TonArt 1.9. Kampnagel SMC 13thSound & Music Computing Conference

SMC 13thSound&Music Computing Conference

31.8. – 3. 9. 2016

CONCERT with TonArt Ensemble Hamburg
Krischa Weber Cello
Hannes Wienert Sheng, Saxophon u.a.
Nicola Kruse Violine
Ulla Levens Violine
Thomas Niese Kontrabass
Manfred Stahnke Viola
Thomas Österheld Bassklarinette,
Michael Haase Dan Bao
Georgia Hoppe Klarinette

PROGRAMNOTES to pieces performed by TonArt:

KAMPNAGEL,K2 | 20 .00–21 .30
Performers:RADAR ensemble, TonArt ensemble,
TonArtString quartet, Gero Koenig & TonArt ensemble

Chordeograph.ResonanceGrid I
Chordeograph solo
My project Chordeograph evolved from a sound and perception research to an
instrumental development starting from the objective to realize a dynamical reference
systemfor the continuous transformation between microtonal grids. In Chordeograph.
resonanceGrid this work is fulfilled in two experimental setups.
In the first experimental setup complex microtonal grids are transformedby stretching,
compressionand shifting. By different movements respectively directions, anglesand
speedsof physical objects on a string plane I achieve continuoustransformations from
broadbandnoise to unison. On the basis of graphical scores I develop preciseand
repeatableplaying procedures. Each movement is reflected in the sound in some
variationranging from minimal to intense.

In the second experimental setup microtonal grids form a dynamicalreference system:
4players of the TonArt ensemble fathom out microtonal degrees offreedom between
nodesof tonal grids. Sound events played with chinese sheng, bassclarinet, viola and
doublebass will intertwine with the sonic space created with the electroacoustic
instrumentChordeograph. Temporary resonances and harmonically complex
constellationsform a multidimensional space and time grid moving between stabilityand
theunforeseen. Out of my artistic research after 5 years of continuousdevelopment I
havetranscended the grand piano design and its static tonal systemfinishing the electro
acousticinstrument Chordeograph. The resonatory possibilities of the grandpiano are
fathomedout dynamically.

RyanRoss Smith
StudyNo. 55
Studyno. 55 [2016] is an exploration of malleable pulse relationships,constrained timbral
sequencing,structural arbitrariness and persistently (in)consistent variability.Each
variation(of which there is no theme), features a series of continuouslychanging tempi
withinthe ensemble. As the ensemble moves in similar motion toward each new
tempo(ral)signpost, their rhythmic relationships expand and contract incorrespondence
withthe speed of each player’s respective aggregate (represented by eachspinning
“wagonwheel,” and corresponding to the series of red lines in thebackground of the
score).The score for Study no. 55 utilizes Animated Music Notation in orderto efficiently
communicateto the performer(s) what to do and when to do it, and to sidestep the
inevitabledifficulties associated with complex rhythmic relationships in agenerative

PointStudies No. 6
pointstudies no. 6 (2016) for string quartet continues an exploration ofthe musical
possibilitiesof graphic, open-form scores generated in real time. In the work,performers
interpreta set of twenty-four concentric rings each of which contains arotating radial
terminatedat each end by nodes of various colors. A series of other colorednodes
appearson the concentric rings as the score develops, the color of whichdenotes various
naturalharmonics. Various aleatoric processes are used in the generation ofthe scores
primitivematerials which creates low-level variations in each realization ofthe score.

InRoomtone Variations the resonant frequencies of a concert hall aremapped, in real
time,through controlled acoustic feedback, and projected as staffnotation. The
strongest,most resonant pitches appear first, at the left, the weakest at thefar right.
Oncethe staves are filled the musicians improvise variations on the notesas they are
highlighted,gradually stepping through this site-specific “architectural tonerow”. To my
eara good performance hints at Satie’s “furniture music” or (ifI’m really lucky) Morton
Feldman.My computer program incorporates MaxScore notation software by Nick
Didkovskyand Georg Hajdu, whose generous technical assistance is gratefully

KAMPNAGEL,KMH | 21 .30–23 .00
Performers:Bernhard Fograscher, RADAR ensemble,
Nora-LouiseMüller, Ninon Gloger, TonArt ensemble

Se-LienChuang & Andreas Weixler
Fragments of memories (produced both by human beings and by computer) generate a
synthesis of sounds and visuals. The sounds of live instruments serve asinterface in an
audiovisuallyinteractive concert that merges a sophisticated instrumental soundand
realtimecomputing in an amazing improvisation.
While visual images and processes are being generated during the concert, a multi
channel granular synthesis, spectral delays and virtuoso chances fit togetherminute
tonalparticles that make up the instrumental sounds into a constantly changing acoustic
streammade up of different pitches, durations and positions in the electro-acoustic
space. The musical and visual components interact and reciprocally influence each other
inorder to blend into a unique, synaesthetic, improvisational work of art.


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