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Motiv 76. Frühjahrstagung: Raue Zeit

76. Frühjahrstagung

Institut für Neue Musik und Musikerziehung, Darmstadt (DE)

Under the guiding concept of roughness, an artistic gesture is thematised that is equally evident on an inner-musical level as it can also be understood as an expression of an artistic attitude that is increasingly emerging at present. The title of the 76th spring conference of the Institut für Neue Musik und Musikerziehung (INMM) stands for the attempt to grasp different aspects of roughness more precisely and to examine them for interdependencies.

The title of the conference is intended to capture a complex artistic gesture and to examine its causes and effects. Following a tradition, direct contact will be sought with some prominent artists who are particularly connected to the conference theme. Milica Djordjević and Iris ter Schiphorst will be portrayed in detail, each of whose works can be understood in their own form as an expression of roughness in the sense described above. Djordjević's work is characterised by a seismographic reaction to musical material; in an interview, she herself describes her approach to melody as “differentiated and rough”. This impression is created not only by playing techniques, but also by a specific treatment of instrumentation and rhythm, and points to a compositional attitude that rests less on existential certainties (such as the flow of breath or gravitation) but is characterised by a permanent struggle for this level that promises certainty.

In Iris ter Schiphort's work, roughness can be understood as a psychosomatic reaction in the sense of “not being able to find the words for what is happening in me”. In this reaction, she consciously opens herself up to human “cruelty – including mine”, in her own words. While her work is characterised by a rejection of semantic elements, there is always an attempt to make speechlessness formulable by incorporating textual and phonetic elements. Roughness would then be understood as the point of intersection of these divergent directions of movement.

In addition to this focus, other approaches will be discussed, each of which will illuminate the conference theme in a specific way. Martin Schüttler is a composer who consciously seeks contact with heterogeneous materials that at first seem alien to music and who creates rough textures (that resist “inner-musical” coherence) from the encounter with disparate materials. Another thematic block, which will be organised by the musicians Astrid Schmeling and Moritz Schneidewendt, will deal with the difficult framework conditions that composing and performing New Music is currently subject to. One of the questions to be asked is whether the social-romantic warning of a “sated” art and – connected to this – the idea of a heroic stand by artists in the face of an increasingly harsh environment can be an adequate answer to the challenges of a society in crisis mode. The 76th Spring Conference of the Institut für Neue Musik und Musikerziehung in Darmstadt is made possible by the Ernst von Siemens Music Foundation.

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