SONNTAG, 11. February 2007, 23:05. - 23:45, Ö1



100 Years of Radio – The Return of Wireless Imagination
# 2

» I: Manifiesto 1909 Alberto Hernandez
» II: Turmuhr
» III: muusiic
» IV: ODD (2006)
» VI: Technofolk

In the course of preparing Kunstradio’s „100 Years of Radio“ special, Kunstradio made a call inviting individuals to search their own territories for firsts in radio history, premieres of different kinds – from the first transmission in stereo, the start of a series of brilliant shows to the first time somebody went on air. In the second part of our special, Kunstradio presents selected radio pieces reflecting a diverse, and often very individual, personal view on the history of radio.




by Laura Mello

„Turmuhr“ is the last part of a one-hour radio play based on Alan Lightman’s „Einstein's Dreams“.
Different concepts referring to the course of time were transferred to the piece’s structure. The complete piece, called „Zeitzuhören“, was premiered at the Alte Schmiede in Vienna in April 2004 within the framework of „Elektronischer Frühling“, with speakers, a six-channel sound projection, video, piano, songs, and gestures.
Performance: Gunda König, Laura Mello.

Beside the voice, „Turmuhr“ is based only on the sound of a guitar that was modulated and edited, and thus lost a great deal of its original envelope. In the course of the piece, however, the process is inverted, and the sound slowly approximates its origin. This is also founded in a metaphor for two different, juxtaposed tempi that start simultaneously, defer, and finally meet again.

Laura Mello: „While church clocks used to be an important information medium, radio stations represent this function for me nowadays. Since my childhood, I have loved to listen to the radio. I have lived in various cities, and what I remember most of all are their radio stations and tower clocks – the latter in a way as a kind of „neighbourhood transmitters“ that mark certain spots in a city. In Europe, the sound of church clocks is an even stronger part of our collective memory than in my homeland Brasil (maybe because here the bells are apparently made of different materials, and have a richer sound?). In „Turmuhr“, these sounds of memory, of church clocks and radios, merge into a single medium. But because there is no church clock that could sound as far as a radio, I didn’t use any original sounds of bells, but imitated them, in a way I newly created them. When you dig up memories, do they become more specific, almost reality?“



by Hyun-ok Pang

muusiic is a four minute piece for tapes, improvised due to a graphical notation.
Voice: Gen Seto
violoncello and piano: Hyun-ok Pang


ODD (2006)

by Edgar Barroso

Commissioned by the DAAD Deutscher Akademischer Austausch Dienst for the Inventionen Festival 2006, ODD was conceived based on the so-called SMS tools, which is a set of techniques and software implementations for the analysis, transformation and synthesis of musical sounds, developed by Xavier Serra and his team at MTG (Music Technology Group). The textures of the piece are built from "residual" components, that after a process of constant transpositions create very dense no-pitch sound masses. In a sense, ODD works like a trio, with three recognizable sound sources: a violin, a set of percussions and a female voice, which are surrounded and interrupted by these residual, permanently moving textures. The original version of ODD is a 5.1 multichannel composition, and the spacialization of sound was founded on the geometrical concept of odd functions that are symmetric with respect to their origin, meaning that its graph remains unchanged after rotating 180 degrees around the origin. The work's structure is based in four clear moments defined mainly by its background sonic textures; its internal construction is also the result of selecting graphic information given by the SMS analysis and subjectively interpreting this as a "score" of the incoming musical events. ODD used the SMS tools as a "prism" that can disperse a "light" (sound) wave.




by monochrom feat. Der Schwimmer

GARZ is about the sound of words or explorations in between the arts. Literature, sensually illustrated – to listen to, and sometimes also to grasp. Literature created by means of sound – not only for readers.



by Andrej Tisma

When making music or sound pieces, Andrej Tisma uses found footage like sounds from video games, music CDs, computer sounds etc. The rhythm in "Technofolk" is mostly created with fragments of Serbian-Gipsy brass music, arranged with vocals by the Gipsy singer Usnia Redzepova, and some Bosnian "sevdalinka" accordion; the bird sounds are from some computer game ambience.
Tisma: "I wanted to give a sonic image of the Balkans, the tremendous and endless energy of this mystic and creative part of the world where I belong to. I usually listen to techno house music and techno electro pop, but also classical music, and I like folk music, too. So in a way this piece of sound work is an expression of my way of seeing things..."