Categorie archief: news

De Geest van Delfshaven

the­atre piece 2010/2011

De Geest van Delfshaven, foto: Léon Richard
foto: Léon Richard

direc­tion, pro­duc­tion, play­wright: De The­ater­straat
record­ings, sound design, foley, com­po­si­tion, edit­ing: Sonoscoop

Dur­ing a tour around Delf­shaven in Rot­ter­dam, chil­dren have to solve rid­dles to give eter­nal rest to a ghost. There­fore, hints are pro­vided via an mp3 player and the envi­ron­ment. As a crossover of radio play and street the­ater, the piece is being staged in spring 2011.

Some parts can be accessed by the play but­ton below.

To You They Are Quiet

Based on a pro­grammed loop­ing machine for micro­phone input.

You filled the gaps, yes every­where the walls are sealed. Our uni­verse won’t leak no more, you swore and I would not believe.

To have a look at all the wires work­ing peace­fully in the back­ground, see the patches section

Go You Will Go

What if I told you the words, would they freeze your palm? Dis­tract you from mov­ing, like a centipede’s night­mare? Would they freeze your palm?


recorded by Toshi Trebess, 2007

And if it’s pas­sion that he’s miss­ing, I politely locked it up. I don’t like its awful sound.

Do the Salsa

some­times a record­ing reveals how con­tra­dic­tory and cruel our envi­ron­ment is. this time trains go by force­fully, as if they were over­run­ning the com­fort of a lit­tle lively dance.
watch­ing a salsa les­son through a win­dow at delft­se­plein, rotterdam.

Eduard Hanslicks Musikästhetik

In his habil­i­ta­tion “Vom Musikalisch-Schönen” (On the musi­cally beau­ti­ful) of 1854, Hanslick dis­cusses the aes­thet­ics of music. His work is impres­sively anti-romantic and elo­quently fights against the ideas of his time.
My essay intro­duces Hanslicks ter­mi­nol­ogy and jux­ta­poses it to the philo­soph­i­cal ideas of the 19th cen­tury. A con­clu­sion of how to apply Hanslicks the­ory to con­tem­po­rary music is given.


Sprechende Instrumente

The results of phono­log­i­cal research in the 19th cen­tury helped cre­ate syn­thetic speech. In the 20th cen­tury dig­i­tal sig­nal pro­cess­ing made it pos­si­ble to apply this knowl­edge to elec­tronic music. The essay gives an overview about the tech­niques involved and briefly dis­cusses com­po­si­tions of Paul Lan­sky and Klarenz Bar­low.