Elisabeth Schimana & Seppo Gründler
die grosse partitur (2001-2006)
The basic idea for the composition and its performances is rooted in the historical context of electronic music. concerts follow a precisely defined structuren – the score. however the performing artists Seppo Gründler and Elisabeth Schimana don’t proceed according to a score in the traditional sense, instead they follow a temporal and functional structure. For the last of eight concerts which was broadcast live by ORF Kunstradio they gave the great score to artists spread all over Europe who performed the piece with each other via streaming audio as a net-concert.
base-structure of the great score
gründler and schimana: material 1)creation, 2)freezing and 3)regulation.
computer: data 1)acquisition, 2)analysis and 3)synthesis
for detailed information see also http://partitur.at
07 12 2001 PAUSE-SIGN FESTIVAL | Budapest | a nagy partitúra
16 05 2002 ALTERMEDIUM.02 FESTIVAL | Moscow | bolschaja partitura
24 06 2004 STEIM No Backup Concerts | Amsterdam | de grote partituur
03 09 2004 ARS ELECTRONICA FESTIVAL | Linz | die groβe partitur
26 04 2005 MAK nite | Vienna | die groβe partitur
08 09 2005 KAPELICA GALLERY | Ljubliana | velika partitura
07 10 2005 MUSIKPROTOKOLL | Graz | die groβe partitur
01 01 2006 ORF KUNSTRADIO | Net | the great score
die grosse partitur was published in 2006 as an 8-CD-set of 21min each.
released 2006 by salon elise (distribution: musik aktuell)
Seppo Gründler guitars, analogue and digital instruments
Musician, composer, tinker, main instruments guitar and computer, different live projects solo/duo/ensembles, music for theatre, film and dance, sound and media installations Head of the Master Studies Media and Interaction Design at FH-Joanneum Graz | http://gruendler.mur.at
Elisabeth Schimana voice, theremin, analogue and digital instruments has been working as a composer, performer and radio artist since 1983.
She studied electro-acoustics and experimental music at the University of Music and Performing Arts Vienna, computermusic-composition at the IEM, Graz and musicology and ethnology at the University of Vienna. Her work concentrated for many years on space / body / electronic. She has ongoing cooperations with the Austrian Kunstradio. She also focus on research in the field of woman, art and technology. Elisabeth Schimana founded IMA Institute of Media Archeology. http://elise.at/en
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Stereo version of the original 4 channel piece for fixed media
Harp & Electronics (Harp: Angélica Vázquez)
Created in 2012 in the Netherlands, Murmurs is part of a larger project dedicated to acoustic instruments and electronics that involves not only pieces for fixed media but also scores for live performances as well as improvisation. Murmurs, is a result of a 2 year collaboration with the Harpist Angelica Vasquez. Our main goal was to explore the possibilities of the acoustic sound sources and integrate them with computer synthesized sounds. The opposite nature of the sound material is used as the key for their fusion.
Fani Konstantinidou is a sound artist, composer and music researcher based in the Netherlands.
She is PhD candidate at the Universiteit van Amsterdam, member of ASCA (Amsterdam school of cultural analysis) as well as research associate at the Institute of Sonology at the Royal Conservatory in The Hague.
Her music and research concentrate on emphasizing, analyzing and exposing cultural and social elements through sound, in order to explore new compositional methods and focus on public communication through music
From traditional soundscapes to politics and from sonic portraits to imaginative landscapes, she explores how the experimental music scene can attract new audiences and seeks for new compositional methods. She is a sound collector, gathering recordings from different places and spaces and in her performances she is re-creating real and imaginary landscapes. In her research she focuses on the Greek and Dutch culture specializing on how the language, the familiarity of the soundscapes, the political situation as well as the current traditions on the experimental music scene affect the listening process. http://www.fanikonstantinidou.com
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Beautiful Soop (1966)
During her year as first director of The Tape Music Center at Mills College (now Center for Contemporary Music-CCM) in Oakland, California. Pauline Oliveros completed Beautiful Soop (1966) and Alien Bog (1967) utilizing the original Buchla Box 100 series created for the Tape Music Center by Dan Buchla and her tape delay system. The take up reel was on tape machine I and the playback reel on tape machine II. Through patching the playback signals from tracks 1-4 were re-routed back to the recording head of machine I in a variety of configurations controlled by the composer. An excerpt of Alien Bog was released on an album Music From Mills – produced by David Rosenboom in 1986. Beautiful Soop is released for the first time.
“I was deeply impressed by the sounds from the frog pond outside the studio window at Mills. I loved the accompaniment as I worked on my pieces. Though I never recorded the frogs I was of course influenced by their music. Since that time many other composers have also been influenced by the sounds from the pond. Sadly, the pond will soon give way to a new building to expand the quarters of the CCM. It will no doubt be haunted by ghost frogs!” -Pauline Oliveros
Pauline Oliveros, now living in Kingston NY, has devoted her life to music and to helping others. She has established a worldwide reputation as a composer, accordionist, author, teacher and humanist. Her ground breaking work in electronic techniques, teaching methods, classical improvisation, myth and ritual, meditative and physical consciousness-raising is a large influence in American music. Since leaving the University of California at San Diego in 1981, at the rank of full professor she has established the Pauline Oliveros Foundation, Inc. and directs the music program to support her creative projects ideas and collaborations with other artists and emerging artists.
In 1961, she was co-founder of the improvisational group Sonics, with Ramon Sender and Morton Subotnick, that became the nucleus of the San Francisco Tape Music Center, now the Center for Contemporary Music (CCM) at Mills College. Oliveros was the first director of CCM (1966-67). Since then Oliveros has taught composition at Mills College in 1986 and served as Darius Milhaud Professor in 1996 and 1997. She was one of the first composers to use live electronic music as a composition medium. Her electronic piece Bye Bye Butterfly (1965) was included in The New York Times critic John Rockwell’s list of the ten most significant musical works of the 60’s. The Roofs of the Moment (1987) was included as the best of 1988 again by Rockwell in his year end review. Her revolutionary work in the use of tape delay and heterodyne techniques, coupled with the experimental use of combination tones and supersonic frequencies, presaged techniques now being explored digitally. Her more than thirty years of work with delay techniques is embodied in the Expanded Instrument System (EIS) documented in Leonardo Music Journal, the web site deeplistening.org and on the compact discs Crone Music (Lovely Music Ltd.), Sanctuary (Mode Records), Tosca Salad (Deep Listening). Her Dear. John: A Canon on the Name of Cage (commissioned by West German Radio in 1986 in celebration of Cage’s seventy fifth birthday) was completed using CCM’s high-level HMSL (Hierarchical Music Specification Language) controlled by an Oliveros-designed program realized by Larry Polansky. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros’ compositions have been pertormed worldwide, and in 1985 she was honored by a retrospective of her work at the J.F.K. Center for the Performing Arts in Washington, D.C. Her written work was anthologized in 1984 in Software for People (Smith Publications), The Roots of the Moment in 1997 (Drogue Press) and her recorded work and scores are available from Deep Listening Publications.