A production of the SWR Stuttgart Radio Symphony Orchestra conducted by Jonathan Stockhammer with stereoscopic 3D visualization of Bernd Lintermann.
The 70-minute long work "in vain" for 24 instruments from the year 2000 shows a complex web of sound tempered scale and micro-tonality. The composer Georg Friedrich Haas acts virtuously here between normal flow of time, rapid pace accelerations and a kind of "rapid halt". This lavishly produced work by SWR was performed in spring under the direction of Jonathan Stockhammer at the Schwetzingen SWR Festival. The acoustic recording of the concert will be accompanied by a visually ZKM_Cube in parallel to the acoustic work unfolding imagery. The projected objects in stereoscopic 3D are taken from the formal language of Bernd Lintermann who has realized with its software Xfrog various installations and concerts. The calculations based on random processes form aesthetic developments follow instructions and perform at every performance to new and surprising moments.
by Georg Friedrich Haas
Sequenza III, spatialized
Music by Luciano Berio
Electronic spatialization by Bruno Friedmann
Music, a time and place variant development of sound, is connected auditory and interactive with the lecture hall and it depends on its features and dimension. In this edition Luciano Berio’s composition, Sequenza III, a complex solo piece for female voice, adopt active the room by determining the location of sound of the complex sound modulation, spectra, colors and bizarre changes of the voice. The voice itself moves across the room with all its sensitive nuances and spreads over the audience with its multidimensional dynamic. Such a inherent wealth of music evoked spatialization gives sound and noises room to breathe, brings them among themselves to a comfortable auditory distance and musical capers can be experienced spatially. The human voice as musical instrument, as sounding medium is considered as one of the subtlest musical ways of expression, versatile and dynamic, playable from the deepest inside of man without mechanical interlinks. The aim of this edition is to visual this immediacy as three-dimensional. Sequenza III contains a maximum of diversity and expressiveness that can unfold itself spatially. Vocal modulation is accompanied by the motion of sound, directed by the articulation and the color of sound. The movement pattern reflects the composition one-on-one. The direct sound-spatial-relation gives the segments of sound a spatial-related spectrum among themselves. The vocal expression is disentangled by the spatial cognition, supported by the auditory perception. Neither the acoustics nor the psychophysics can technically realize the sounding music and the inherent ability to touch humankind emotionally.
Interesting tools on this are audio descriptors, extracted with the help of analysis software. They can measure in real-time the subtle characteristics of sound and their variation. Those meta data are unique temporal patterns of a certain music and they show their quality, modulation and temporal and spectral relations. They are deeply connected with the music and in Sequenza III, spatialized they are used to control directly a spatial distribution of sound.
By Bruno Friedmann
20 chan spatial composition
Soundprojection: Ludger Brümmer, IRMAT Table: Holger Stenschke
Repititions consists from samples of Igor Stravinsky's Sacre du Printemps and was commissioned by the Swiss festival Rümlingen. Stravinsky's sounds became a complete new Gestalt through extensive algorithmic operations performed on the sonic material. The modifications are so extreme that most of the time the original work is undetectable. Because of this, Repititons is not an interpretation of Sacre, instead it is a new work containing a few references.
The 20 channel version of Repititions is played for the first time with a live spatialisation using the interactive table developed at IRMAT in the department of Research and Development of the University for Music Basel, with Amadis Brugnoni & José Navarro. The basis for the spatialisation is using swarm algorithms with continuously changing parameters. The sounds are moved with all 10 fingers of the hand. It is the idea to perform a rather complex spatial spatial setting consisting of 20 sound object moved simultaneously. Therefore the applied intelligence of the swarm algorithms are necessary to control these amount of data.
by Ludger Brümmer
Duration: 21:00 min.
Raum-Klang-Bild-Bewegung: A multidimensional event documentation
In the context of the seminar „Raum-Klang-Bild-Bewegung“ which deals with the topic of 3D-Sound and 3D-Video, the potential of multidimensional event documentation was researched. Therefore, the award of the internationally respected Giga-Hertz Prize for electronic and acousmatic music was documented in 3D. Simultaneously various comparative spatial recordings were produced to find an adequate form of representation for the complex room components of each composition.
A surround microphone, a traditional stereo set, a Double-MS and a dummy head recording were used. From these recordings different mixtures of sound can be created for classical multi-channel cinema system as 5.1 but also for more superior forms of presentation as high-order-ambisonics or HRTF-based headphones mixtures.
Out of this, three 3D-films that last ca. 20 minutes are produced which document the compositions of D. P. Biro, K. Y. Chong and E. Nunes.
The viewer/listener has the opportunity to change between the different sound procedures during the presentation of the videos to be able to compare the characteristics of each recording process.
Team: J. Cai, B. Chen, M. Goebel, L. Schwarz
Management: Dr. P. Modler, Y. Pistor, L. Schwarz, M. Snaselova,
Thanks to: Neumann GmbH, 'Der Martin'. M. Schneider, Prof. Dr. T. Troge, Prof. L. Brümmer, L. Pfanz, Prof. J. Christ