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M. Tellinga//N. Anderson
biegungen97:
Martijn Tellinga (electro-acoustic composition - quadrophonic performance) solo
+
Natasha Anderson (blockflöte, electronics) solo
Martijn Tellinga is a composer and sound-artist in the field of new
electro-acoustic music and sonic arts. His work shows a great care for textural
qualities and eye for compositoric detail and seeks its identity somewhere in
the overlap of forced form and intuitive musicmaking. His music hovers at the edges of
synthesized and concrete-acoustic soundworlds. The abstraction of
concrete sources through electronic synthesis and manipulation, creates
an alias in sound which shares the associativeness and narrative
character of the everyday soundtrack that surrounds us. By using
elements of both worlds, its musical form shows the integration of
natural - unstaged - sound and its artificially created image.
More than relying on melody, harmony and rhythm, these
soundworks are constructed from the fundamental building blocks of
music: texture, volume and time-elapse. A composition comes to life
through emphasis of intrinsic values of the soundmaterial, outlinening
the tendencies within and by arranging and re-arranging timbral
elements. The use of concrete
sounding-material has shifted into control-information, distilled out
of extracted natural sounds and fieldrecordings. This data is used to
organise composition and outlining gestural development for mostly
synthetic sound. As well as displaying an autonomous sonic object,
these environments are as much a carrier for the compositional form and
musical gesture. Complementary, Tellinga has enriched these works
through composing for quadraphonic- and multichannel environments.
Hisongoing project Boca Raton(‘at the mouth of the mouse’) particularly deals with the symbioses between
concrete –unstaged- sound and synthetic sonorities. As it has never shown any
steady state what-so-ever, the project develops over time according to the
composer’s ideas and capacities, within the flexibalisedmargins of this field of interest.
combination of recorders, voice and electronics to shift between dialectic
extremes of frequency, the digital and the bodily, and the processed and the
instrumental. Combining a deconstruction of the language of woodwind
articulation with gestures that move quickly from real-time processing to the
acoustic, her work is a dynamic and wide-ranging extension of the instrumental
language. Ultimately it is one in which the provenance of electronic,
instrumental and bodily sounds are
often confused.