Since the beginning of electroacoustic music at the end of the forties, there has

been a continuous need for new machines. New machines meant and mean

new possibilities and new trends for music. Machines tend to loose interest

once they are mastered or have served several times. However, after a certain

period of time, interest seems to regain on them and new compositions are

done. Where is the interest, what has changed with time? How do mental

structures adapt to new environments?

Born in Argentina in 1952, he has developed his professional career in France, where

he lives since 1977. Composer and researcher, he works since 1981 in the Ina (National

Audiovisual Institute) in Paris, in the GRM (Musical Research Group, founded by Pierre

Schaeffer en 1958). He has been the Director of the GRM since 1997 as well as director

or the Research department in Ina since 2001. Since 2008 he is co-directing Ina’s new

department, Ina Sup, dedicated to audiovisual and multimedia education, training and

research.

He has composed nearly 80 works, mainly for the concert and always using electroacoustic

devices with or without acoustic instruments. He is the author of numerous

research articles related to sound and musical perception as well as musical analysis.

In recent years he has been actively working on the preservation of audiovisual collections

and particularly the case of electroacoustic music, where content and container are

strongly linked and where the traditional models of conservation are not effective. He

has been the coordinator of the FP6 European project PrestoSpace.

Actually coordinating the FP7 European project PrestoPRIME and participant in the Europeana project.

He is founding member of the Electroacoustic Musical Studies network, in charge of an

annual conference on electroacoustic music analysis.

Rudolf Frisius, geb. 1941, studierte Mathematik, Philosophie, Kunstgeschichte und

Musikwissenschaft in Hamburg, Frankfurt und Göttingen, abschließend mit einer Dissertation

zum Thema „Untersuchungen über den Akkordbegriff“. Spezialisierung auf Musiktheorie und musikalische Analyse,

Hörspiel und Akustische Kunst, Konkrete und Elektronische Musik in Zusammenarbeit mit Institutionen wie Internationales Musikinstitut

und Internationale Ferienkurse für Neue Musik Darmstadt, Institut für Neue Musik und Musikerziehung Darmstadt (Vorstandsmitglied 1992-2005, Vorsitzender

1998-2004), INA-GRM Paris, Institut für Sonologie Utrecht, verschiedene Rundfunkanstalten, ZKM Karlsruhe.

This presentation is about a piece made in 2011 with a synth developed

between 1967 and 1975 at GRM, named later after its main inventor : the

„Coupigny“. Based on this example, this presentation tends to expose how

using „old“ machines in the musical process can lead to the emergence of new

compositional paradigms.

How to use the Publison Infernal Machine DHM 89.B2.

Detlef Heusinger (*1956 in Frankfurt/Main) ist Komponist, Regisseur und Dirigent und leitet seit 2006 das EXPERIMENTALSTUDIO für akustische Kunst e. V. in Freiburg.

Heusinger studierte von 1976 bis 1980 an der Musikhochschule Bremen Komposition sowie Gitarre, Laute und Klavier, parallel dazu Germanistik und Schulmusik an der Universität Bremen. Zwischen 1981 und 1989 folgten weitere Kompositionsstudien bei Hans Werner Henze in Köln sowie bei Klaus Huber an der Freiburger Musikhochschule, an der er auch die Fächer Dirigieren (Francis Travis) und Elektronische Musik (Messias Maiguashca) belegte. Zur selben Zeit studierte er an der Freiburger Universität Musikwissenschaft bei Hans Heinrich Eggebrecht und Philosophie.

Von 1990 bis 1998 unterrichtete Heusinger an der Bremer Musikhochschule. Seit 1991 ist er neben seiner kompositorischen Tätigkeit auch als Opernregisseur in Deutschland, Polen, Österreich und der Schweiz tätig. Heusinger war u.a. Stipendiat der Villa Massimo in Rom, der Cité de la Musique in Paris sowie der Heinrich-Strobel-Stiftung in Freiburg, jetzt EXPERIMENTALSTUDIO für akustische Kunst e.V.

Although Sonology in Utrecht was very early when it came to the use of computers

for sound synthesis, analogue production techniques still remained an

important subject after the first PDP-15 computer had arrived by the end of

1970. Equipment for voltage control was further developed at Sonology’s electronics workshop,

and when the institute in Utrecht closed its doors in 1986, it still had three analogue studios.

After Sonology had moved to the Royal Conservatory in The Hague, the best

pieces of equipment of these three studios were combined and installed in one

new analogue studio. At the same time, digital techniques became more and

more prominent with the arrival of the personal computer.

When in 1993, I was asked to take over Jaap Vink’s position as teacher in

analogue studio techniques, it was questioned whether it was necessary at all to

have such a studio. I personally was convinced that an analogue studio could

make an important contribution to the curriculum, but then still, the question

was if analogue techniques were only relevant because they are part of the

historical development of electronic music, or if the methods applied in an

analogue studio might still be relevant at a time when digital techniques were

taking over.

After having studied Gottfried Michael Koenig’s methods for the production

of his Terminus (1962) and the Funktionen series (1967-1969) and the realization

of a series of new pieces with voltage control techniques myself (Depths

of Field 1-4 and Geoglyphs), my answer is yes!

Kees Tazelaar (July 27, 1962) was taught at the Institute of Sonology from 1981 to 1983

(Utrecht) and from 1987 to 1989 (The Hague). He subsequently

studied composition with Jan Boerman at the Royal Conservatory in The Hague, graduating in 1993.

Since then Tazelaar has been teaching at the Institute of Sonology. He

is head of Sonology since June 2006.

In addition to his own autonomous works, he has contributed to music theatre projects

by Dick Raaijmakers (Die glückliche Hand geöffnet, Scheuer im Haag) and Theatergroep Hollandia (Perzen, Varkensstal).

Tazelaar has also been intensively engaged in the restoration and reconstruction of major electronic works from the past.

In his specially equipped studio, he has created new versions of compositions by Gottfried Michael Koenig , Jan Boerman, Edgard Varèse,

Iannis Xenakis, György Ligeti, Luctor Ponse and Dick Raaijmakers.

During the winter semester of 2005/2006, Kees Tazelaar filled the Edgard Varèse

Guest Professorship of the DAAD at the Technische Universität Berlin.

Kulturgeschichtliche und musiksemantisch-ästhetische Reflexionen

Im gemeinsamen Gespräch sollen kulturgeschichtlich und ästhetisch ambivalente Aspekte des Symposiumsthemas problematisiert werden.

Leopoldo Siano (born 1982) began piano lessons as a child, and later took composition and conducting classes. In 2006 he earned his degree in musicology (laurea) at the Università degli Studi di Roma „Tor Vergata“.

In 2008 he completed his musicological studies (laurea specialistica) at the Università degli studi di Pavia (Facoltà di musicologia di Cremona), writing the thesis Karlheinz Stockhausen: teoria e prassi compositiva (1951–1961). From 2006 he regularly attended the Stockhausen-Kurse Kürten. Since 2009 he has been living in Cologne, where he is writing his Ph.D dissertation on KLANG Die 24 Stunden des Tages, the last and unfinished cycle of Karlheinz Stockhausen.

Michael Nicolas Schott, geboren 1982 in Hamburg, studierte Musikwissenschaft, Philosophie und Germanistik an der Universität zu Köln. Er war am dortigen Musikwissenschaftlichen Institut als studentische Hilfskraft und nach Beendigung des Studiums als Lehrbeauftragter tätig. Im Jahr 2007 nahm er als Referent an dem internationalen Symposion François Bayle. Die Klangwelt der akusmatischen Musik in Köln teil. Derzeit befindet er sich in einem Promotionsstudiengang

Christoph von Blumröder

Geboren 1951, wurde nach musikwissenschaftlicher Promotion (1979) und Habilitation (1990) an der Universität Freiburg i. Br. zum Wintersemester 1996/97 auf die Professur für Musik der Gegenwart am Musikwissenschaftlichen Institut der Universität zu Köln berufen. Dort begründete er die Veranstaltungszyklen Komposition und Musikwissenschaft im Dialog (1997) und Raum-Musik (1998) sowie die Schriftenreihe Signale aus Köln.

Beiträge zur Musik der Zeit (bislang 16 Bände). Im Kontext zahlreicher Veröffentlichungen zur neuesten Musikgeschichte - jüngstes Buch: Neue Musik im Spannungsfeld von Krieg und Diktatur, Wien 2009 (= Signale aus Köln 13) - gilt ein besonderes Interesse der elektroakustischen Musik, die er als einen Schwerpunkt in Forschung und Lehre am Kölner Musikwissenschaftlichen Institut etablierte.