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Komponieren Mit Skulpturalen Klangphänomenen in Der Computermusik Dissertation

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Komponieren Mit Skulpturalen Klangphänomenen in Der Computermusik Dissertation Komponieren mit skulpturalen Klangphänomenen in der Computermusik Dissertation Gerriet K. Sharma Matrikel Nummer: S0773304 Universität für Musik und Darstellende Kunst Graz Künstlerisch-wissenschaftliches Doktoratsstudium Komposition und Musiktheorie ID-V795500 Betreut durch: Professor Marko Ciciliani (Universität für Musik und Darstellende Kunst Graz) Professor Robert Höldrich (Universität für Musik und Darstellende Kunst Graz) Professor Marco Stroppa (Hochschule für Musik und Darstellende Kunst Stuttgart) Professorin Elena Ungeheuer (Universität Würzburg) vorgelegt bei der künstlerisch-wissenschaftlichen Doktoratsschule am 6. September 2016 Dank Ich bedanke mich bei meinen Doktoratssbetreuern Marko Ciciliani, Robert Höldrich und Marco Stroppa und meiner Doktoratsbetreuerin Elena Unge- heuer für die besondere Unterstützung in den letzten drei Jahren. In jedem Einzelverhältnis ist ein besonderer Austausch entstanden, der auf jeweils sei- ne Art zum Teil sehr konkrete Probleme lösen konnte, aber auch häufig An- stoß gab, langfristige und komplexe Fragen zu verstehen und diesen künstle- risch forschend nachzugehen. Weiter möchte ich mich beim Institut für Elektronische Musik und Akustik der Kunstuniversität Graz bedanken. Beides, die Kollegialität und der fachliche Anspruch haben ein Umfeld geschaffen, in dem diese Arbeit langsam und be- ständig wachsen konnte, an dem sich ihr Anspruch messen musste und in dem Ideen ihren Raum hatten. Mein Dank gilt auch der künstlerisch-wissenschaftlichen Doktoratschule der Kunstuniversität Graz, die meine Vortrags- und Konzertaktivitäten in den letz- ten Jahren gefördert und unterstützt hat und in deren Programmen ich ent- scheidende Denkanstöße für die Entwicklung dieser Arbeit bekommen habe. Ich bedanke mich auch bei Gerhard Eckel, Martin Rumori und David Pirrò, de- ren Unterstützung in den Jahren vor Beginn dieser Arbeit mich überhaupt erst in die Lage versetzt hat, meine Forschungsfragen aus der künstlerischen Praxis heraus zu formulieren und später zu verfolgen. Außerdem möchte ich mich bei der PEEK/FWF Forschungsgruppe OSIL (Or- chestrating Space by Icosahedral Loudspeaker) bedanken, namentlich bei Franz Zotter, Matthias Frank, Florian Wendt und Markus Zaunschirm. Die Unterstützung, die Anstöße und das ingenieurswissenschaftliche Umfeld so- wie der Austausch und die langen Diskussionen über Forschungsfragen, Ver- suchsaufbauten, Wahrnehmungsphänomene, Seriösität und Instinkt haben entscheidend dazu beigetragen, dass ich als Künstler die Rolle des künsteri- schen Forschers annehmen, die Disziplinen überbrücken und für meine künst- lerische Arbeit nutzbar machen konnte. Ich danke Wolf Thiel und Edith Sharma-Thiel für ihr unablässiges Vertrauen. Ohne Worte: Der Dank bei meiner Frau Verena Lercher. 1 Kurzfassung Im Rahmen der Arbeit werden bisher wenig erforschte elektroakustische Raum-Klangphänomene, plastic sound objects [González-Arroyo, 2012], die bei bestimmten Klangproduktionsverfahren in der Computermusik seit etwa 60 Jahren verstärkt auftauchen, praktisch und theoretisch untersucht. Hier- zu wurde der Ikosaederlautsprecher, ein spezielles vom Institut für Elektroni- sche Musik und Akustik der Kunstuniversität Graz entwickeltes Lautsprecher- system eingesetzt und weiterentwickelt. In der Mitte aller künstlerisch for- schenden Bemühungen steht die Frage nach dem „Shared Perceptual Space“ (SPS), dem Raum in der akusmatischen Musik [Chion, 2009, 144], an dem sich die Wahrnehmungen der Komponisten1, der mit dem Feld befassten Wissenschaftler und des Publikums hinsichtlich der dreidimensionalen Klangobjekte überschneiden. Die Forschungsarbeit versucht diesen Raum durch künstlerische Handlungen einzugrenzen oder seine Entstehung zu pro- vozieren und durchläuft hierzu wiederholt einen dreistufigen Prozess: Im Rahmen einer Reihe von aufeinander aufbauenden elektroakustischen Kom- positionen wird den plastischen Eigenschaften dieser Klangphänomene nach- gegangen. Parallel zum kompositorischen Prozess wird der Versuch einer sprachlichen Fixierung verallgemeinerbarer Beschreibungen der erzeugten Objekte unternommen. Hierfür wurden Recherchen zu bestehenden Termino- logien und ihrer Verwendung angestellt. In einem weiteren Schritt wurde dann die Überprüfung dieser Begriffe durch den Versuch der Einordnung des eige- nen kompositorischen Prozesses vorgenommen. Zudem wurde unterstützend auf ingenieurswissenschaftlichem Wege versucht, das künstlerisch erzeugte Raum-Klangphänomen durch Hörversuche, Messungen und virtuelle Modellie- rung nachzubilden und psychoakustisch zu erklären. Die so verzahnt entstandenen Beschreibungen, aber auch Kollisionen von Wahrnehmungen, haben den weiteren kompositorischen Prozess schrittwei- se informiert und zu einem erweiterten Verständnis und einer anderen Praxis der künstlerischen Arbeit mit diesen Phänomenen geführt. Zur besseren Lesbarkeit werden auf den folgenden Seiten personenbezogene Bezeichnungen, die sich zugleich auf Frauen und Männer beziehen, generell nur in der männlichen Form angeführt, also z.B. „Komponisten“ statt „KomponistInnen“ oder „Hörer“ statt HörerInnen“. 2 Abstract This thesis includes a practical and theoretical investigation into electroa- coustic space-sound phenomena, plastic sound objects [González-Arroyo, 2012], previously little researched. Over the last 60 years these have in- creasingly appeared in certain sound projection techniques in the field of computer music. A special loudspeaker system developed by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz, the icosahedral loudspeaker, has been used and further developed for this purpose. The focus of all of the artistic research endeavours is the ques- tion of “Shared Perceptual Space” (SPS), the space in acousmatic music [Chi- on, 2009, 144] within which the perceptions of composers, scientists and audience intersect in respect of three-dimensional sound objects. The re- search aims to use artistic actions in order to demarcate this space or to trigger its formation. To do so it repeatedly implements a three-phase pro- cess: within the context of a series of progressively evolving electroacoustic compositions, the plastic qualities of these sound phenomena are explored. Parallel to the compositional process, an attempt will be made to find the lan- guage to establish generalisable descriptions of the objects produced. Re- search into existing terminologies and their application was employed to this end. Further to this, these terms were reviewed in an attempt to classify the researcher’s own compositional process. Additionally, engineering sciences were used to simulate and explain the artistically produced spatial sound phenomenon in psychoacoustic terms with listening tests, measurements and virtual modelling. The resultantly interlocked descriptions and also collisions of perceptions gradually informed the ensuing compositional process and led to an expanded understanding and a different practice of artistic work with these phenomena. 3 Inhaltsverzeichnis Dank 01 Kurzfassung 02 Abstract 03 KAPITEL I Voraussetzungen - Methoden und Praktiken 10 1. Einleitung 10 1.1. Künstlerische Forschung 10 1.2. Persönlicher Hintergrund und bisherige kompositorische Praxis 11 1.3. Desiderat dieser künstlerischen Forschung - Towards a Shared Perceptual Space (SPS) 14 1.3.1. SPS: Das akusmatische Paradigma - die Wahrnehmungssituation als etablierter Ausnahmezustand - jenseits des Mediatized Space 14 1.3.2. SPS: Intersubjektivität als Wahrnehmungsspektrum im medialen Raum - Forschungsfragen 18 2. Werkzeug und Instrument I - Bedingungen 19 2.1. Der Ikosaederlautsprecher 19 2.2. Beamforming 20 2.3. Ausgangspunkte für die künstlerische Forschung mit dem IKO 21 2.3.1. Übertragung bisheriger Erfahrungen 21 2.3.2. OSIL (Orchestrating Space by Icosahedral Loudspeaker) 22 PEEK AR 328 3. Methoden und Praktiken 23 3.1. Etablierung eines iterativen Arbeitsprozesses 23 3.1.1. Recherche 23 3.1.2. Komposition 24 3.1.3. Ingenieurswissenschaftliche Analyse 25 3.2. Erweiterte Konzertpraxis 25 3.3. Vorträge und Workshops 26 4 KAPITEL II Recherche: Begriffsfelder und ihre Koordinaten 27 1. Verbalisierung 28 1.1. 100 Jahre Beschreibungen musikalischer Klangphänomene - Stationen und Strategien 30 1.1.1. L’Arte dei Rumori - Russolo 30 1.1.2. Serielles Denken und Musique Concrète 31 1.1.3. Hörerbasierte Begriffsforschung nach Thies 33 1.1.4. Spectromorphology nach Smalley 35 1.1.5. Space-form and the acousmatic image nach Smalley 37 1.1.6. Perceptually Informed Organization by Repertory Grid nach Grill 38 1.1.7. Interdisziplinäre Topologie nach Nystrøm 39 1.2. Zusammenfassung und Einordnung 40 2. Skulptur, Plastik, Objekt - Erste Spuren des Skulpturalen in der Elektronischen Musik 41 3. Klang als Skulptur - 3.1. Klangskulpturen 46 3.2. Einordnung des IKOs 49 4. Dramaturgie und Inszenierung skulpturaler Klangformungen 49 4.1. Visualität 49 4.2. Die Inszenierung des IKOs 52 5. Taugliche Begriffe für die Beschreibung skulpturaler Raumbeziehungen 53 5.1. Körper-Raumbeziehungen 54 5.1.1. Kernplastik 55 5.1.2. Raumplastik 55 5.1.3. Kern-Schaleprinzip 55 5.2. Das Skulpturale im Rahmen der Arbeit 56 6. Klang als Objekt 57 6.1. Formung des Hörens - der „Höreindruck“ 59 6.2. Das Klangobjekt im Rahmen der Arbeit 60 5 7. Kompositorisches Material 62 7.1. Ton, Klang, Geräusch 62 7.2. Klang als Textur 64 7.3. Klang als räumliche Textur 65 7.4. Ergebnis: Ausgangsmaterial für die skulpturale Klangkomposition 67 8. Raum 68 8.1. Spuren in der (computer-)musikalischen Verwendung
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