Akustický plenér: zvukoprostorová poslechová zkušenost jako východisko hudební kompozice
(2026)
author(s): Slavomír Hořínka
published in: ArteActa – Journal for Performing Arts and Artistic Research
Pětice skladatelů – pedagog, tři studenti a jedna studentka se vydali naslouchat zvukové krajině polského předhůří Krkonoš, aby zkoumali vliv subjektivní percepce na výslednou podobu skladby. Nejdříve zaznamenávali své zvukoprostorové poslechové zkušenosti graficky do skicáků. Vzápětí formulovali tvůrčí záměry skladeb pro komorní ansámbl, které z těchto zkušeností vycházejí. V následujících čtyřech měsících zkomponovali studie s vědomím, že jsou určeny ke studiové realizaci. Kompoziční studie poté sami nahráli a celý proces společně reflektovali. Předložený text vstupuje do kontextu akustické ekologie, instrumentální syntézy a počítačem podporované skladby. Navazuje na kontinuální umělecký výzkum na katedře skladby HAMU v oblasti zvuku a prostoru a tvůrčích aplikací výsledků. Jeho cílem je prozkoumávat vztahy mezi subjektivní zvukoprostorovou zkušeností, volbou kompozičních strategií a výslednou podobou skladby.
Five composers – one teacher and four students – set out to listen to the soundscape of the Polish foothills of the Giant Mountains in order to explore the influence of subjective perception on the final shape of a composition. First, they noted down their sound-spatial listening experiences graphically in sketchbooks. They then formulated creative ideas for chamber ensemble compositions based on these experiences. Over the next four months, they wrote compositional studies with the intention of recording them in the studio. They then recorded the studies themselves and reflected on the entire process together. The presented text enters the context of acoustic ecology, instrumental synthesis, and computer-assisted composition. It builds on continuous artistic research at the Department of Composition at HAMU in the field of sound and space and the creative application of the results. Its goal is to
explore the relationships between subjective sound-spatial experience, the choice of compositional strategies, and the resulting shape of the composition.
Sculpting Air In The Sub Habitat
(2023)
author(s): Lotte Anker
published in: Rhythmic Music Conservatory, Copenhagen
Sculpting Air in The Sub Habitat (subtitle: Texture and Form in Composition for Larger Ensemble of Improvisers) is an exploration and unfolding of creative processes in composing for a larger ensemble (6+ musicians) of improvisers as well as the processes in the ensemble rehearsals and concerts. In Sculpting Air, I am both composer and performer. I work with an ensemble created for this project: Sub Habitat.
Sub Habitat members are: Lotte Anker (DK), Mazen Kerbaj (GER/LBN), Katt Hernandez (S/USA), Nina de Heney (S), Sten Sandell (S), Andrea Neumann (GER), Burkhard Beins (GER)
Sculpting Air grew out of a need to deepen, (re)examine and challenge my compositional practice (including aesthetic preferences and inclinations) within a larger ensemble of improvisers, and I went into the project looking for something: more or less vague, fragmented notions of particular sonic and textural qualities and structural concepts. Notions of a higher degree of connectedness between predetermined and undetermined elements in composition etc.
The project is based on my own compositional work and 4 ensemble Sessions and Session concerts during 2020-22. It includes examples and reflections from these processes, and through them I try to articulate answers to the following research questions:
Based on the concepts of texture, MODE and LIBRARY, how can I develop new compositional tools for a larger ensemble of improvisers in a music that reflects the sonic palette and expression of the individual musician, the expression and identity of the ensemble as an entity, and my artistic intention?
Including:
How can these tools be deployed as sculpting materials in a large form piece, where the predetermined and indeterminate elements mutually reinforce each other and thus help to extend the musical space?
How can I explore the sonic potential of the ensemble in dialogue with the musicians?
How does the ensemble's overall expression inform my compositional work and vice versa?
In score form, how can I develop a specific vocabulary, concepts and notational forms that clarify my artistic intention and convey the balance between the predetermined and indeterminate elements of the composition?
Structures for Freedom: In-performance communication in Traditional musicians in Scotland
(2022)
author(s): Lori Watson
published in: Journal for Artistic Research
This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.
This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.open exposition comments (0)