JAN JACOB HOFMANN (DE)
Vatnajökull (2021)
acusmatico 7’53 – CRM | DEGEM

HANS TUTSCHKU (DE)
object-obstacle (2004)
acusmatico 12’30” – CRM | DEGEM

HILDEGARD WESTERKAMP (DE)
The Soundscape Speaks - A Remix (2022)
acusmatico 12’ – CRM | DEGEM

JAN JACOB HOFMANN (DE)
Vatnajökull (2021)

Vatnajökull (Icelandic: Vatna = water, Jökull = glacier) is Iceland’s and Europe’s largest glacier. It currently has a volume of around 3300 cubic kilometres.The piece takes the listener inside the glacier. Beginning with the stress cracks common to slow glacier movement, the glacier becomes progressively unstable. A dissolution process begins. The piece is spatially encoded in 3rd order Ambisonic. The sounds were generated exclusively with the sound synthesis program Csound. Other programs were Cmask and the composition editor Blue. Vatnajökull is part of a series on Icelandic landscapes. This composition was created with the kind support of the Musikfonds Deutschland.

HANS TUTSCHKU (DE)
object-obstacle (2004)

The composition object-obstacle is based on source material that was recorded with contact microphones attached to self-made resonators. After experimenting with computer simulations of physical models (using programs like Modalys and Genesis) I became more and more interested in joining various vibrating bodies. The recordings were conceived not only as sources for further transformation, they also contain musically structured sequences, meaning the objects were actually played. The electroacoustic composition reproduces the played gestures in a broad sound space and combines them with synthesized sounds of physical models.

HILDEGARD WESTERKAMP (DE)
The Soundscape Speaks - A Remix (2022)

Over the past few years I have re-examined the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio. Many of my recordings and compositional approaches are brought together here in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The work is an invitation to open up to the complexity of listening itself and the possibilities it may offer to recalibrate our relationship to the environment; it is based on my much longer work revisited, which I created for the BEAST FEaST 2021 in Birmingham, UK.

JAN JACOB HOFMANN (Germania, 1966)
Jan Jacob Hofmann was born in 1966. Diploma in architecture at the University of Applied Sciences in Frankfurt am Main in 1995. Studied conceptual design and architecture at the Academy of Fine Arts–Städelschule in Frankfurt am Main. Since April 2000 work on the spatial sound project Sonic Architecture. Sonic Architecture deals with spatial electronic compositions and sound  architecture, implemented via continuously evolving self-developed Csound programming.

HANS TUTSCHKU (Germania, 1966)
He studied electronic music composition at the Dresden College of Music and at Sonology at the Royal Conservatoire in the Hague (1991/92), followed by a year’s study at IRCAM in Paris (1994). Hans Tutschku has taught electroacoustic composition in Weimar (1995-96), at IRCAM in Paris (1997-2001), and at the conservatory of Montbéliard (2001-2004). In 2003 he completed a doctorate (PhD) at the University of Birmingham, and was the Edgard-Varèse Guest Professor at the Technical University of Berlin. Since 2004, he is Professor of Music at Harvard University,
where he teaches composition and works as director of the electroacoustic studios. www.tutschku.com.

HILDEGARD WESTERKAMP (Germania)
Composer Hildegard Westerkamp focuses on listening, environmental sound and acoustic ecology. At the beginning of her career she worked with R. Murray Schafer and the World Soundscape Project. She is a founding member of the World Forum for Acoustic Ecology and was chief editor of its journal Soundscape between 2000 and 2012. She has conducted soundscape workshops, given concerts and lectures, and has coordinated and led Soundwalks locally and internationally. Her compositions have been performed and broadcast in many parts of the world.