Symposium

TURBULENCES – New Roots for New Music

Symposium, December 10, 2017 from 11h – 17h, Radialsystem V Berlin, Saal

  • In Zusammenarbeit mit matralab Concordia University Montréal 
  • Mit großzügiger Unterstützung des FRQSC Fonds Québecois de Recherche – Science et Culture       

 Symposiumssprache Englisch

„New Music“ was born in the 20th century as a eurocentric movement with the intent to conquer the world – and to occupy the future of music. But in the 21st century, we begin to understand that this „euro-logical“ new music was just one tradition among many – and that the future of music will rather emerge from ear-to-ear conversations between a variety of co-equal traditions and logics. In this symposium, musicians, musicologists, listeners, thinkers will engage with the [sonic] realities and the dreams of those whose New Music draws on manifold roots.

Participants:

Prof. Amanda Bayley (Bath Spa University)

Prof. Sandeep Bhagwati, composer, researcher (Concordia University Montréal/Berlin)

Prof. Il-Ryun Chung, composer (Akademie der Tonkunst Darmstadt)

Julie Delisle, musicologist (Wien/Montréal)

Gabriel Dharmoo, singer, composer (Montréal)

Prof. Sameer Dublay, singer, composer (Flame University Pune)

Matthias R. Entreß, music journalist (Berlin)

Dr. Harry Lehmann, music philosopher (Berlin)

Katja Heldt, musicologist (Humboldt University Berlin)

Artyom Kim, conductor (Omnibus Ensemble Taschkent)

Dr. Elke Moltrecht (Akademie der Künste der Welt, Cologne)

Dr.Stefan Östersjö, musician, researcher (Lund University Malmö)

Jakhongir Shukur, composer (Omnibus Ensemble Tashkent)

Nguyễn Thanh Thủy, musician, music researcher (Hanoi/ Lund University Malmö)

Prof. Dr. Christian Utz, composer, musicologist (Kunstuniversität Graz)

SCHEDULE

11:00 Welcoming Remarks Il-Ryun Chung,

Sandeep Bhagwati

11:10 Concert Responses: Observations & Reflections on the Turbulenzen Concerts so far Utz, Bayley,

Lehmann, Entreß

11:30 Ensembles I: Asian Art Ensemble

Il-Ryun Chung, Matthias Leupold

Interviewers:
Utz (Chair), Entreß, Nguyen
11:45 Panel 1 MAKING – Statements (Chair: Sandeep Bhagwati)
Hezarfen Ensemble Istanbul – Change in Action Amanda Bayley
Between Written & Oral. Mediological observations on the creative process in trans-traditional music ensembles. Julie Delisle
Ensemble Sangeet Prayog Pune – Trans-traditional Experimentation in Indian Art Music Sameer Dublay
12:45 On Ensembles II: Omnibus

Artyom Kim, Jakhongir Shukur

Interviewers:
Heldt (Chair), Bhagwati, Östersjö
13:00 Lunch Break
14:00 Panel II STRATEGIES – Statements (Chair: Christian Utz)
Musical and Musicianly Listening in Intercultural Practice Stefan Östersjö
Extended voice: A Passage to Decolonized Artistic Practice. Gabriel Dharmoo
Trans-Traditional Musicking. Terms, Concepts and Methods. Sandeep Bhagwati
15:00 On Ensembles III: The Six Tones

Stefan Östersjö, Nguyễn Thanh Thủy

Interviewers:

Delisle (chair), Dublay, Lehmann

15:15 Panel III AESTHETICS – Statements (Chair:)
De-Centering New Music Christian Utz
The End of an Illusion: Ethnically Informed Music after the End of Traditions. Matthias Entreß
Tricky Eurology Harry Lehmann
16:15 On Ensembles IV: Ensemble Extrakte

Sandeep Bhagwati, Elke Moltrecht

Interviewers:
Bayley (Chair), Lehmann, Kim
16:30 Open Discussion
17:00 End of Symposium.

Abstracts

Amanda Bayley Hezarfen Ensemble Istanbul – Change in Action

An evolving transcultural musical practice emerges from analysing the creative interactions between musicians from notation-based and oral performance traditions. A model of practice, theory and ethnography explores languages of sound and notation across perceived cultural boundaries.

Sandeep Bhagwati Trans-Traditional Musicking. Terms, Concepts and Methods

Trans-traditional versus trans-cultural, eurological – for many reasons musicking between musical languages seems to require new terms or definitions to describe new realities and perceptions. Some of them, such as „eurological“, „tradition“, „aesthetically relevant“, „iterative creation“ and others are proposed, defined and contextualized in this statement.

Julie Delisle Between Written & Oral. Mediological observations on the creative process in trans-traditional music ensembles. A making-of the first concert of the Sound of Montreal Ensemble, „Et je reverrai cette ville étrange“, will address musical adaptation strategies and the role of oral traditions and written musical scores in this intertraditional creative process.

Gabriel Dharmoo Extended voice – A Passage to Decolonized Artistic Practice

Musical, vocal, conceptual, practical, contextual and professional strategies used by ‘othered’ vocalists who seek to decolonize their artistic practice.

Sameer Dublay Ensemble Sangeet Prayog Pune – Trans-traditional Experimentation in Indian Art Music. In Indian art music circles, newness and experimentation are not usually viewed in a positive light. What happens when a group of musicians decide to explore western concepts such as polyphony, animated scores, irregular cycles etc from within their own practice and tradition?

Matthias Entreß The End of an Illusion: Ethnically Informed Music after the End of Traditions.

Blending cultures is a good idea for humanity – only: it does not work with music and instruments. Composition vs. traditional intuition, polyphony vs. complex instrumental sound – all the sensitivities developed over centuries are being lost. Are we searching for a tertium non datur ?

Harry Lehmann Tricky Eurology

New Music is a cultural code that posits its own negation: the suspension of any musical tradition. Today we can observe a paradigm shift from traditional European absolute music towards relational music. This relational music overcomes any music tradition – including the European – and transforms New Music into a kind of international art music, like global art or choreography.

Stefan Östersjö Musical and Musicianly Listening in Intercultural Practice

What is the function of listening in intercultural musical collaboration ? Using Pierre Schaeffer’s concepts of musical and musicianly listening, we describe how inter-cultural exchange demands a particular openness that can be developed via musicianly listening, a form of listening which seeks to “innovate in the facture of sound objects” (Michel Chion)

Christian Utz De-Centering New Music

Is the aesthetic universalism propagated by Romantic aesthetics and re-instigated by the musical postwar avant-garde a hopelessly outdated relic of a faded past or can it be re-read, re-considered into a radical form of global musical art that recognizes virtually all musical traditions worldwide?

Sandeep_Diskutierend

Prof. Sandeep Bhagwati ist Komponist, Theatermacher und Medienkünstler. Er war u.a. Professor für Komposition und Multimedia an der Hochschule für Musik Karlsruhe, leitete das Hexagram-Concordia Centre for Research-Creation in Media Arts and Technologies und mehrere Festivals für Neue Musik. Er hat den für ihn geschaffenen Canada Research Chair for Inter-X Art an der Concordia University Montréal inne, wo er als Direktor das von ihm gegründete matralab leitet. Seine Arbeit wurde mit zahlreichen Preisen und Stipendien ausgezeichnet, u.a. mit dem Europäischen Kompositionspreis der Akademie der Künste Berlin und dem Ernst-von-Siemens Förderpreis.

Der Eintritt für das Symposium ist frei!

Free entrance for the Symposium!

Ticket für das Konzert EAPOS-EurAsian Pool of Sound am So, 10.Dez um 20h: https://18280.reservix.de/p/reservix/event/1072933

Festivalticket (08.-10.Dez.): https://18280.reservix.de/p/reservix/event/1072935

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