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.
Ger­man

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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.
Ger­man

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Early Works

These are some not so recent attempts of con­tem­po­rary song­writ­ing, deriv­ing nar­ra­tive struc­tures from every­day sounds.

To You They Are Quiet
Based on a pro­grammed loop­ing machine for micro­phone input (2010)

lis­ten

Rehears­ing The Pre­tune
Reassem­bled record­ings of a trip through Croa­tia, Bosnia and Alba­nia (2009)

lis­ten

 

records, rearranges and plays back