ELECTRIC ORPHEUS ACADEMY Günther Rabl ••• workshop 2012

MASTER COURSES 2012

ELECTRIC ORPHEUS ACADEMY
Master Courses 2012

Artistic Direction & Lessons: Günther Rabl
Technical Direction & Lessons: Wolfgang Musil
Artists in Residence: Chiko Mori, Oliver Grimm (Tokyo)
Organisation: Aron Saringer
Supported by: Land Niederösterreich, SKE-Fond, Gemeinde Rappottenstein, Sparkasse Waldviertel-Mitte

July 11-18, 2012
Altes Sägewerk, Heumühle, Rappottenstein, Austria

Participants:
Martin von Allmen (CH), Richard Bruzek (A), Klaus Gstettner (A), Florian Hollerweger (A), Daniel Lercher (A), Thomas Mayr (A), Vinzenz Schwab (A)
Special Guest: Limpe Fuchs

Topics

In instrumental music we find a historically-developed division of labor encompassing various areas from instrument building, to composition, to the interpretation by musicians, orchestras and conductors. Just how these areas communicate and intertwine is differently regulated in the diverse stylistic variations of playing instrumental music. Only one thing applies to them all: Sound generation is the last link in the production chain. No matter whether it is composed or improvised music; whether it is classical music, folk music or jazz – in the end, the musicians have to transpose the musical idea into a hearable sound.
In electroacoustics, a totally different path was opened from the start. The relationship of composition and sound generation is inverted thereby. The sound is not the end result of the interpretation of a composition, of a plan; the sound stands at the beginning, it is the point of departure: material. Thus, the creation of music itself is radically altered. The work on the concrete material is more like an integral craft than an architectonic planning. Even if the result is definitively music, the technique of creation more closely approaches a type of visual art than a composition in the traditional sense. The sound of traditional music instruments also shows itself in a different light when it is applied as material. Sound allows itself to not only be used as artistic material as soon as it has been transformed into the electronic medium. Data which is decisive for further processing and composition can be extracted with analytical methods from any material. That extends from the interpretation of analytical data as series for arbitrary parameters to the construction of singular, individual tonal systems for working with a certain sound type.