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  • 5. Tage Neuer Musik in Weimar | Hans Tutschku
    EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC 5 Tage Neuer Musik in Weimar Vortrag Die Kunst zu

    Original URL path: http://www.tutschku.com/5-tage-neuer-musik-in-weimar/ (2016-02-09)
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  • 4. Tage Neuer Musik in Weimar | Hans Tutschku
    sound installations multimedia improvisation CDs Arts Ceramics Dance Film Photography EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC

    Original URL path: http://www.tutschku.com/4-tage-neuer-musik-in-weimar/ (2016-02-09)
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  • 3. Tage Neuer Musik in Weimar | Hans Tutschku
    sound installations multimedia improvisation CDs Arts Ceramics Dance Film Photography EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC

    Original URL path: http://www.tutschku.com/3-tage-neuer-musik-in-weimar/ (2016-02-09)
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  • 2. Tage Neuer Musik in Weimar | Hans Tutschku
    sound installations multimedia improvisation CDs Arts Ceramics Dance Film Photography EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC

    Original URL path: http://www.tutschku.com/2-tage-neuer-musik-in-weimar/ (2016-02-09)
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  • 1. Tage Neuer Musik in Weimar | Hans Tutschku
    multimedia improvisation CDs Arts Ceramics Dance Film Photography EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC 1 Tage

    Original URL path: http://www.tutschku.com/1-tage-neuer-musik-in-weimar/ (2016-02-09)
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  • using max.bach and max.cage | Hans Tutschku
    CDs Arts Ceramics Dance Film Photography EFIM Ensemble for intuitive Music Weimar Germany Performances Michael von Hintzenstern Matthias von Hintzenstern Daniel Hoffmann Hans Tutschku Festival Hydra Research Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC using max bach and max cage I m describing in the following four videos some aspects of computer aided composition for the work Shadow of bells Those videos are best viewed with Google Chrome

    Original URL path: http://www.tutschku.com/using-max-bach-and-max-cage/ (2016-02-09)
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  • JIM 2015 Montréal, Keynote | Hans Tutschku
    the trumpeter son of Karlheinz Stockhausen in 1989 Markus had come to Weimar almost every summer since 1982 to play with us Subsequently I worked with different programming languages In 1990 91 I studied Sonology in The Hague in the Netherlands and followed a course on real time sound treatment I also followed a demonstration by IRCAM exploring their workstation with the NEXT cube and three DSP cards which costs a fortune I was thus eager to find an affordable solution for real time sound manipulation Hybrid Arts had produced an expansion equipment for the ATARI computer with audio converters and Texas Instruments processors to turn the computer into a 16 bit sampler But this product sold poorly Onstage musicians prefer a keyboard with everything integrated instead of bringing three boxes to be interconnected and a computer screen They discontinued the product and sold it cheap together with a programming manual I therefore learned C for the interface Atari assembler for the communication with the converters and TMS Machine language to program the DSP processor from Texas Instruments At that time signals were not calculated as blocks signal buffers but each sample after another I had 20 nanoseconds between two samples and could see how many arithmetic operations or memory access cycles I could fit into For one year I went deeper down to the heart of the machines than I could ever imagine In 1991 I had finished a program that allowed simple granular synthesis transpositions delay lines etc As I did not want to travel with that Atari tube screen I had programmed it in a way to be able to leave it at home At computer startup the program loaded and specific keys were associated with treatments For some visual feedback I connected two LEDs a red one for times of sound acquisition and a green one for any playback The lesson learned without watching a screen I listened differently My communication with the other musicians was not absorbed by visual feedback Since 1995 MaxMSP became my main platform and I was very careful thereafter as how to interact with the software during the concert and to limit the need for visual interaction The last few years I have also experimented with iOS devices and will talk about it at the end of this presentation Learning the analog synthesizer served me well The Synthi A was a modular synth with a connection matrix The modules were not connected by default and the audio and control signal flow could be determined by freely interconnecting outputs and inputs of modules One could simultaneously use the microphone signal to control parameters I explored this possibility a lot in order to link the evolution of parameters to the intensity of the incoming sound My first improvisation patch with MaxMSP in 1997 was called monster which I m still using It underwent updates to MaxMSP 3 4 5 6 7 but the idea has not changed The patch is also organized in

    Original URL path: http://www.tutschku.com/jim-2015-montreal-keynote/ (2016-02-09)
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  • Alice aux pays de l’électroacoustique | Hans Tutschku
    est de présenter en concert plus de 425 minutes de créations d arts numériques produites par les étudiants de la faculté de musique de l Université de Montréal Dans le cadre de cette série de 4 concerts 30 avril 1er 7 et 8 mai la place est cédée aux étudiants du programme Musiques numériques qui en réalité ratisse beaucoup plus large que la musique électroacoustique En plus d être une vitrine sur les vidéomusiques performances instruments inventés et autres créations à saveur technologiques de ces jeunes universitaires Ultrasons est l opportunité de découvrir un compositeur de renommée internationale spécialement invité pour l événement Pour ce printemps 2015 Hans Tutschku compositeur d origine allemande et enseignant à la réputée université de Harvard donnera un concert carte blanche le dernier soir de la série le 8 mai Une rapide recherche avant l entrevue téléphonique avec le compositeur a révélé un CV d une variété déroutante avec des pièces électroacoustiques pour 16 haut parleurs des pièces pour instrument et électronique un spectacle pour danseur chœur ensemble bande électronique et 16 montgolfières et même sous la mention passe temps de la photographie et de la céramique Étonnamment le compositeur ne se décrit pas comme un hyperactif Il préfère attribuer cette diversité à l éducation offerte par ses parents musiciens et à son grand père historien de l art Lorsqu il explique sa démarche artistique l homme d une cinquantaine d années ne laisse pas de doutes sur sa vision On est tous des enfants On aime tous rêver et se laisser aller lorsqu on va au cinéma quand on écoute des contes La musique électroacoustique nous amène dans un espace imaginaire où l auditeur peut être créatif pendant qu il écoute Ainsi cet adepte d une musique électroacoustique appelée cinéma pour l oreille insiste

    Original URL path: http://www.tutschku.com/alice-aux-pays-de-lelectroacoustique/ (2016-02-09)
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