The composer and musicologist Konrad Boehmer was born in Berlin in 1941. His early works were conducted by Bruno Maderna and Pierre Boulez. His dissertation on the open form in new music, which he defended in 1966 at the age of 25, made a great impression. In the same year he followed the route of his teacher Gottfried Michael Koenig to the Netherlands.
Boehmer was initially embraced by the Dutch avant-garde and began teaching at the Royal Conservatoire in 1972. From 1994 to 2006 he was head of the Institute of Sonology. Konrad Boehmer died on 4 October 2014 in Amsterdam.
As a music critic, Boehmer – often rightly, sometimes wrongly – attacked many of his colleagues at home and abroad, for example via his legendary radio programme Muziekspiegel. Perhaps because of the polemical battle in which he was regularly involved, the composer Boehmer has faded into the background in the Netherlands.
On the occasion of the tenth anniversary of his death, the Konrad Boehmer Foundation has therefore asked the New European Ensemble to compile a programme of instrumental compositions by Boehmer and composers he admired, Willem Breuker, Luigi Nono and Edgard Varèse. The selected works by Boehmer have never been performed in the Netherlands before. Also special is the Dutch premiere of the original version of Nono’s Polifonica–Monodia–Ritmica.
The concert will be preceded by a pre-concert lecture given by Italian musicologist Veniero Rizzardi on the ongoing dialogue between Luigi Nono and Konrad Boehmer.
4 October 2024, Conservatoriumzaal 19:00, Pre-concert lecture 20:00, Concert
Konrad Boehmer – Fünf Bagatellen Edgard Varèse – Octandre Konrad Boehmer – Qadar Luigi Nono – Polifonica–Monodia–Ritmica
intermission
Konrad Boehmer – Da Ciri Willem Breuker – Fidget Konrad Boehmer – Rabioso
Sonology master’s student Adomas Palekas graduated with distinction and received the Konrad Boehmer Prize 2024 for the outstanding quality of his research project titled Microbial and Molecular Sonifications.
From the jury’s report: “Adomas was an exceptional student in every way, producing some of the most interesting bio-art we’ve encountered, with an innovative approach to sound, using his time at Sonology to expand his horizons and explore new ones.”
We congratulate Adomas and look forward to the further development of his research.
Sonology’s final presentations take place on 21, 22 and 23 June 2024.
These concerts are in Amare Studio on the third floor of the Amare building at Spuiplein 150, 2511 DG Den Haag. Please note that all concertsstart at 19:00.
Friday 21 June, 19:00 Works by Lawrence Mc Guire, Oscar Peters, Ege Şahin and Elif Gülin Soğuksu.
Saturday 22 June, 19:00 Works by Liza Kuzyakova, Roc Montoriol Torent, Gyuchul Moon and Adomas Palekas.
Sunday 23 June, 19:00 Works by Amit Dagim, Jacob Eckhardt and Gaia Heichal.
Admission and drinks are free.
Please be on time or even better, 15 minutes early. Doors are closed once theconcerthas started.
Adomas Palekas will also present work at Trixie, Scheldestraat 1–11, 2515 TA Den Haag. The exhibition will start on 19 June at 19:00 with a performance and will be open on 20 and 21 June from 14:00–19:00. On Sunday the exhibition will end on 22 June at 16:00 with kwass pouring and tasting.
The Immersive Models research project is an interdisciplinary collaboration between Gramazio Kohler Research at the Federal Institute of Technology Zurich (ETH Zurich) and Professor Dr. Rama Gottfried at the Institute of Computer Music and Sound Technology (ICST) at the Zurich University of the Arts (ZHdK).
Project background
The project aims to develop theoretical and experimental research examining the use of immersive audio simulation and modeling techniques in the spatial practices of architecture and sound arts. The team is composed of senior and doctoral researchers at the ETH Zürich and ZHdK, combining expertise in computational design, sound composition, acoustic simulation, virtual reality, psychoacoustics and the history of architecture. The project relies on expertise and cutting edge-infrastructures like the Immersive Design Lab at ETH, and Ambisonic and Wave Field Synthesis arrays at the ICST.
Job description
We offer two PhD positions for developing design-based research on immersive modeling and the integration of auralization tools into the design process. The full-time positions span four years and are funded according to standard SNSF regulations. Upon completing the doctorate, the two fellows will be awarded the title Dr. sc. ETH Zurich from the Department of Architecture (D-ARCH).
The two candidates will be integrating spatial and acoustic simulation software from the first stages of their personal design processes in respectively architecture and sound arts. They will lead comparative studies between on site and modelized experiences focusing on distinguished representative spaces, situations, and goals.
Applicants for both positions must have fundamental knowledge in digital modeling, good communication skills, fluency in English and the willingness to fully commit as part of an international team.
Your profile
Profile 1: Acoustic Simulation in Architectural Design
The candidate must have a diploma/M.Sc. degree in architecture. The ideal candidate has a strong interest in architectural acoustics, knowhow in modeling and scripting tools like Rhino/Grasshopper. Furthermore, experience with immersive tools like Unity would be beneficial. The candidate will be based at Gramazio Kohler Research, ETH Zurich.
Profile 2: Spatial Modelisation in Sound Arts
The candidate must have a diploma/M.Sc. degree in architecture or sound art related practices (electroacoustic composition, sound design, spatial audio, etc.). The ideal candidate has knowledge in architecture and acoustics, and experience with tools like MaxMSP, IRCAM Spat, Rhino/Grasshopper and skills in scripting/programming. The candidate will be based and employed at the Institute for Computer Music and Sound Technology (ICST), ZHdK, focusing on sound practices within architectural acoustic spaces.
We offer
ETH Zurich is a family-friendly employer with excellent working conditions. You can look forward to an exciting working environment, cultural diversity and attractive offers and benefits.chevron_rightWorking, teaching and research at ETH Zurich
We value diversity
In line with our values, ETH Zurich encourages an inclusive culture. We promote equality of opportunity, value diversity and nurture a working and learning environment in which the rights and dignity of all our staff and students are respected. Visit our Equal Opportunities and Diversity website to find out how we ensure a fair and open environment that allows everyone to grow and flourish.
Curious? So are we.
We look forward to receiving your online application until June the 30th, 2024. Your application should include:
A letter of motivation CV Portfolio of your work in academia and practice Two recommendation letters
Please note that we exclusively accept applications submitted through our online application portal. Questions regarding the position should be directed to: daro@arch.ethz.ch Please apply exclusively via the (Link). Applications sent by e-mail or postal services will not be considered. To learn more about us, please visit the websites: https://www.gramaziokohler.arch.ethz.ch and https://www.zhdk.ch/en/research/icst.
On 31 May and 1 June 2024, Ji Youn Kang will present her annual Wave Field Synthesis Festival in Sonology’s New Music Lab and Wave Field Synthesis Studio (6.74) in collaboration with The Game of Life.
The festival will have new works by Gabriele Dikciute, Gyuchul Moon, Joel Gester Suárez, Harry Golden, Heu Hsu, Concepcion Huerta Flores, Pedro Incenso Latas, Ivan Kalashnik, Isul Kim, Jiyoung Wi Lee, Daniel L. Lythgoe, Karmen Ponikvar, Viktoria Nikolova, Davide Paolillo, Alina Petrova, Walker Smith, Una Mist Óðinsdóttir, Imri Talgam, Akvile Zarankaite, Iz Abad Manning, Otso Aho, Seraina Fässler, Cis De Gendt, Uku Tuuling, Yaara Yaniv, and Simone Sacchi.
Admission is free. Free snacks and drinks are offered in between the concerts.
Directions to the New Music Lab:
When you enter on the ground floor of Amare, proceed to the middle where the elevators are located. Press “6” for the sixth floor before you enter the elevator. Take the elevator up to the 6th floor (Institute of Sonology) and proceed through the glass doors directly into the New Music Lab which is straight ahead.
Opening 17–19hrs Friday 17th May. Exhibition open 18 & 19 May 12 – 18 hrs. Lange Voorhout 102 2514 EJ, Den Haag
Search Wikipedia for “vibrotaxis” and you find scientific literature about stinkbugs being attracted by vibration. We fortunately have no stinkbugs, but you might find yourself being attracted to vibrations from:
– electronic circuits making relations with moulds – instruments with a life of their own – sounds from trees and plants – voices and instruments in conversation – image and sound woven on an interactive loom – a score made out of waste material – tones in your own ears – computer fans with agency – the building itself
All engineered, sculpted, bred, collected or composed by participants in Justin Bennett’s class at the Institute of Sonology.
Are you attracted to vibration? call the Vibrotaxi!
Raviv Ganchrow’s sound installation Building Telluric (2024), part of the exhibition Beyond the Sound(curated by Jiří Suchánek), will be running until 14 July 2024 at Brno’s House of Arts museum, Czech Republic.
Acoustic gravity waves apparent in cloud formations off the coast of Angola and Namibia, June 26, 2016. Photo courtesy of MODIS, NASA/GISS, https://www.giss.nasa.gov/research/features/201607_gwaves/.
Kees Tazelaar will present two works by Jaap Vink (1930–2023), Stroma and Tide 1985, on GRM’s Acousmonium at a concert in Centquatre-Paris – Salle 400 as part of their Multiphonies 23–24 concert series. More information can be found here: https://www.104.fr/fiche-evenement/focus-2024.html
On 16 March 2024, Werner Kaegi passed away in the South of France at the age of 97.
Werner Kaegi (*17 June 1926) was a Swiss composer of contemporary music and electronic music pioneer. In 1971 he left Switzerland and became a staff member at the Institute of Sonology in Utrecht. There, he developed the sound synthesis system VOSIM and the MIDIM program for computer music composition.
Ernst Schwitters (photographer): Kurt Schwitters reading his “Ursonate”, London, 1944, Courtesy Kurt Schwitters Archiv, Sprengel Museum Hannover
On 19 April 2024, the Institute of Sonology is organising a small symposium around the famous sound poem Ursonate by Kurt Schwitters (1887–1948).
The symposium will start at 15:30 in the New Music Lab on the sixth floor of Amare, Spuiplein 150, 2511 DG The Hague and will end around 18:30.
Registration is mandatory through this link(80 persons max.):
The programme consists of the following parts:
1. Antje Wulff introduces Kurt Schwitters and places the Ursonate in the context of Schwitters’ oeuvre.
2. Marie Guilleray talks about the multichannel fixed-media version of the first two movements of the Ursonate. Kees Tazelaar will join her at some point to describe the spatial design that he made in collaboration with Marie. This will be followed by the performance of the fixed-media work itself.
3. Jaap Blonk: personal experiences in performing the Ursonate.
Intermission
4. Jaap Blonk performs the scherzo and final movement of the Ursonate live.
5. Christopher Fox talks about his long relationship with Schwitters’ work and presents recordings of his Schwitters-based works MERZsonata and Babel.
6. Kees Tazelaar talks about the curious history of the recording of the Ursonate in Dick Raaijmakers’ tape collection.
7. Panel discussion
Antje Wulff is a scholar of literature and textual editing. She has been a long-time researcher at the hybrid edition project Kurt Schwitters. Alle Texte carried out by the University of Wuppertal (Germany) and by the Kurt Schwitters Archive held at the Sprengel Museum Hannover. Recently, she obtained her Ph.D. from the University of Wuppertal with a dissertation on Schwitters’ Merz art. She is also working as a publisher at Trilog Verlag in Wuppertal.
Marie Guilleray is a French vocalist, composer and sound artist based in the Netherlands. She works mainly in the context of experimental, electroacoustic, improvised music and sound poetry. She studied at the Conservatoire Nadia and Lili Boulanger in Paris and at the Royal Conservatoire The Hague. Her research into the extended possibilities of the voice in combination with electronics led her to continue her studies at the Institute of Sonology. She is currently a PhD candidate at Leiden University (ACPA) and the Orpheus Institute in Ghent (DocARTES).
Jaap Blonk is a self-taught composer, vocalist, poet and visual artist. His unfinished studies in mathematics and musicology mainly created a penchant for activities in a Dada vein, as did several unsuccessful jobs in offices and other well-organized systems. In the early 1980s he discovered the power and flexibility of his voice, and set out on a long-term research of phonetics and the possibilities of the human voice. At present, he has developed into a specialist in the creation and performance of sound poetry and a unique vocal improviser, supported by a powerful and uninhibited stage presence. He performs and gives workshops worldwide on a regular basis.
Christopher Fox is a composer who also writes about new music. He has performed the Ursonate many times since the mid-1980s, most recently in the Merzbarn in the north of England where Schwitters made his last sculptural installation. At the heart of his work as a composer are close collaborations with the musicians who regularly perform his music, and his experience with the Ursonate has led to a series of experimental vocal scores for the singers Barbara Hannigan, Elizabeth Hilliard and the ensemble EXAUDI. In 1993 he made the tape work MERZsonata for BBC Radio 3, based on archive sounds from Schwitters’ life. Fox’s music is extensively recorded, with portrait CDs on Ergodos, HatHut, Divine Art and NMC. His writings on music have appeared in the journals Contact, Contemporary Music Review, The Guardian, Musical Times and TEMPO. A book on his music, Perspectives on the music of Christopher Fox: Straight lines in broken times (edited by Rose Dodd), was published in 2017 by Routledge. In 2021 he was elected as a member of the Akademie der Künste, Berlin.
Kees Tazelaar followed courses in Sonology in Utrecht and The Hague, and later studied composition under Jan Boerman at the Royal Conservatoire. He has been teaching at the Institute of Sonology since 1993 and has been head of the institute since 2006. As well as a composer, Kees Tazelaar is a historian, who has specialised in the early years of electronic music in the Netherlands and Germany. He has twice been the Edgard Varèse Guest Professor at the Technische Universität Berlin, where he earned his PhD in 2013 with the dissertation On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (Rotterdam: V2_Publishing, 2013). Kees Tazelaar was awarded a Fellowship Residency from the Bogliasco Foundation in 2017.
