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  • entwurzelt | Hans Tutschku
    electronics without the need of a technician or assistant The speakers on the floor should be angled by approximately 45 degree so that the sound is not pointed directly to the audience but rather first bounces off reflective surfaces in the hall and therefore mixes more naturally with the sound of the singers It should not give the impression that the sounds are coming straight out of the speakers and a hight degree of sonic fusion with the live singers should be obtained Mayer UPJ speakers are a good choice In smaller venues these Fostex 6301B Monitors have been proven to be a good solution The mini jack output of the iOS device is connected to the Fostex monitors with a cable TRS 1 8 inch TRS 1 4 inch the iOS interface preparation The electronic score is not like a tape which would run from the beginning to the end of the piece Using the iOS interface the electronic score can accommodate some temporal flexibility during the live performance At each indicated number in the score a new sound will be started One can imagine these events as overlapping sound segments which resynchronize with the singers The white progress bar in the top of the screen moves continuously during the event duration from left to right Internally the sounds are a bit longer than the perfect event duration to accommodate slower performance tempi At the onset of the next event the previous sound gets fade out Below the progress bar is an area for the visual metronome a volume fader for the electronics buttons to jump to previous or future events during rehearsals the touch button to start the next event and the settings button Pressing the settings button brings up the settings dialogue The loudspeaker test should be performed to check that the cabling of the speakers is performed correctly and that both speakers are working The switch underneath enables the visual metronome The two metronome tempi are for rehearsal purposes The remote switch is for remote monitoring with a second device and was mainly used during the development of the piece Once the settings have been made press the done button which switches back to the main screen All settings are stored and automatically recalled at the next application start update events from the internet see paragraph at the end of the technical description rehearsals and concert The electronics will be controlled by one of the singers At each number in the score the touch button needs to be pressed The progress bar moves from left to right When reaching the right border the singers should have arrived approximately at the bar of the next event If the singers are faster or slower the touch button should be pressed synchronously with their performance and the electronics re synchronizes with them The stop button can be used during rehearsals to interrupt the electronics Adjacent events can be prepared with the next and previous button The small number next

    Original URL path: http://www.tutschku.com/entwurzelt/ (2016-02-09)
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  • one minute for John Cage | Hans Tutschku
    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 one minute for John Cage for ensemble as part of the Party Pieces Project year 2012 duration 1 00 min first performance October 17 2013 by Ensemble Either Or Millers Theatre New York The Party Pieces Project is an extravagant version of one of

    Original URL path: http://www.tutschku.com/one-minute-for-john-cage/ (2016-02-09)
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  • behind the light | Hans Tutschku
    the floor should be angled by approximately 45 degree so that the sound is not pointed directly to the audience but rather first bounces off reflective surfaces in the hall and therefore mixes more naturally with the sound of the string quartet It should not give the impression that the sounds are coming straight out of the speakers and a hight degree of sonic fusion with the live quartet should be obtained In smaller venues these Fostex 6301B Monitors have been proven to be a good solution The mini jack output of the iPhone is connected to the Fostex monitors with a cable TRS 1 8 inch TRS 1 4 inch the iPhone interface preparation The main interface page contains the upper white progress bar an area for the visual metronome volume controls for the electronics and the audible metronome buttons to choose a different event during rehearsals a touch button to start events and a settings button Pressing the settings button brings up the settings dialogue The loudspeaker test should be performed to check that the cabling of the speakers is performed correctly and that both speakers are working The two switches underneath choose whether the audible and visual metronomes are activated Switching on the tuning sound gives the possibility to tune the iPod to the quartets pitch if desired These settings present a common choice for performance with the visual metronome enabled but the audible metronom switched off The four metronomes are for rehearsal purposes and provide the four used tempi update events from the internet see paragraph at the end of the technical description The remote switch is for remote monitoring with a second device and was mainly used during the development of the piece Once the settings have been made press the done button which switches back to the main screen All settings are stored and automatically recalled at the next application start rehearsals and concert The only interaction with the device for the performance is at the beginning of the piece The first violinist presses the touch button and counts the 6 4 bar At the beginning of bar 2 the electronics start to play The white progress bar is always advancing in 1 8th notes and indicates where we are within an event Once it reaches the far right of the screen the next event is automatically started Audible metronome The application can play and visualize the bar and beat structure for all events The audible metronome is obviously only for rehearsals It s volume and the volume for the electronics can be controlled with the faders The quartet can rehearse certain passages only with the metronome by turning down the volume for the electonics Visual metronome The big white square indicates the first beat of a bar The small black rectangle indicates the other beats The stop button can be used during rehearsals to stop the electronics Navigating to adjacent events can be performed with the help of the previous and next buttons

    Original URL path: http://www.tutschku.com/test-behind-the-light/ (2016-02-09)
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  • Klaviersammlung | Hans Tutschku
    years Each time I visited the University of Cologne I was impressed by the long hallway between the musicology department and the concert hall which houses an impressive collection of desolate pianos from different centuries charged with musical remembrances One walks with respect almost on tiptoes along them to not disturb their dreams of a better past Many times I thought about how theirs sounds could become the source material

    Original URL path: http://www.tutschku.com/klaviersammlung-2/ (2016-02-09)
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  • Irrgärten | Hans Tutschku
    Links dadamenta HUSEAC Irrgärten english mazes for two pianos and live electronics year 2010 duration 24 00 min studio Harvard University and EMPAC dedicated to Jacopo Baboni Schilingi first performance January 21 2011 by Jennifer Hymer and Bernhard Fograscher Klub Katarakt Festival Hamburg The composition is about memory and could be compared to a walk through different mazes Irrgärten Both pianos constantly play very similar material and build up very energetic dialogues and at times a common voice The piece is structured in sections of contrast Little by little excerpts of later sections are appearing like foreshadows While the composition progresses certain sections of earlier material are partially or entirely repeated though the electronics are different for those repeated piano parts While walking through the maze one tries to get a picture of the path certain places look similar but they are different in reality one gets trapped The electronics are realized with two iPhones or two iPods 4th generation one for each pianist The built in microphone is used to detect piano notes and to synchronize the electronic sounds to the live part recordings recording with Yamaha Concert Disklavier http www tutschku com wp content uploads 2010 12 Irrgaerten

    Original URL path: http://www.tutschku.com/irrgarten-post/ (2016-02-09)
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  • agitated slowness | Hans Tutschku
    Texts Teaching Travel 2014 Japan Archive Links dadamenta HUSEAC agitated slowness 24 channel electroacoustic composition year 2010 duration 33 00 min studio EMPAC dedicated to Annette Vande Gorne first performance October 01 2010 festival filament EMPAC Troy NY Agitated slowness continues my recent explorations of larger forms Within a long time span clearly marked sections develop contrasting density states The human voice as main sound source leads us through calm

    Original URL path: http://www.tutschku.com/agitated-slowness/ (2016-02-09)
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  • Firmament – schlaflos | Hans Tutschku
    dedicated to Omar Alvarez first performance July 29 2010 Festival Inventionen Elisabethkirche Berlin voice Sarah Sun A universe of sound is surrounding us from within It s composed of our dreams fears and longings It only exists within our body our own imagination We want to share it but there are no words no possible descriptions We are sitting on a meadow on a warm night alone watching the stars

    Original URL path: http://www.tutschku.com/firmament-schlaflos/ (2016-02-09)
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  • fragile connections | Hans Tutschku
    2014 Japan Archive Links dadamenta HUSEAC fragile connections for violin french horn and piano year 2009 first performance February 26 2010 by REsearch Ensemble french horn Fergus Kerr violin Andrea Gajic piano Lauryna Sableviciute Peninsula Arts Festival Plymouth UK The composition explores unusual sonic qualities of the three instruments to create an unstable atmosphere Pitch cells and short melodies only evolve sporadically and grow into an energetic almost frentic interplay

    Original URL path: http://www.tutschku.com/fragile-connection/ (2016-02-09)
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