Morgen und \u00fcbermorgen findet im Rahmen des Ultima Festival Oslo die „Ultima Academy“ statt, die dieses Jahr als Thema „Digital Revolution of New Music: Consequences and possibilities for composers, musicians and listeners“ hat. Ich werde dort zusammen mit Harry Lehmann die Kontroverse, die in Deutschland seit mehreren Jahren anh\u00e4lt, refererieren, und dann den Vortrag „New Technology and the Music it creates“ halten. \u00dcbermorgen dann pr\u00e4sentiere ich im Vortrag meine Kompositionssoftware COIT.
\nDa ich wei\u00df, dass hier ganz viele mitlesen, die just in Oslo sind: Anwesenheitspflicht!<\/p>\n
Tuesday 11 September<\/p>\n
Norwegian Academy of Music<\/p>\n
Digital Revolution of New Music: Consequences and possibilities for composers, musicians and listeners<\/p>\n
9.30\u201310.30<\/p>\n
Music, Aesthetics, Digitization: Lecture by Harry Lehmann and Johannes Kreidler<\/p>\n
Music philosopher Harry Lehmann and composer Johannes Kreidler are important names in the German contemporary music scene. In this lecture they present their book Musik, \u00c4sthetik, Digitalisierung [Music, Aesthetics, Digitization], Born out of a controversial debate in the German music press, the book analyzes the impact of the digital revolution with regards to composition, distribution and musical interpretation.<\/p>\n
10.45\u201311.15<\/p>\n
The Content\/Aesthetic Turn in New Music: Lecture by music philosopher Harry Lehmann<\/p>\n
The digital revolution brings with it an all-encompassing democratization of \u2018high art\u2019. This leads to a shift in aesthetic content: Since the ideal of intrinsic musical progress is no longer convincingly attainable with acoustic instruments, composers choose to use aesthetic content as a tool to bridge the gap between \u2018life\u2019 and \u2018art\u2019 that is characteristic of contemporary art music.<\/p>\n
11.15\u201311.45<\/p>\n
New Technologies and the Music it Creates: Lecture by composer Johannes Kreidler<\/p>\n
Digitization has made a lot of potent technology affordable, useful and accessible. Kreidler discusses four different aspects of the issue in the musical field: production (software), remix (availability of existing music), instrument design (controller) and distribution (social networks).<\/p>\n
12.00\u201313.00<\/p>\n
Composer, philosopher and writer Emil Bernhardt in conversation with Harry Lehmann and Johannes Kreidler<\/p>\n
12.9.<\/p>\n
10.15\u201311.15<\/p>\n
Composing in Cooperation with the Computer: Practical lecture by Johannes Kreidler<\/p>\n
\u201cWe shape our tools and in turn they shape us\u201c. Marshall McLuhan\u2019s phrase is a creative technique: how can we design the interaction models between computer and human in order to become fertile? Together with the huge amounts of data and methods of distribution over the internet, modern-day hardware and software offer significant prospects for composers in a democratic way. Kreidler gives an insight into his work on the basis of the self-written composition software COIT and his own way of communicating over the internet.<\/p><\/blockquote>\n