Jahresbericht Musicboard Berlin 2016 Inhalt
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Johan Östman CV 2020.Pdf
Johan Östman — CV — 2020 Current: • Norbergfestival, Anrikningsverket; Stockholm, 2011-present —Artistic director since 2018, program director of Norbergfestival contemporary music festival since 2012 • Up Node; Nordic festival network, Copenhagen, 2017-present —Co-founder, co-director Prior: • Ableton Loop; summit for music makers, Ableton AG, Berlin, 2017-2020 —Creative producer; event strategy, curation and production • Surefire Agency; music booking agency, Berlin, 2015-2016 —Account assistant, booking assistant • Voltfestivalen; electronic music festival, Uppsala Concert & Congress, Uppsala, 2010-2015 —Co-curator, creative producer • Samlingen; club & DJ collective, Stockholm & Uppsala, 2008-2014 —Founder, curator Freelance + curatorial: • Night clubs & festivals in Sweden and Europe; 2008-present —DJ • Up Node nights; MeetFactory, Prague, 2019 —Co-curator, showcase nights for Nordic contemporary music • Sound of Stockholm 2019; contemporary music festival, Stockholm —Co-producer • Norbergfestival x Proton; Mayhem, Copenhagen, 2019 —Guest curator, festival showcase night • CTM Festival 2019; contemporary music festival, Berlin —Co-curator, showcase for Nordic contemporary music, by Up Node • Intonal x Norbergfestival x Up Node; Inkonst, Malmö, 2018 —Curator, showcase festival for Nordic contemporary music • Resonans; Moderna Museet & ArkDes, Stockholm, 2018 —Event series for contemporary music & performing arts, curated by Anrikningsverket • Under Bron & Trädgården nightclubs; Stockholm, 2013-2017 —Guest curator, resident DJ • Sound -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Press Release | May 30, 2016 the Hague, NL
Press release | May 30, 2016 The Hague, NL International Festival for digital and transdisciplinary art and creativity 12th Edition September 22nd 25th, 2016 TodaysArt 2016 announces the first wave of artists for it’s 12th edition. Pantha du Prince, Nosaj Thing & Daito Manabe, Hiroaki Umeda and NONOTAK will headline this year’s festival with Dutch premières. TodaysArt is pleased to collaborate with a.o. SHAPE, We are Europe, Lisson Gallery and The Creators Project. TodaysArt, the roving festival for digital and transdisciplinary art and creativity, returns to the city center of The Hague. The previous two editions of TodaysArt were based in Scheveningen, the coastal capital of The Netherlands, which emphasized visual art on and around The Pier. This year’s festival will take place from September 22nd to the 25th of September. Once again it will turn it’s focus on the performing art. The opening statement of this year’s festival is a new Drone Shadow of the English artist, James Bridle. An essential question of this year festival is ‘Who owns the city’. With Drone Shadow, TodaysArt asks this question as it relates to the public sphere of the city’s town square. 'Drone Shadow is not just a picture of a drone. It is a diagram of a political system. Drones are also avatars of all of the invisible networked systems that surround us on a daily basis. They stand in for every remote connection we make. Like the internet, they allow us to see and act at a distance but they may also be used against us and others. -
Virtueel Platform Mapping
VIRTUEEL "OUR PUBLIC IS ABSOLUTELY NOT ELITIST. THE PEO- PLE WHO KNOW PLATFORM THE LEAST ABOUT MEDIA ART ARE OFTEN THE MOST MAPPING SURPRISED." LUCAS VAN DER VELDEN 2 5 "IF WE PRE- SENT AN EX- PERIMENT LIKE THIS AT THE FESTIVAL IT GETS SEEN BY THOUSANDS OF PEOPLE. FRENS FRIJNS 3 THE CHANGING ROLE OF MEDIA FESTIVALS IN THE NETHERLANDS IN THE NETHERLANDS A CONVERSATION Hiroaki Umeda WITH FOUR FESTIVAL DIRECTORS 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 50 46 46 PLAYGROUND URBAN FESTIVAL EXPLORERS 56 62 50 46 GLOW - FORUM OF LIGHT IN ART AND ARCHITECTURE 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 VIRTUEEL PLATFORM MAPPING PLAYGROUND FESTIVAL DISTRIBUTION OF MEDIA FESTIVALS IN THE NETHERLANDS www.virtueelplatform.nl/mapping-mediafestivals FOREWORD 1 A radical change is taking place among media festivals in the Netherlands. Many medium-sized towns now have their own media festivals. The striking thing is that these festivals are found across the country and not just in the urban Randstand conglomeration of Amsterdam, Rotterdam and The Hague. Some of the festivals have been going for more than ten years (Impakt in Utrecht, DEAF in Rotterdam) others have developed in the last few years (STRP in Eindhoven, Gogbot in Enschede) and there are new additions (Fiber in Amsterdam, Oddstream in Nijmegen). Besides being a national phenomenon, these media festivals are now assuming roles previously played by museums and galleries, namely, that of curator, agent, and commissioner. Virtueel Platform has compiled this publication to map this growing phenomenon better. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
SMC 2019 Music Program Notes
Music Program Notes SMC 2019 Music Program Notes 16th Sound & Music Computing Conference May 28 - 31, 2019 Málaga, Spain Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 SMC 2019 is organized by ATIC Research Group Universidad de Málaga Website: http://smc2019.uma.es Music Program Notes 16th Sound & Music Computing Conference SMC 2019 Cover design by Alberto Peinado, Isabel Barbancho & Lorenzo J. Tardón SMC 2019 logo by Alberto Peinado Edited by: Lorenzo J. Tardón (ATIC Research Group. Universidad de Málaga) Isabel Barbancho (ATIC Research Group. Universidad de Málaga) Ana M. Barbancho (ATIC Research Group. Universidad de Málaga) Antonio Jurado-Navas (Universidad de Málaga) Alberto Peinado (Universidad de Málaga) ISBN 978-84-09-11398-9 Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. © 2019 SMC 2019 Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 ORGANIZATION Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 SPONSORS Other collaborators Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 Contents Contents v SMC 2019 Conference Committee 1 SMC 2019 Music Reviewers 3 Music Program 5 Concert . .5 SMC. Music Session at Sala Unicaja de Conciertos María Cristina .6 M1. Music Session 1 . .7 M2. Music Session 2 . .8 Music Program Notes 9 Concert . -
Edwin Van Der Heide
Eerste Pijnackerstraat 91A, NL-3035GN Rotterdam, The Netherlands, tel: +31-6-46285002, fax: +31-84-8368342, http://www.evdh.net/ Edwin van der Heide Edwin van der Heide is an artist, composer and researcher in the field of sound, space and interaction. He extends musical composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the artwork. He has presented his work at renown museums, festivals, galleries and music venues as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil, SONAMBIENTE - Berlin, Art Basel Parcours Night and Donaueschinger Musiktage. Besides running his own studio he is part-time lecturer and researcher at Leiden University (LIACS / Media Technology MSc programme) and was a lecturer (1995- 2016) at, and co-head (2014-2016) of, the ArtScience Interfaculty of the Royal Conservatoire and Royal Academy of Art in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009), won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work. He was an invited artist and guest professor at Le Fresnoy, studio des arts contemporain in France for the year 2011-2012. Edwin van der Heide Date and place of birth: -
In Kepler's Gardens
A global journey mapping the ‘new’ world In Kepler’s Gardens AUTONOMY Helsinki Jerusalem Cairo Bangkok Esch Tallinn Nicosia Grenoble Melbourne Linz UNCERTAINTY Paris London ECOLOGY Oslo Moscow Auckland Vilnius Amsterdam Tokyo Johannesburg Munich Bucharest Belgrade San Sebastian Riga DEMOCRACY Dublin Daejeon Utrecht Vienna Los Angeles Ljubljana Buenos Aires Barcelona Montréal Chicago TECHNOLOGY Seoul Prague Hong Kong Athens Bergen Berlin Leiden Milan New York Brussels HUMANITY Taipei Jakarta ARS ELECTRONICA 2020 Festival for Art, Technology & Society In Kepler’s Gardens A global journey mapping the ‘new’ world Edited by Gerfried Stocker / Christine Schöpf / Hannes Leopoldseder Ars Electronica 2020 Festival for Art, Technology, and Society September 9 — 13, 2020 Ars Electronica, Linz Editors: Hannes Leopoldseder, Christine Schöpf, Gerfried Stocker Editing: Veronika Liebl, Anna Grubauer, Maria Koller, Alexander Wöran Translations: German — English: Douglas Deitemyer, Daniel Benedek Copyediting: Laura Freeburn, Mónica Belevan Graphic design and production: Main layout: Cornelia Prokop, Lunart Werbeagentur Cover: Gerhard Kirchschläger Minion Typeface: IBM Plex Sans PEFC Certified This product is from Printed by: Gutenberg-Werbering Gesellschaft m.b.H., Linz sustainably managed forests and controlled sources Paper: MagnoEN Bulk 1,1 Vol., 115 g/m², 300 g/m² www.pefc.org PEFC Certified © 2020 Ars Electronica PEFC Certified PEFC Certified This product is This product is This product is PEFC Certified © 2020 for the reproduced works by the artists, -
Programming Arts Festivals in Asia and Europe
SERVING ARTISTS SERVES THE PUBLIC: PROGRAMMING ARTS FESTIVALS IN ASIA AND EUROPE I Serving Artists Serves the Public: Programming Arts Festivals in Asia and Europe Publisher The Asia-Europe Foundation (ASEF) in collaboration with the European Festivals Association and LASALLE College of the Arts. Coordinator Claire Wilson Editorial Team Claire Wilson, Katelijn Verstraete, Audrey Wong, Verena Tay, Kathrin Deventer, Juliane Reissig, Kalaivani Karunanethy, Valentina Riccardi, Sali Sasaki. Designer FurryFish www.furryfish.com This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. The views expressed in this publication are strictly those of the authors and do not necessarily reflect those of the Asia-Europe Foundation (ASEF). For more information, please contact: Asia-Europe Foundation (ASEF) 31 Heng Mui Keng Terrace Singapore 119595 [email protected] www.asef.org This publication is available online at: A programme of the Asia-Europe Foundation (ASEF) www.culture360.org [email protected] II CONTENTS FOREWORD 1 INTRODUCTION 2 Introduction 3 by Audrey Wong ARTISTIC PROGRAMMING AND BEYOND 7 Introduction: Beyond Artistic Programming 8 by Audrey Wong Serving Artists Serves the Public 9 by Robyn Archer Art, a Programme, an Audience 18 by Hugo De Greef MAKING A FESTIVAL: THE CONTEXT 22 Introduction: A Festival -
Techno's Journey from Detroit to Berlin Advisor
The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing. -
Creative Europe Culture Music Projects
Creative Europe Culture Music Projects July 2020 Creative Europe NETWORKS - MUSIC More information on the European Union is available on the Internet (http://europa.eu). Luxembourg : Publications Office of the European Union, 2020 PRINT ISBN : 978-92-9484-121-6 doi : 10.2797/97142 EC-02-19-821-EN-C PDF ISBN : 978-92-9484-120-9 doi : 10.2797/746060 EC-02-19-821-EN-N © Education, Audiovisual and Culture Executive Agency, 2020 The Commission’s reuse policy is implemented by Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. 39 – https://eur-lex.europa.eu/eli/ dec/2011/833/oj). Unless otherwise noted, the reuse of this document is authorised under the Creative Commons Attribution 4.0 International (CC BY 4.0) licence (https://creativecommons.org/licenses/by/4.0/). This means that reuse is allowed, provided appropriate credit is given and any changes are indicated. For any use or reproduction of elements that are not owned by the EU, permission may need to be sought directly from the respective rightholders. The EU does not own the copyright in relation to any images which do not carry the copyright indicator © European Union. CREDITS Cover photo : © Louise Mather. Creative Europe Culture Music Projects July 2020 TABLE OF CONTENTS TABLE OF CONTENTS FOREWORD 8 - 9 CREATIVE EUROPE PROGRAMME AND INFOGRAPHICS 10 - 11 MUSIC 12 - 77 CLASSICAL MUSIC 12 - 22 EEE - Emerging European Ensembles 12 ARDEA - International Classical Music Masterclasses ARDEA 13 Music Up Close Network - connecting -
Nike World Basketball Festival – Nike in Tha House!
TRUE COLOURS 03/14 Nike World Basketball Festival – Nike in Tha House! Schacht Thomas Foto: contains in-true-love with-events lipbalm 2 satis&fy true colours 03/14 So klingt das Leben Ausbildung bei satis&fy Woran merkt man eigentlich, dass eine Firma größer, ein inter „Sound of Life“. Leben und Arbeiten gehörten selten enger zusammen als bei diesem Event. Kaum besser als hier konnten sich die national agierendes Unternehmen geworden ist? Auszubildenden ein Bild davon machen, wie die Arbeit bei satis&fy läuft – aber auch, wie das Leben so spielt. Der Erlös des Frankfurter Charity-Open-Air-Konzerts floß an krebskranke Kinder. Da kam einiges zusammen. Nicht nur an Hilfsgeldern, sondern auch an Erfahrung Mit einen Blick auf Zahlen, Grafiken und Bilanzen? Zu abstrakt, – eben für unsere Azubis. Denn für einige der werdenden Veranstaltungs-Techniker und -Kaufleute war das der ersteselbstverantwortlich um eine Antwort zu geben. Bei der Weihnachtsfeier, wenn es organisierte Event überhaupt. Supportübergreifendes, engagiertes und flexibles Arbeiten war gefragt, typische Qualifikationen auch für unmöglich geworden ist, all den Gesichtern einen Namen zu künftige Aufgaben. „Wir suchen junge Menschen, die sich und ihre Arbeit hinterfragen, ihre Persönlichkeit einbringen und nicht nur zuordnen? Oder an den langen Vorlaufzeiten, die nötig sind, einen Job wollen“, sagt Udo Herrgen, verantwortlich für Personal und Ausbildung im Gesamtkonzern. Seit 2001 nehmen er und derzeit um termingerecht einen hausinternen Konferenzraum zu 17 Ausbilder den Event-Nachwuchs in ihre Obhut. buchen? Bei mir war es eine EMail, gerichtet an eine Gruppe leitender Mitarbeiter, auf die ich eine lapidare Rückmeldung Im Mittelpunkt steht eine sorgfältige Auswahl.