23. März 2012 Graz A, Singale, Kunst Uni
09. Mai 2012 Zürich CH, Kunstraum Walcheturm
24. Mai 2012 Basel CH, Gare du Nord
LUC DÖBEREINER / MARTIN LORENZ
NYQUIST PATTERNS
Music for Tape, Percussion and Live-Electronics in the context of compositionally motivated sound synthesis and algorithmic composition.

www.doebereiner.org



The composer Herbert Brün (1918 – 2000) wrote, “it is one thing to search for events that will produce the sound one wants, and quite another to discover the sound of the events one wants.” What unites the different compositions for percussion, tape and live-electronics that will be performed as part of Nyquist Pattern, is that they follow the second approach. Instead of a preexisting sound result, which will determine the used means, a certain composition process will be explored regarding the possible sounds it can engender. Sound is thus understood as the trace of a process and not a goal that is to be realized. Sound synthesis is here not based on the simulation of existing sounds, but creates new sounds from a composition process, hence the term “compositionally motivated sound synthesis,” as Stockhausen writes, “each sound is the result of a compositional act.” The aim is, as Herbert Brün write, “the composition of sound instead of with sound.” Nyquist Patterns will present new works for percussion and electronics by Luc Döbereiner and Martin Lorenz.

In his work, Martin Lorenz explores the limitations of digital sound representation by lowering the samplerate of the sound reproducing system to the center of the audible frequency range. He uses the samplerate as an independent parameter. It forms a constitutive counterpoint, which – while realsing noise and aliasing – creates a harmonic relationship with the instrumental and electronic sounds.

Luc Döbereiner's work draws on the works of Iannis Xenakis, Herbert Brün, and Gottfried Michael Koenig in the area of “non-standard” sound synthesis. A new piece for percussion and live-electronics will explore the different modalities in which an acoustic instrument can relate to electronics. The modalities extension, independence and integration into the sound synthesis process will become form determining parameters.

The program places the two premiers in a historical context of electronic tape and percussion music, such as Iannis Xenakis's radical tape piece S.709 (1994), which he created with his stochastic synthesis method GENDY.

The program also contains a piece for percussion that Lorenz and Döbereiner generated with Gottfried Michael Koenig's historical algorithmic composition program Project 2. In the last two years, Luc Döbereiner has implemented a new version of Project 2 in collaboration with Koenig. The program, which had originally been developed by Koenig in the 1960s, is based on aleatoric principles and is centered around the generation of “structure variants” of a “structure formula”, a collection of basic data and rules as well as a hierarchy of parameters, which is compiled by the composer.

Furthermore Stockhausen's Studie I (1953), Xenakis's Psappha (1976) and pieces for tape and percussion by Herbert Brün will be played.