Stu­dio for elec­tro­nic mu­sic and acoustics

Stu­dents can use the space as well as ma­te­ri­al for re­cord­ings, rehe­ar­sals in con­nec­tion with elec­tro­nic mu­sic/live elec­tro­nics, and more ge­ne­ral­ly as a la­bo­ra­to­ry for ex­pe­ri­ments in the use of tech­no­lo­gy in per­for­ma­ti­ve si­tua­ti­ons. The stu­dio thus ser­ves a va­rie­ty of uses in the con­text of com­po­si­ti­on edu­ca­ti­on at the HfMDK Frank­furt:

• Tea­ching in se­mi­nars and in­di­vi­du­al les­sons in the con­text of working with tech­no­lo­gi­cal me­ans (also in in­stru­men­tal com­po­si­ti­on)
• Work op­por­tu­nities for stu­dents in the prac­ti­cal de­ve­lop­ment and tes­ting of their ar­tis­tic ide­as with spe­cial at­ten­ti­on to mul­ti-chan­nel ap­p­li­ca­ti­ons and the use of tech­no­lo­gi­cal me­ans
• Pre­pa­ra­ti­on for con­certs in con­nec­tion with the use of elec­tro­nics, in­clu­ding rehe­ar­sals with in­stru­men­ta­lists and elec­tro­nics; but also for the pre­sen­ta­ti­on of stu­dent work.
• Tea­ching the ba­sics of sound syn­the­sis and live elec­tro­nics
• In­tro­duc­tion to working with tech­ni­cal me­dia (com­pu­ter, live elec­tro­nics, (live) vi­deo, in­stal­la­ti­ve works, in­ter­ac­tion)
• De­ve­lop­ment of stra­te­gies of com­pu­ter-ai­ded com­po­si­ti­on and their ap­p­li­ca­ti­on(al­go­rith­mic com­po­si­ti­on com­pu­ter mu­sic sys­tems, pro­gramming lan­guages, mu­sic in­for­ma­tics)
• Nego­tia­ti­on of no­ta­tio­nal is­su­es re­la­ted to com­po­si­tio­nal work in a tech­no­lo­gi­cal con­text
• In­tro­duc­tion to mu­si­cal acoustics
• Sound rein­force­ment tech­no­lo­gy

All of the­se to­pics fo­cus on the ae­s­the­tic re­flec­tion of working with tech­no­lo­gy. The field of tech­no­lo­gy-ba­sed mu­sic pro­duc­tion re­qui­res this to a gre­at extent, as com­po­si­tio­nal work is of­ten in­extri­ca­bly lin­ked to prac­tices of in­stru­ment de­ve­lop­ment, the hand­ling of spa­ti­al and acoustic con­di­ti­ons, re­cord­ing and post-pro­duc­tion pro­ces­ses, and even in­ter­pre­ti­ve ar­ti­stry. Ques­ti­ons con­cer­ning the­se craft ca­te­go­ries must be able to be nego­tia­ted in terms of con­tent through this in­ter­con­nec­ted­ness.

The struc­tu­re of the stu­dio is de­si­gned to en­su­re that the­se re­flec­tion pro­ces­ses do not have to take place ex­clu­si­ve­ly in clas­sic class­room si­tua­ti­ons. The rooms func­tion as a mee­ting place for the class when the work­sta­tions are used, work is done tog­e­ther and rehe­ar­sals are held. In ad­di­ti­on, when de­aling with con­cre­te tech­ni­cal as well as tech­ni­cal-ar­tis­tic ques­ti­ons from stu­dents, the stu­dio staff look for open al­ter­na­ti­ves to in­di­vi­du­al les­sons, whe­re stu­dents can con­so­li­da­te and de­ve­lop dis­cour­ses through a hands-on ap­proach. In this way, stu­dents find them­sel­ves not only in the ad­van­ce­ment of ar­tis­tic dia­lo­gues but also in a net­work of a young ge­nera­ti­on of com­po­sers. Last but not least, the pro­xi­mi­ty of the stu­dio di­rec­t­ly op­po­si­te the En­sem­ble Mo­dern crea­tes low-thres­hold ex­chan­ge op­por­tu­nities with the stu­dents of the MA IEMA CoMP pro­gram.

Two stu­dent tu­tors have the op­por­tu­ni­ty to ac­qui­re in-depth know­ledge and a wealth of ex­pe­ri­ence in de­aling with mu­sic tech­no­lo­gy as well as in stu­dio ope­ra­ti­ons in ge­ne­ral, in ad­di­ti­on to ear­ning ex­tra mo­ney du­ring their com­po­si­ti­on stu­dies. In turn, the en­t­i­re class can be­ne­fit from their time and know­ledge by as­sis­ting them with a wide ran­ge of con­cerns. The lat­ter is sup­por­ted by the tu­tors and the tea­ching as­si­stants as well as the stu­dio ma­nage­ment. The tech­ni­cal ma­nage­ment is staf­fed by an ar­tis­ti­cal­ly ac­tive po­si­ti­on and is thus in a po­si­ti­on to as­sist the stu­dents not only with tech­ni­cal and tech­ni­cal ques­ti­ons, but also with their ae­s­the­tic po­si­tio­ning.