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:: next_generation 4.0
From June 15 to 19, 2011, the ZKM | Institute for Music and Acoustics will be host to a new edition of the festival “next_generation”. The thematic focal points this year are the social net / global ear, communication and archives for electronically-based music. Once again over 20 electronic studios from Germany, Austria and Switzerland have registered for the festival. In addition to the evening concerts and the symposium, the festival will this time provide a platform for open discussions among all the participants, which will be moderated by the studio heads. Another innovation is a keynote every day before the concert, to which all those interested are of course invited. → Beginning of June, the program is available online.

Previous symposia:

December 01 – 05, 2010

The IMATRONIC Festival 2010 moved the acousmonium to the center of attention. The acousmonium is a unique loudspeaker orchestra from Paris; an arrangement of 80 acoustically distinct loudspeakers, which are also different in terms of sound and optics, that is tuned in a special way for the interpretation of acousmatic music. The Festival at the ZKM | Institute for Music and Acoustics under the leadership of Ludger Brümmer and Julia Gerlach, developed in cooperation with Daniel Teruggi (director of the Groupe de Recherches Musicales – GRM), devoted itself to this special musical phenomenon from France in concerts, studios, and a two-day symposium. The festival installed the Acousmonium in the media theater for one week and at the same time celebrate the 100th birthday of Pierre Schaeffer, founding father of "musique concrète", from which acousmatic music emerged. The Acousmonium was developed by composer François Bayle at GRM in 1974 and serves for the detection and spatial differentiation of complex and multilevel soundscapes. The loudspeakers become instruments, each with its own sound characteristic. The loudspeaker orchestra is served by a "sound director" who"interprets" the compositions like a musician. France’s seminal acousmatic music composers had been invited.

As highlight and finale of the annual program, the Giga-Hertz prize 2010 for electronic music (hosted by ZKM | IMA and EXPERIMENTALSTUDIO of the SWR) and the Walter Fink prize of the ZKM for dance electroacoustic music and media, were awarded as part of IMATRONIC. The compositions of the new prize winners 2010 and the commissioned compositions from the prize winners 2009 promised a colorful diversity.

trans_canada Festival:
Trends in Acousmatics and Soundscapes
February 10 – 13, 2005

Vast forests, roaring waterfalls, fertile farmland – Canada’s natural environment is rich and diverse and so is its musical landscape, especially electronic music, which is the focus of the four-day trans_canada Festival. Together with France, Britain and the Scandinavian countries Canada is among the world leaders in electroacoustic music. Hugh LaCaine developed the predecessor of the modern synthesizer in Ottawa as far back as the 1940s. At the same time, Francis Dhomont was creating his own musique concrète independent of Henry and Schaeffer. In Dhomont the ZKM had succeeded in attracting to the festival one of the most prominent representatives of this music scene, who has exerted a major influence on the musical landscape in Canada and especially in Quebec. Among his students at the University of Montreal were Louis Dufort, Ned Bouhalassa, Gilles Gobeil and Robert Normandeau, all of whom have in the meantime become internationally renowned composers in their own right and were likewise attending the festival. Representing the younger generation was Nicolas Bernier, who has already won a number of international prizes. Vancouver and Toronto rank alongside Montreal when it comes to electroacoustic music. Their musical representatives were Barry Truax and the German Canadian, Hildegard Westerkamp, from British Columbia, while Darren Copeland was coming from Ontario. In addition to the concerts, trans_canada did provide a public forum for discussions and contributions that will reflect, illustrate and discuss the country-specific history of electroacoustic music, its present status and the prospects for composers, musicians and musicologists.

With the kind support of the Embassy of Canada, the Canada Council for the Arts and the Quebec Cultural Office.

Documents and videos can be found here.

next_generation 2.0 2007: "Music in Space"
Thur–Sun, June 21–24 , 07

In 2007 the "next_generation" festival with the motto "Music and Space" took place for the second time. Over 20 academic studios from Germany, Switzerland, Austria, and the Netherlands participated. At nine concerts and a three-day long symposium, new aesthetic directions and technical developments, new works and approaches by young composers and their teachers were presented, analyzed, and discussed. With the festival, ZKM | Institute for Music and Acoustics aims at promoting exchange between university studios and those that lie outside of universities.

Music in Space: At the focal point of the festival was ZKM’s more than 50-channel Klangdom, the central music and performance instrument that allows a realistic depiction of space-sound-movements. Through the room-control software "Zirkonium," programmed at ZKM, the participants can control each channel and thus achieve an optimal sound result in the space.

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