Monteaudio17 - recolección

festival internacional de arte sonoro

Montevideo - Uruguay

Performance y espacio - concepción y realización

Curso de educación permanente

Docentes:

Gerhard Stäbler

Kunsu Shim

Coordinación: Taller experimental Forma y Sonido, Lukas Kühne & Fabrice Lengronne

clases:

Inicio: jueves 5 de octubre 10:00-13:00

lunes 9, 10:00-13:00

miércoles 11, 10:00-13:00

viernes 13, 10:00-13:00

martes 17, 10:00-13:00

miércoles 18, 10:00-13:00

Charla: martes 17, 20:00.

Concierto I sábado 14 - 20:00 - Casa Bertolt Brecht

Concierto II jueves 19 - 20:00 - Teatro de la Escuela Universitaria de Música

Objetivos

El objetivo central del curso es sensibilizar a la problemática del espacio en la música y la performance, su relación al cuerpo, así como la aplicación en la composición musical y sonora de esa dimensión perceptiva y práctica. Estos objetivos se desarrollarán mediante exposiciones teóricas y taller práctico interactivo.

Contenidos

Los contenidos de este curso abarcarán temas teóricos y ejercicios prácticos en torno a la práctica espacial en escenario y en sala, desde composiciones fijas, composiciones abiertas, performance sonorovisual y otras formas.

Destinatarios

El curso está destinado primariamente a estudiantes, egresados, docentes, compositores, intérpretes y musicólogos. Se podrán incluir oyentes.

El curso se podrá tomar como Seminario de interpretación para la licenciatura en interpretación musical o como Materia electiva para la licenciatura en música, con un crédito.

Aprobación

La aprobación del curso se hará por asistir al 75% de las sesiones y participar de la Performance pública final.

Docentes invitados

Gerhard Stäbler

Biographie (français, english)

Gerhard Stäbler est né le 20.7.1949 en Wilhelmsdorf (Allemagne du sud)  1968-76 Etudes musicales à Detmold (1968-70) et à Essen (1970-76), composition avec Nicolaus A. Huber, orgue avec Gerd Zacher.

1982 “Cornelius Cardew Memorial Prize”, Londres  1983 vainqueur du concours de composition “Ensemblia” de Mönchengladbach  1983 et 1986 travaille au Centre de Musique informatique de l’Université de Stanford/EEUU

Depuis 1985 nombreuses tournées aux USA et au Canada: concerts, conférences (notamment aux universités de Yale et de Columbia/New York; University of California / Los Angeles et Berkeley; Wesleyan University, Connecticut; University of Illinois, Urbana; McGill University, Montréal; Princeton University; Simon Fraser University et University of British Columbia, Vancouver)  1985/86 bourse de la Fondation Heinrich Strobel (Fribourg) Depuis 1986 “Aktive Musik” dans la région de la Ruhr, qui organise des concerts et des festivals  1986/87 et en 1993 “Djerassi-Artist-in-Residence” aux USA  1987/88 bourse de composition Künstlerhof Schreyahn (Basse-Saxe)  1988 tournée de conférences en République de Corée (notamment à l’université Yonsei à Séoul)  1989 organisateur de “Active Music ‘89” à New York, une série de concerts dans le cadre du Festival “Ruhrworks”  1990 co-initiateur du Festival “Ex Machina ‘90” pour musique électronique et informatique à la Folkwang-Hochschule de Essen; fonde la Société de Musique contemporaine de la Ruhr (présidence de 1991 à 1995); participation au Festival “Composer-to-Composer” à Telluride/USA et aux “Internationale Ferienkurse” de Darmstadt; prix de la Ville de Digne-les-Bains  1991 tournée de concerts et de conférence au Japon et en Corée; organisateur du Festival de musique contemporaine “Mit Stimmen” dans la Ruhr  1992 compositeur en résidence à la Northwestern University de Chicago; maître de conférences aux “Internationale Ferienkurse” de Darmstadt (de même en 1994)  1993 professeur hôte de l’université auprès de la Northwestern University de Chicago; commission de l’opéra “CassandraComplex” (d’après Christa Wolf) par le “Initiativkreis Rurhgebiet”; directeur artistique des “Jornadas de Musica Contemporanea” à Porto / Protugal  1994 bourse de la Japan Foundation; professeur à l’ “Akiyoshidai International Festival” (Japan)  1995 directeur artistique des World Music Days de la SIMC au Ruhrgebiet; tournée au Libanon et au Brésil; membre du jury auprès de Gaudeamus (Amsterdam); conférences au McGill University de Montréal et au Princeton University (USA)  1996 concert monographique et master-class au Conservatoire de Moscou; compositeur en résidence au festival “Sonorities” à Belfast et au “June in Buffalo (USA); responsable du “International Meeting for Young Composers - EarTalk”, Grèce; bourse du “Zentrum f. Kunst u. Medientechnologie”, Karlsruhe  

1997 tournée en Israel; composer in residence chez l’ensemble “The Apartment House”, London; projet multi-médial “Poetic Arcs” à Duisburg; conférence au Brandenburgisches Kolloquium (Schloß Rheinsberg) et au “Netzwerk Saar” / Tage für Interpretation und Aufführungspraxis Saarbrücken  1998 concerts et conférences à Londres (BBC et Royal Academy of Music); bourse de l’Akademie der Künste Berlin; conférences aux Darmstädter Ferienkurse où il organise le projet [voix(time)] pour 9 compositeurs et 3 artistes en vidéo; festival portrait “Gerhard Stäbler” aux 12. Weingartener Tage für Neue Musik; compositeur en résidence, avec Kunsu Shim, au Museum of Contemporary Arts, Chicago.  1999 projets “EarMarks” et “LandMarks” au Ruhrgebiet; projet musical “Changes” dans la Gemäldegalerie Neue Meister, Dresden.  2000 conférences et seminaires en Corée et à Hongkong; projet “futuressencexxx2000” au New Langton Arts Theatre, San Francisco

COMPOSITIONAL SILENCE voiding the situation of a composer only sitting in front of his desk, I tried to escape the relative isolation of new music by being active in the concrete cultural and political field. These were the points leading to the extreme situation in 1975-1980: my exclusive political work in this time implied compositional silence.  [In: “Angefügt, nahtlos, ans Heute,” (1991)]

Political Engagement n the run of time it increasingly made me sick to observe the exclusiveness of the musical sphere, not only in classical music, but also in the circles of the avant-garde. Whether in Venice, in Amsterdam, in Cologne or in Darmstadt - everywhere I met the same persons on stage or in the audience. On the level of universities or academies, I observed the strictness of the scene. My decision was to escape those circles by “going out”, which means trying to address social problems with my music, having contact with “normal” people. The particular situation in the Ruhrgebiet was important for the development of my intensely Marxist-oriented thinking. Changing structures in the Ruhrgebiet, e.g. closing coalmines in the ‘60s or the crisis of the steel industry in the ‘70s, caused social and political struggles. Here, the attendance at strikes, the organization of demonstrations became more important to me than concentrating on avant-garde music. It was a bubbling time, which finally led into exclusive political work. Producing pieces or songs with theater groups and performing works in public places or even pubs were my main artistic ventures. During the last few years, experiences of that time have become important again. Many things I used more spontaneously and provocatively in the ‘70s have now become structural elements in my compositions. Since everyone is talking about a new order, it is necessary to remember that in principal nothing has changed, and that in any case, it is not towards a better world.  [In: ‘... rote Fäden ...’ Gespräch mit Johannes Bultmann (1994)]

Kunsu Shim

Short biography

Kunsu Shim was born as the son of re-migrants from Japan on September 15, 1958 in Busan, South Korea. The ocean provided the adolescent Shim with the experience of spatial openness and expanse. This notion can be seen later as the basis of his production. He twice won the first prize in a competition for young composers in Pusan, at age eighteen and nineteen respectively. From 1979 to 1983 he studied composition with Inyong La (amongst others) at the Yonsei University in Seoul. In 1982 he won the DongA Newspaper prize, followed by the JungAng Newspaper prize in 1983.

In 1985, Shim arrived in Germany, where he studied composition with Helmut Lachenmann in Stuttgart (1987-88). Around this time, he met Gerhard Stäbler, with whom he collaborates today. In 1989, Shim moved to Essen to continue his education until 1992 with Nicolaus A. Huber at the Folkwang Hochschule. Huber’s “simple, but strong” language attracted Shim. It was then, that his style moved in a new direction - last, but not least through an increased interest in New Music from the U.S. (notably John Cage and Morton Feldman), the visual arts and literature. He found his own characteristic language with the composition orchester in stereo mit fünf sinustönen. In 1992, he was awarded a prize at the Forum junger Komponisten/WDR. From 1992 onward, he was co-organizer of the “Aktive Musik” series in the Ruhr Area (Germany). Concert tours led him around the globe, and he has been “artist-in-residence” numerous times (such as “Derjassi artist-in-residence” California, 1993; “Ragdale” near Chicago, 1995; or at “Schreyahn” Germany, 1996-97). From 1994 to 1999, he belonged to the composer’s group “wandelweiser”, with whom he shared basic aesthetic positions such as silence and simplicity. He has been a lecturer at the Folkwang-Hochschule since 1993 several years. 1998 Kunsu Shim was awarded a stipend by the Academy of the Arts Berlin. In the same year, he also was composer-in-residence at the Museum of Contemporary Arts, Chicago (USA). In 2000 he founded “EarPort”, along with Gerhard Stäbler, at the Duisburg Innenhafen as a center for the presentation of and discourse about New Music and for interconnecting the arts. He lectured at the Donga University (Busan), the Sukmyong University (Seoul) and the Suwon University (Suwon) in Korea. Invited by the Goethe Institute San Francisco, he created the music theater project at the New Langton Arts Theater in San Francisco in collaboration with Gerhard Stäbler. 2001 Kunsu Shim was featured at the Ultima Festival in Oslo (Norway), and 2002 at the Kore-Festival in Montreal, followed by concerts and lectures at the University of Toronto (Canada) and at the Columbia University in New York (USA). 2003 Kunsu Shim received the well-known Genko Uchida Fellowship - scholarship, which enables him a three month visit to Japan, followed by concerts in 2004 there, too. 2004 he was portraited at the University of Dortmund, and was invited to present his work at the Evergreen State College (Washington State, USA). He also received a commission from the Foundation Wilhelm Lehmbruck Museum Duisburg for the sound installation Lichtrand for the project “StadtLicht-LichtKunst” at the Kantpark Duisburg. From 2005 to 2007 Kunsu Shim accepted invitations to present his compositional work in various concerts and master classes in the United States, Greece, South Korea, England, Australia, Singapore and in numerous German cities. 2008 he was commissioned to write the orchestra work Steinschlag·Zeit for being premiered at the project “What you love” of the Radio Festival “WDR Fest Duisburg” in Duisburg’s former steel factory Landschaftspark in April 2008. In Summer the same year he gave a master class in composition on the Greek island of Crete, and in fall 2008 he was featured at the Sonic Fusion Festival in Edinburgh and in concerts and master classes in Lebanon’s capital Beyrout.January 2009 Kunsu Shim received a stipend to work at the Cultural Center of Andratx (Spain). In March he and the composer Gerhard Stäbler took part in the audio visual project TRIALOG with the Korean artist Kyungwoo Chun in Seoul (South Korea) and lead a masterclass in composition at the Kyungsung University in Busan (South Korea). His work was also presented in various European and American cities.In March 2010 Kunsu Shim was invited to the “Borealis Festival” in Bergen (Norway) as composer-in-residence (commissions for numerous especially site specific works performed during the festival). In the same year, he organized the festival “HörSinne” in the Ruhr Area, and published the German-English-Korean art book bild·klang·los together with the Korean artist Kyungwoo Chun, and the composer Gerhard Stäbler.In February 2011 Shim was composer-in-residence at the festival “opening 11” Trier. In April, his work After a hundred years for soprano and orchestra - a commission by the Essener Philharmonie - was premiered at the Essener Philharmonie by the soprano Salome Kammer and the Duisburg Philharmonic Orchestra, conducted by Johannes Kalitzke. In May 2011 Shim’s work Ensemble (Chor) was performed the first time in Venice (Italy). Kunsu Shim resides permanently in Germany.