Stu­dent Works  /  Project Phase

Sound Studies Summer Semester Concert 2017

summer concert

28 June 2017 | concert

Design © Kathrin Schiedt

Sound Stud­ies — Sum­mer Semes­ter con­cert 2017

Toshi Ichiyana­gi – Appear­ance (1967)
Karl­heinz Stock­hausen – Kurzwellen (1968) 


28 June 2017 | 7 pm
Georg-Neu­mann-Saal, UdK
Ein­stein­ufer 43–53
10587 Berlin 


This con­cert is made pos­si­ble with the friend­ly sup­port of the Jazz Insti­tute Berlin, UdK. 

Our Sum­mer Semes­ter 2017 con­cert fea­tures a group of Sound Stud­ies stu­dents per­form­ing a rein­ter­pre­ta­tion of “Kurzwellen”, a Stock­hausen’s com­po­si­tion (1968) based on the pecu­liar sound char­ac­ter­is­tics of short-wave radios and “Appear­ance” by Toshi Ichiyana­gi (1967).  

A  group of stu­dents of the MA Sound Stud­ies per­form a rein­ter­pre­ta­tion of  ‘Kurzwellen’, Stock­hausen’s com­po­si­tion dat­ed 1968 and based on the pecu­liar sound char­ac­ter­is­tics of short-wave radios.Four musi­cians, each equipped with an instru­ment and a specif­i­cal­ly designed short-wave sim­u­la­tor, engage in an intri­cate col­lec­tive per­for­mance, imi­tat­ing and trans­form­ing each oth­ers out­put in a process of impro­vised musi­cal meta­mor­pho­sis. At the same time a fifth per­former takes care of the fil­ter­ing and posi­tion­ing of the sounds over 8 speak­ers, cir­cu­lar­ly dis­posed in the room.The impro­vi­sa­tion­al char­ac­ter of the piece gen­er­ates every time a new out­come, fol­low­ing the com­posers nota­tion yet ulti­mate­ly rais­ing from the con­nec­tions between the mem­bers of the ensemble. 


Elek­tro­n­i­um : mono­phon­er syn­the­siz­er “XY”, Edoar­do Cal­gari, Lena H.
Tam­tam : met­al sheet, Edoar­do Cal­gari, Lena H.
Vio­la : elec­tric gui­tar, Ale­jan­dra Car­de­nas, Car­los Ortiz
Piano : Car­los Vil­lamizar, Ari­na Korenyu
Fil­ter & Spa­tial­iza­tion : Soft­ware MaxM­SP-Patch, Oliv­er Hahn, Max Joy

For 3 Instru­ments, 2 Oscil­la­tors, 2 Ring Modulators 


The Japan­ese com­pos­er Toshi Ichiyana­gi played an impor­tant role in the New York avant-garde scene in the late 50s. He was con­nect­ed to John Cage and con­sid­ered as a “men­tor” to the Fluxus move­ment. His piece “Appear­ance” (1967) is a com­po­si­tion for instru­ments, oscil­la­tors and ring mod­u­la­tors. It is rep­re­sen­ta­tive for Ichiyanagis idea of “live-elec­tron­ic-music” and based on an inter­ac­tion­al struc­ture for the play­ers with­out leav­ing aside the fac­tor of unpre­dictabil­i­ty. Since hear­ing is pre­ferred to express­ing by Ichiyana­gi, impro­vi­sa­tion has to be start­ed with care­ful hear­ing of the space. Some free­dom has been tak­en regard­ing the instru­men­ta­tion. One of the major dif­fer­ences with the his­tor­i­cal ver­sions is that the ring mod­u­la­tors are emu­lat­ed in a dig­i­tal way thanks to a max-patch. Also, one of the ver­sions will be played with a sax­o­phone and a Shrutibox.


The piece will be per­formed twice, by two dif­fer­ent groups with a slight­ly dif­fer­ent instrumentation. 


Con­tra­bass : Steven Bore­ham, Maxi Schmidt 
Grand Piano/ Har­mo­ni­um : Johannes, Aude Gouaux Lan­glois
Trumpet/ Sax­o­phone : Lin­da Syko­ra, Jonas Wiese 
OSC 1 : Julio Lugon, Felipe Vaz
OSC 2 : Flo­ri­an T M Zeisig, Luciana Da Cos­ta Amor­im,
Grand Piano/ Shruti­box : Johannes Stege­mann, Aude Gouaux Lan­glois 
Trumpet/ Sax­o­phone : Lin­da Syko­ra, Jonas Wiese 
OP : Nico­las Rosero Sanchez, Jonas Engelmann