and New Music – Critical Reflections and Cultural-Political Interventions

mit: Vera Grund und Nina Noeske (Hrsg.), Ying Wang, N.N.
Keynote: Simone Heiligendorff
Moderation: Sabine Sanio

in deutscher Sprache / in German language

»Gender und Neue Musik – Von den 1950er Jahren bis in die Gegenwart« (2021) skizziert ausgehend von Donna Haraways Konzept des ›situated knowledge‹ eine emphatisch verstandene Genderforschung und hinterfragt das eigene, als selbstverständlich vorausgesetzte ›situierte Wissen‹. Anhand der Ergebnisse des Bandes soll nicht zuletzt darüber diskutiert werden, mit welchen kulturpolitischen Aktivitäten und Interventionen die Entwicklung zu mehr Gendergerechtigkeit im Musikleben aktuell weiter beschleunigt werden könnte.

[ENG]
Taking Donna Haraway’s concept of ›situated knowledge‹ as a starting point, »Gender und Neue Musik – Von den 1950er Jahren bis in die Gegenwart« (2021) (»Gender and New Music – From the 1950s to the Present«) sketches an emphatically understood gender research and questions one’s own ›situated knowledge‹ as taken for granted. Based on the results of the volume, the most important topic of discussion will be to explore which cultural-political activities and interventions can currently be employed to further accelerate the development toward more gender equality in musical life.