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SERIEN STUDENTENARBEIT • STUDENT WORK

H ow modern is classical music? Classical music is not necessarily old-fashioned and
fusty: Today, contemporary artists and musicians who, in an experimental way,
create atmospheric sound tracks for modern metropolitan audiences mediate between
classical music and electronic influences. In the focus is the experiment – following the
fundamental idea of the American composer John Cage who had an open approach to
understanding music where there is no longer a distinction between noise and sound.
Volker Bertelmann, alias Hauschka, is a musician and a composer who has tried out
many things, from classical to techno music. As a pianist, he questions the valuable
instrument of the music establishment and puts a number of everyday objects into an
unusual context. Duct tape, crown caps and greaseproof paper are components of his
musical works. The experimental handling of the instrument and effect-boards offer a
new, multi-facetted spectrum of sounds. The “resonance” design concept consists of a
temporary, mobile concert pavilion for experimental and modern classical music based
on the interaction with compositions by pianist Hauschka. Besides the extraordinary
sound spectrum, the improvisation and new constellation of the sound material are the
major action that can be communicated to the concertgoers. If these are sitting at a
great distance from the action, they are deprived of the performance. A concert setting
Bei einer Lichtsimulation am Modell ... • With a light simulation on the model ... should thus more intensely show the process with appropriate means. Hauschka’s con-
certs as well as other performances of a classical and modern kind furthermore require
silence and concentration in order to focus on the fragile elements of the music and per-
ceive all the sounds in their subtlety. Various culture and music festivals are centres of
new music and thus an optimal stage for having concerts linked with temporary envi-
ronments take place. The pavilion is artist-specific and an autonomous entity.
The basics of the concept

... wurden verschiedene räumliche Interaktionen erprobt. • ... various spatial interactions were tried out.
From the in-depth analysis of the music and the interaction of space and sound, three
goals result which are the basics of the concept: Proximity of the spectator to the musi-
cian is to enable interesting insights into the concert grand piano. For appreciating the
music in several dimensions, it is to be made possible to spatially experience it. Outstan-
ding in the musical genre is the innovative power of experimenting and improvising: For
this purpose, spatial elements are to be modifiable and movable to interact with the
music. An amphitheatre-like arrangement of the seats for up to 70 persons makes
insights into the grand piano possible. Unlike in traditional concerts, the distance bet-
ween the artist and the audience is reduced: One is able to look over the musician’s
shoulder and be at eye-level with him. The arrangement of the seats furthermore
depends on the sound propagation of the semi-opened grand piano as well as on an
acoustically suitable asymmetry of the room. By taking the reverberation time into con-
sideration, for optimum room acoustics suitable materials are selected for the fittings
and measures for architectural sound protection are taken. The cubage of the pavilion
clearly shows this interior function so that, from the outside, the pavilion looks sculp-
tural and imposing and, on the inside, it contains the experience.

Linking of space and sound

An interpretation of the multi-facetted sound spectrum in movement patterns leads to
an extensive, kinetic room installation. This envelops the concertgoer like a cosmos: The
many individual elements, the luminous acrylic-glass rods, are arranged on the ceiling
like a dome. They can be put in motion and can thus, like grass in the wind, produce
different patterns inspired by the sound. In analogy to the sound propagation, the rods
penetrate the borders of the space and become a fascinating play of sounds on the out-
side as well. In a live performance, space and sound are interlinked since the room
installation can be directly controlled. This follows a principle where programme
sequences for specific movements of the rods were developed which can then be play-
ed individually accompanying the music. This is made possible by sensors placed in the
piano, hardware-based control modules and individual servomotors at the acrylic-glass
rods. The musician is able to decide anew at the beginning of every piece of music
which movement patterns will be played when by positioning the corresponding sen-
sors on the strings in the piano. Simultaneously with the instrument being played, the
signals are transmitted to the sensors and visually represented as a movement pattern
on the ceiling. In the overall effect of the swinging rods, for instance a “pulsation” can
be generated. In the same way, “rustling”, “swooshing” or “jingling” as well as further
movement sequences of the rods can be programmed and arbitrarily combined. In
addition to his instrument, the pianist thus also plays the room to communicate
rhythms or sounds while the space itself becomes a instrument which can be played.

056 • AIT 11.2016