演出系列：《极限过度》德国青年作曲家音乐会
《极限-过度》德国青年作曲家专场电子音乐会
时间：2008年10月31日16:30
地点：中央音乐学院演奏厅
1)《街头声境》 － 人与机器，声音与噪音----城市街头声境(2008/6’08”/中国首演)
作曲：尤纳斯·弗约斯特
对城市街头声像的感受让作者产生创作这个作品的灵感。基于不模仿某个城市真实街头声境的原则，通过对原始采样素材的转形处理，使之构成新的声境、意境。
2)《"Suite No.2 Op. 64c & Ein Zwerg, der linkisch auf missgestalteten Beinen herumhüpft."》 - 电子音乐 (2008/7’20” /中国首演 )
作曲：翰德力克·丁格勒
德国发明家埃米尔·柏林纳1887年发明了另一版本的留声机，将之命名为"Schallplatte" ，不同于爱迪生发明的圆筒留声机，柏林纳发明的留声机使用的是平纹旋转盘。这个作品基于柏林纳旋转盘留声机的技术，如抹盘等。
3)《康普相遇陈：移动它》 - 电子音乐 (2008/4’07” /中国首演 )
作曲：翰德力克·丁格勒
这个作品是作者题献给台湾女作曲家陈青青的。康普将陈的电子音乐作品“ snow of ages“ (2002)， 2分12秒，中的音响素材提摘并将它进行计算机多种程序处理。
4)《极限/过度》 - 电子音乐 (2006/07/10’00” /中国首演 )
作曲：简·施道波尔
整部作品是沿着音响极限的边缘进行着变化的，它从一个音乐的、声学的概念范畴过度到另一个。如：正弦波-噪音、噪音-交流电干扰声、长-短、动-静、快-慢、宽-窄、疏-密等。作者使用了他惯用的直线性处理程序。除了一个话筒噪音的采样外，剩余其他声音素材均为通过cSound及作者自己编写的声音合成程序Python所合成。此作品2007年首演于德国艾森。
5)《“是我做梦，我清醒着，还是我站立的同时处于睡眠状态？”》 - 电子音乐 (5’30” /中国首演 )
作曲：弗洛里安·哈特李勃
这个作品是想展现抽象的场景，比如，在火车站里。作者将采集到的具体声响进行变化、重组拼贴，塑造成某种我们日常经历的场景，能以假乱真，给听众以身临其境之感。
6)《出于对家乡的爱》 - 电子音乐 (2006/11’20” /中国首演 )
作曲：兰薇薇
作者将音乐与舞蹈作为两个同等层面互不影响地进行展开，声与舞既不是复制也不是模仿的关系，而又巧妙的使他们结合在一起。
音乐部分：选用了两个表面上互不相干的声音素材：机械排气声和河南镇平民歌“懒婆娘骂鸡“的一段录音。素材一：为了纪念2005年11月13日在东北发生的化工厂爆炸以及由此引起的松花江污染事件。素材二：作者儿时最喜欢唱的一首中国民歌，歌词大意是懒婆娘被公鸡打鸣吵得睡不成懒觉时的一段骂词。两个素材各自平行发展，同时又微妙的交集在一起。
7)《Tombak》 - 电子音乐 (5’03” /中国首演 )
作曲：马杰特·塔里里
Tombak是一种伊朗传统打击乐器，用它能演奏出非常复杂的节奏。作者尝试借助电子手段赋予这种乐器新的演奏可能性，如改变音高，持续音，和铉等。作者将大、中、小Tombak鼓采样，为之分别塑造形象，组成了3种不同Tombak之间的会话。
8)《数据意义》 - 电子音乐 (11’06” /中国首演 )
作曲：克里姆·喀豪鲁
这个作品的目的是研究正弦波的波形，主要重点是探索从脉动声音过度变化到连成片的声音。有色、无色频谱的声音结合，产生了听觉上的音响参数的位移，正是这种听觉上的位移赋予了此作品的标题。此作品的声音是用Csound、guile/scheme 等软件合成的，混声是用Logic Pro完成的。
9)《牧歌》 - 电子音乐 (6’34” /中国首演 )
作曲：约翰内斯·温克勒
作者从家乡采集到多种声音素材，如：教堂钟声，斧头敲击声，一个当地传统管乐队演奏的名为"Schöne Serenade, Es-Dur"乐曲等。作品始于田园的意境，之后转型、发展变化到与之反差极大的意境，最终变化回归到最初的意境里。为了从同一个素材获得不同的视角，基础素材的音乐参数及特性被转换了(和声，节奏，强弱，频谱，噪音-乐音)。
10)《GD_03_RE_08》- 电子音乐(10’20” /中国首演 )
作曲：格雷戈尔·迪克曼
作者意图将充满脉动声响及电波干扰的电子声响里融入有机的素材，使电子声响具有人性化特点，它体现在运用了人性化的秩序：如感性，节奏及旋律。人声与电子声响时而交替互动，巧妙融为一体。
11)《ELEKTRONIK SCHMECKT ZITRONIK》- 为电子音乐及舞台上的虚拟表演者而作
(1’36” /中国首演 )
作曲：史代凡· 克莱特玛雅
这个短小的作品是为竖笛演奏家艾柯·斯沃玻妲为想学竖笛儿童创作的广播剧"安娜幻游记" 而创作的。剧中有段情结是古怪的老教授在他那荒诞的房子里向小安娜解释他的工作：创作电子音乐。老教授送给小安娜一个会发出奇特声音的玻璃球，小安娜回到家中用玻璃球发出的奇特声音作为伴奏来练习她最爱吹奏的那段曲调。此作品使用了CSound, Ardour, C++进行声音合成及计算机程序处理。
12)《脱色》 － 为电子音乐与视频而作 (2006/7’05” /中国首演 )
作曲：托米·芬可
影像：马丁·布朗特
作品的声像素材取材于2006年2月的德国科隆狂欢节上清洁工清洁街道的情景。星期一狂欢节游行后街道上到处可见身穿橘黄色制服的清洁工及垃圾车。作者将颜色进行处理，使橘黄色部分由陌生色渐渐变回原色，其余画面部分染成黑色，将画面抽象化。除此之外，作品还大量运用了画面重叠，时间跳跃、滞后等技术。
作者将声像作为两个同等层面互不影响进行展开，声与像既不是复制也不是模仿的关系，而又巧妙的使他们结合在一起。
musicacoustica2008 concert series(12)
《Grenzwert / Übergang 》德国青年作曲家专场电子音乐会
Time: 16:30 31th Oct 2008
Place: Recital hall, CCOM
1)Echoes Of Urban Life － Humans and machines, voices and noises – an urban soundscape(2008/6’08”/China premier)
Composer:Jonas Foerster
The city as a life and movement representing entity is the inspiration and starting point of my composition. Not more. Out of the editing and transformation of the sound material there arised another style of sound which stands for his own and doesn’t imitate the one of a city in no way. There are some very abstract relations to an urban sound, but they appear more like holdovers that integrate in a new context and thus reach a new meaning。
2) "Suite No.2 Op. 64c & Ein Zwerg, der linkisch auf missgestalteten Beinen herumhüpft." － for Electrocacoustic music(2008/7’20” /China premier )
Composer:Hendrik Dingler
"Suite No.2 Op. 64c & a dwarf, who jumps around bumbling on amorphic legs"
In Germany in 1887, Emile Berliner produced his own Version of Voicerecording. Not on a cylinder like Edison but on a plain rotary disc. He himself called the disc in his first language "Schallplatte" (gramophone record). The Piece of mine is based on a technique, which develops from Emil Berliners Voicerecording..。
3)kamp vs chen : move it - for Electrocacoustic music (2008/4’07” /China premier )
Composer:David Kamp
This piece is a tribute to the composer Chin-Chin Chen. It contains and processes elements of the piece: snow of ages (2002)， 2:12 by Chin-Chin Chen
4)Grenzwert / Übergang - for Electrocacoustic music (2006/10’00” /China premier )
Composer:Jan Strobl
Grenzwert / Übergang composed in 2006 & 2007 moves along acoustical borders, an crosses them to come from one musical and acoustical domain to another. Extreme musical situations like noise, buzz and noise are linked witch each other, and unheard transitions are created。
Sine-Noise : Noise-Buzz : Short-Long : Quiet-Loud : Fast-Slow : Wide-Short : Few-Many
Like many other pieces I did, Grenzwert / Übergang shows my love for straight, linear processes. Except one recorded speaker noise, it is completely built up on synthetic sounds, which were created by my own synthesis-algorithms written Python and cSound. The debut performance was in June 2007 in Essen。
5)“Träum ich das ich wach bin oder schlaf ich nur im Stehen?” - for Electrocacoustic music (5’30” /China premier )
Composer:Florian Hartlieb
This composition deals with the represantation of an abstract scene, for example at a railway-station。
The composing focus lays on the combination of manipulated and concrete audio-material, whose origin has nothing to do with such a scene. This combination should bring the feeling of being at a crowded place to the listener. The fundamental idea of this work is the question of the seeming monotony of a starting day: Do I dream that I'm awake, or am I just sleeping while I'm standing?
6) Aus Liebe zu meiner Heimat(2006/11’20” /China premier )
Composer:Weiwei Lan
The German title “Aus Liebe zu meiner Heimat” means “Because of Love to my homeland”。
In this piece different space levels are created. This piece contains two different musical objects which originally are not related. These two objects develope independently。
The first object is about the news of explosions in a chemical factory located in North West china on 13th of November 2005。
The second object is an interpretation of a Chinese folk song. The original text is about a lazy woman from the countryside. She cannot sleep because of the noise of the chicken and is getting very angry. She tells the chicken that she is going to slaughter and to cook and finally to eat them..。
7) Tombak - for Electrocacoustic music (5’03” /China premier )
Composer:Madjid Tahriri
Tombak is an iranian Percussion Instrument, capable of performing very complex rhythms. My piece tries to discover new playing techniques for the Tombak, which usually arent playable on this Instrument. (Such as Pitch Changes, sustained Notes, Accords, to name a
few) The basic idea of the Compositon is a conversation between 3 different Tombak (low, middle and high register). Each of the 3 Instruments has its own character。
8)Sense Data - for Electrocacoustic music (11’06” /China premier )
Composer:Kerim Karaoglu
was intended to be a study of the basic sine-waveform. The main focus was on the development of sounds changing from pulsating to drone-like , pad sounds。
The combination of seemingly colourless tones to colourful textures evokes a transition of perception from parametrically movable parts to fluid soundimpressions. This transition of percepetions entitles this piece。
The sounds were realized with Csound (most of them in stereo-format). The Csound-orchestras (.orc's) were built with guile/scheme and the mixing , level-automation and spatial-imaging was realized in Logic Pro without the addition of any effects or processing ( only some little EQ-ing)。
9)Eidyllion - for Electrocacoustic music (6’34” /China premier )
Composer:Johannes Winkler
he basic materials are recordings from different sounds in my home-village: church-bells, axe-strokes, a circular saw and the local traditional brass band (playing "Schöne Serenade, Es-Dur"). The whole piece descripes a process which starts on a idyll-level, get transformed into the extreme opposite and finally goes back on a new view of the starting-point. During the piece, the basic materials are interchanging their musical parameters and properties (harmony, rhythm, dynamics, spectrum, noise <-> tone) in order to get different perspectives of the same thing, which is kept - also on the sound level- quite abstract compared to the basic material。
10)GD_03_RE_08 - for Electrocacoustic music (10’20” /China premier )
Composer: Gregor Diekmann
This piece tries to give a human component to a electronic world of impulses and disturbances. This component is characterized by a human way of order: emotions, rhythm and melodic. Also the listener can recognize some times more, some times less a human voice in interaction with the sonic environment。
11)ELEKTRONIK SCHMECKT ZITRONIK - tape music with optional stage performer , stereo or 3 channel(1’36” /China premier )
Composer: Stefan Kreitmayer
is part of an educational radio play by Elke Swoboda called "Annas Reise". It is intended for children who learn to play the recorder (flute). In one scene, the crazy professor in the crazy house explains to the little girl what he does for a living: compose electronic music pieces. He gives her a glass ball that emits strange sounds. Back at her home, she begins to practice her favourite melody along with these sounds。
Made with CSound, Ardour, C++
12)Bleach - for Electrocacoustic music and video(2006/7’05”/China premier )
Composer: Tommy Finke
Image: Martin Brand
Bleach is based on visual and audio material, recorded at the Cologne Carnival, in February 2006. From this material those sequences were chosen in which the cleaning squad is seen, following the Carnival Monday Parade with a multitude of garbage trucks and garbage collectors dressed in orange. The orange parts were subsequently exposed with the help of a color key and underlayed with black. Furthermore, superimpositions, time leaps and time lapses were frequently used。
Through the subjective composition process, during which image and sound were able to reciprocally influence each other, two equal levels were formed, which together make a whole, without reproducing or imitating one another。
