Gottfried michael koenig essay

Four seminar-workshops on electroacoustic music in a space — the Salone degli Arazzi — adapted for live music thanks to the installation of an eight-channel broadcasting system. A group of students or former students of Alvise Vidolin, who has taught electronic music at the Venice Conservatory for thirty-five years. A homage in the workshop spirit of the maestro with performers of acoustic instruments, sound directors, historic excerpts and new productions. On Saturday 11 July the concert for Alvise Vidolin will close the four all-day events serie.

Seminar on the work of Koenig and analysis of the 8-tracks Polychromie. The space in Koenig multitrack works The theoretical writings by Koenig. Interview with Koenig. Biographical note Gottfried Michael Koenig , born in in Magdeburg, Germany, studied church music in Braunschweig, composition, piano, analysis and acoustics in Detmold, music representation techniques in Cologne and computer technique in Bonn. I suggest areas where compositional pressure forced new technical practices to evolve and where technical limitations modulated compositional practices.

Gottfried Michael Koenig — Complete list of works — electrocd — The Electroacoustic Music Store

The sketches provide clues as to how the sounds were constructed, but they are far from complete and have required considerable effort to decode. Several different realization methods were tried for various sounds, but the use of historic equipment helped to encourage an overall methodology which made the reconstruction process easier and easier as the project has progressed.

[Wikipedia] Gottfried Michael Koenig

I built up a tacit knowledge of the tools so that simple, short instructions which at the start of the project would have been undecipherable, with experience, became quite straightforward to understand. Experience with certain devices and their parameter values and ranges enabled many parts of the sketches to be more easily decoded.


  • ‎Acousmatrix - The History of Electronic Music I - II by Gottfried Michael Koening on Apple Music.
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This enables a much deeper understanding of how Stockhausen used serial methods to compose each of the sound elements. Careful study of the sketches has helped to form a theory of which sound elements were created first, and at which point the realization processes changed.

Working through the realization process of each sound type brings practical insights which help us understand the significance of the changes and evolution in working methods. I show how these methods and techniques evolved during the two year realization process, leading from Studie II to Kontakte.

Of particular importance in the phonological approach taken in these essays is the notion of oppositions. Over the course of the piece, these sonic materials are brought together and broken apart in order to articulate what amounts to one continuous, though ultimately dialectical, unfolding.

Acousmatrix - The History of Electronic Music I - II

Thomas Licata, in his analysis of Luigi Nono's Ommagio a Emilio Vedova , takes an even more overtly phonological approach. In this analysis, the author views the essential structure of the work as being based in "a gradual movement from a high degree of contrast and opposition… leading toward, and set against, far greater degrees of compression and uniformity" in the latter part of the work.


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  6. As these oppositions unfold through the piece, they engender a dramatic interplay of differentiation and synthesis. Analyses such as these would be unthinkable without the tools and theoretical infrastructure projected by the notion of timbral analysis. In this sense, the use sonograms frame analytical activity in much the same manner as the tools provided in Schenkerian analysis or pitch-class analysis.

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    No fewer than three of the essays cover an exquisite sampling of works emanating from the Cologne studio of the s and early s. Each of these essays seeks to understand the musical work in terms of the larger technological and theoretical frame in which it was conceived.


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    Boehmer foregrounds the explicitly technological imperative which this and other Cologne studio compositions clearly articulated. He describes the dialectical nature in which studio technique reflected serial thinking, and vice verse.

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    Boehmer observes that for composers like Karlheinz Stockhausen and Mr. Jerome Kohl's chapter on Mr. Stockhausen's Telemusik takes a somewhat similar holistic approach. As Mr. In their chapter on Mr.