Reden: Nachgespielt #4
From Sonography to Choreography. Musikstunden mit Alain Franco und Paul Craenen
Das 20. Jahrhundert hat viele neue Notationssysteme hervorgebracht wie etwa die einfache graphische Notation, die Aktionsnotation und die Prozessnotation. Aber auch technische Weiterentwicklungen wie computerbasierte Audio-Samplings befördern den kreativen Prozess beim Komponieren laufend. Für den Zuhörer bleibt das jeweilige Aufschreibesystem hingegen meist unsichtbar.
In der vierten Folge von „Nachgespielt“ untersuchen Alain Franco und der Komponist und Musikwissenschaftler Paul Craenen das Verhältnis von musikalischer Praxis und ihrer Verschriftlichung. Als Beispiele dienen Partituren von Igor Fjodorowitsch Strawinski (1882-1971), Morton Feldman (1926-1987) und Brian Ferneyhough (*1943).
Paul Craenen:
Paul Craenen is a composer, teacher and artistic director. As a maker and teacher of music, he links a classical training to work with the newest instruments and techniques. In his role as a researcher and director, he attempts to bridge the gap between existing music practice, scientific findings and the wider cultural context in which musical activity can unfurl. He earned his master’s degree in piano and chamber music from theLemmensinstituut in Leuven, Belgium. Since then he has taught piano and experimental music at various music schools. He has designed several pioneering educational projects involving new music and the use of new media in music education. He has been a composer and sound artist since the late 1990s. He has taken part in several international composition seminars and his compositions have been performed in Belgium and abroad at a range of new music festivals. Conceptuality, the use of electronics and choreographic and audiovisual elements are characteristic of his compositions. Another ongoing theme in his work is attention to corporeal presence in music performance. He began postgraduate research into this subject at the Orpheus Institute in Ghent, later pursuing it through docARTES, a doctoral programme for practice-oriented research in the arts. He has been a member of various research groups and was a guest lecturer on intermediality at Amsterdam Conservatory for several years. On 29 March 2011 he received his doctorate from Leiden University with a musical portfolio and a thesis on ‘composed performers’. A translation has been published by Leuven University Press (2014) under the title “Composing under the Skin. The music-making body at the composer’s desk”. Since 2012 he has been the director of Musica, Impulse Centre for Music.
Der Abend findet in englischer Sprache statt.
