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  • Stefan Prins, Composer: Ventriloquium
    2005 The subject of investigation in this composition is as in Derrida s text the relation between improvisation and text Related and investigated questions are what is the rôle of culture as collective and individual memory in this relation How is the individual related to the collective and how does technology change this relation Does the individual exist uberhaupt or is he only what higher structures dictate him to be These questions are investigated by placing a trio performing mainly notated music against a purely improvising duo and by creating different types of contexts higher structures wherein the individual i e the improvising musicians is functioning according to the rules of the structures In the first part for example the two improvising musicians have to integrate as much as possible into the ensemble texture In the second part this ensemble texture starts to differentiate and splits into different directions the improvisers start to exhibit individual behavior and are asked to destabilize the written out structure At the end of this second part the two improvisers continue alone and establish a new group paradigm which grew out of the previous parts At its turn the trio vc gtr perc starts to destabilize this new structure in the next part using pre composed text fragments combined with free improvisation Different kinds of alliances are created and investigate how precomposed text pre established structures influence the free improvisations In the fifth and final part a new structure is being build up gradually while residuals of the previous structures serve as a starting point for the background improvisations of both the trio and the duo These improvisations are thinned out bit by bit until a clearly new structure is being created in which the two improvisers should integrate again It will be clear by now that this composition is not at all a kind of double concerto for improvising duo with trio and live electronics All instruments are treated as equals only the way of communication between the instruments differs and changes during the piece and it is exactly on this domain that the main investigation is being done The way the composer creates structures and information is being confronted with enriched by the way this information is elaborated during the improvisations The concept of the Ventriloquism is on another level elaborated in the spatialisation of the compostion as well Each instrument is amplified strongly and the amplified sound is being sent to a fixed speaker for every instrument standing at the opposite side of the stage The instrumentalists control the amount of amplification in these speakers through their volume pedal In the beginning of the composition the relation between instrument and speaker is 1 1 From section B onwards the live electronics start to distort this 1 1 image with granular processes which are unleashed on the live sounds This composition premiered by Champ d Action and collectief reFLEXible on 27 10 2007 at STUK in Leuven during the Transit Festival was commissioned

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2006_03.html (2016-05-02)
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  • Stefan Prins, Composer: G.L.I.M.
    composing this piece Get the Flash Player to see this player WORKS INSTRUMENTATION Ι CHRONOLOGICAL 2015 2015 Mirror Box Extensions 2014 2014 Study for a Mirror Box 2014 Mirror Box Flesh Prosthesis 3 2013 2013 2014 Flesh Prosthesis 1 2013 2014 I m your body 2012 2012 Hybrids 8 channel fixed medium 2012 PARK music text performance scenography 2012 Generation Kill perc e gtr vn vc 4 gamecontrollers 4 video projections live electronics 2012 Generation Kill offspring 1 perc vc 2 gamecontrollers 2 video projections live electronics 2011 2011 Piano Hero 1 midi keybrd live el video 2011 Piano Hero 2 pno midi keybrd live el video 2010 2010 Fremdkörper 3 mit Michael Jackson 11 musicians sampler 2010 Fremdkörper 2 sax clar perc e gtr pno live electr 2010 Plug n Play laptop and big ensemble 2009 2009 Körper chamber orchestra 2009 Infiltrationen Memory Space 4 4 e gtrs live electr 2008 2008 ENSUITE vc 2008 Fremdkörper 1 fl e gtr perc vc live el 2007 2007 Not I el gtr live el 2007 FITTINGinSIDE trmb 2006 2006 Ventriloquium vc perc el gtr 2 improvisers live el 2006 G L I M tape 2006 Memory Space 3 tpt live el

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2006_02.html (2016-05-02)
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  • Stefan Prins, Composer: Memory Space #3
    this player WORKS INSTRUMENTATION Ι CHRONOLOGICAL 2015 2015 Mirror Box Extensions 2014 2014 Study for a Mirror Box 2014 Mirror Box Flesh Prosthesis 3 2013 2013 2014 Flesh Prosthesis 1 2013 2014 I m your body 2012 2012 Hybrids 8 channel fixed medium 2012 PARK music text performance scenography 2012 Generation Kill perc e gtr vn vc 4 gamecontrollers 4 video projections live electronics 2012 Generation Kill offspring 1 perc vc 2 gamecontrollers 2 video projections live electronics 2011 2011 Piano Hero 1 midi keybrd live el video 2011 Piano Hero 2 pno midi keybrd live el video 2010 2010 Fremdkörper 3 mit Michael Jackson 11 musicians sampler 2010 Fremdkörper 2 sax clar perc e gtr pno live electr 2010 Plug n Play laptop and big ensemble 2009 2009 Körper chamber orchestra 2009 Infiltrationen Memory Space 4 4 e gtrs live electr 2008 2008 ENSUITE vc 2008 Fremdkörper 1 fl e gtr perc vc live el 2007 2007 Not I el gtr live el 2007 FITTINGinSIDE trmb 2006 2006 Ventriloquium vc perc el gtr 2 improvisers live el 2006 G L I M tape 2006 Memory Space 3 tpt live el 2005 2005 Schling 2005 Memory Space 2 rec el

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2006_01.html (2016-05-02)
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  • Stefan Prins, Composer: Schling!
    in de loop van het werkproces aan de ontmantelde piano s hadden ontlokt De performance speelt zich af in de drie tentoonstellingsruimte van BE PART de kelder de houten doos en de halfronde tentoonstellingszaal In de kelder worden de zes buffetpiano s ontmanteld en in een nieuwe formatie geplaatst zodat een super piano ontstaat die aan haar eigen wetten gehoorzaamt en dus op een onconventionele manier bespeeld zal worden Op deze super piano zal Croene vervolgens Bogaerts partituur interpreteren De muzikale stroom die zo ontstaat wordt gecapteerd en elektronisch doorgestuurd naar een transitruimte de houten doos Deze muzikale stroom wordt vervolgens door Prins via de computer en een door hem ontworpen systeem gemanipuleerd en naar zijn compositorische hand gezet Het resultaat daarvan wordt versterkt en in de grote halfronde tentoonstellingsruimte die als klankkast fungeert geprojecteerd Hier vormt Bogaert op haar beurt de klank om middels haar eigen vertaalsysteem naar een verrassende creatie van licht en kleur De lus of schlinge beeld geluid beeld zal dan volledig zijn Get the Flash Player to see this player WORKS INSTRUMENTATION Ι CHRONOLOGICAL 2015 2015 Mirror Box Extensions 2014 2014 Study for a Mirror Box 2014 Mirror Box Flesh Prosthesis 3 2013 2013 2014 Flesh Prosthesis 1 2013 2014 I m your body 2012 2012 Hybrids 8 channel fixed medium 2012 PARK music text performance scenography 2012 Generation Kill perc e gtr vn vc 4 gamecontrollers 4 video projections live electronics 2012 Generation Kill offspring 1 perc vc 2 gamecontrollers 2 video projections live electronics 2011 2011 Piano Hero 1 midi keybrd live el video 2011 Piano Hero 2 pno midi keybrd live el video 2010 2010 Fremdkörper 3 mit Michael Jackson 11 musicians sampler 2010 Fremdkörper 2 sax clar perc e gtr pno live electr 2010 Plug n Play laptop and big ensemble

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2005_03.html (2016-05-02)
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  • Stefan Prins, Composer: Memory Space #2
    of a piece of music since it s spread out in time In MEMORY SPACE 2 I tried to create several layers of memory which change constantly the complete image the perspective of the piece First there is the memory of the composer distilled in the score Secondly this composition is conceived as a kind of concerto for recorder and quartet where the recorder states most of the musical material and the quartet generally functions as a reservoir where this material will sediment as it would do in ones memory Thridly there is a technological digital memory a perfect memory which can be filled during the performance through recording with whatever material from the score and later be read without any distortions In Memory Space 2 and 1 this is done by a patch I wrote in the programming language MAX MSP which records fragments played by the individual musicians during the performance and stores them in different places and on different layers in one single memory unit In this process the chronological order of how it was played originally is consciously changed fragment B recorded after fragment A can be put in front of fragment A in this memory unit it s even possible that fragment A and B are superimposed When triggered parts of this memory unit is being read according to an algorythm which makes use of a kind of forgetfulness principle and send to the speakers after being processed This results in a constantly changing perspective of the past while the performers continue playing the score being very one directional parts of what they played before will sound through the speakers in a completely changed chronological order and distorted by different dsp processes Fourthly there is the memory of the performer which is partly being filled or shaped during the process of studying the score and later during performance In the score several blank spaces can be found In these spaces the performer has to improvise according to some minimal rules see below partly using material from the score During these improvisations the performer uses those elements s he remembered from before and processes them following his own laws not those imposed by the composer To do so he uses not only his short term memory and his physical memory His long term memory is being used as well since his her personal musical and other history is reflected some way or another in the improvisation Even a cultural memory is being used in this process the same cultural memory I partly and unconsciously called upon to compose the piece To quote Jacques Derrida Even when one improvises in front of a camera or a microphone one ventriloquizes or leaves another to speak in one s place the schemas and languages that are already there There are already a great number of prescriptions that are prescribed in our memory and in our culture All these different kinds of memory all using there own logic are confronted

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2005_02.html (2016-05-02)
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  • Stefan Prins, Composer: Erosie (Memory Space #1)
    Erosie In de inleiding tot deze dissertatie licht Hermans het fenomeen van erosie metaforisch toe Wanneer wij een klok bezitten waarvan het slagwerk elk half uur in werking komt gebeurt er voor wie niet beter weet absoluut niets met het slagwerk in de tijd dat de grote wijzer zich ergens tussen het hele en het halve uur beweegt Maar in werkelijkheid wordt er bijvoorbeeld in het mechanisme een hefboom langzaam opgeheven die als hij op een bepaald punt aangekomen is het slagwerk ontgrendelt En nog Alle processen waar wij over zullen spreken bestaan uit elkaar opvolgende evenwichtstoestanden Een moeilijke vraag is in hoeverre een evenwicht dat telkens verbroken wordt nog een evenwicht kan worden genoemd om nog niet te spreken over de vraag wat het juiste evenwicht is Het zijn deze metaforen die mij als componist aan het werk hebben gezet Meer dan het proces van erosie letterlijk in muziek te vertalen was het mij te doen om wat Hermans die uit elkaar opvolgende evenwichtstoestanden noemt Bovendien leek het mij interessant om het fenomeen erosie te koppelen aan de manier waarop het menselijke geheugen functioneert Via de computer heb ik daarom een niet wetenschappelijke algoritmische modellisering gemaakt van een zeer eenvoudig proces van vergeten en zich herinneren Toeval speelt hierin een niet onbelangrlijke rol net als bij de geologische erosie Dit proces heeft deze compositie intern vormgegeven en zal tenslotte worden overgenomen door de luisteraar die in zijn haar herinnering telkens opnieuw en op een verschillende manier het werk zal vormgeven totdat het volledig is opgelost in de tijd Get the Flash Player to see this player WORKS INSTRUMENTATION Ι CHRONOLOGICAL 2015 2015 Mirror Box Extensions 2014 2014 Study for a Mirror Box 2014 Mirror Box Flesh Prosthesis 3 2013 2013 2014 Flesh Prosthesis 1 2013 2014 I m your

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2005_01.html (2016-05-02)
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  • Stefan Prins, Composer: inDEPENDENCE
    for a Mirror Box 2014 Mirror Box Flesh Prosthesis 3 2013 2013 2014 Flesh Prosthesis 1 2013 2014 I m your body 2012 2012 Hybrids 8 channel fixed medium 2012 PARK music text performance scenography 2012 Generation Kill perc e gtr vn vc 4 gamecontrollers 4 video projections live electronics 2012 Generation Kill offspring 1 perc vc 2 gamecontrollers 2 video projections live electronics 2011 2011 Piano Hero 1 midi keybrd live el video 2011 Piano Hero 2 pno midi keybrd live el video 2010 2010 Fremdkörper 3 mit Michael Jackson 11 musicians sampler 2010 Fremdkörper 2 sax clar perc e gtr pno live electr 2010 Plug n Play laptop and big ensemble 2009 2009 Körper chamber orchestra 2009 Infiltrationen Memory Space 4 4 e gtrs live electr 2008 2008 ENSUITE vc 2008 Fremdkörper 1 fl e gtr perc vc live el 2007 2007 Not I el gtr live el 2007 FITTINGinSIDE trmb 2006 2006 Ventriloquium vc perc el gtr 2 improvisers live el 2006 G L I M tape 2006 Memory Space 3 tpt live el 2005 2005 Schling 2005 Memory Space 2 rec el gtr pno perc db bss live el 2005 Erosie Memory Space 1 va bayan

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2004_02.html (2016-05-02)
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  • Stefan Prins, Composer: Étude intérieure #1
    this hedonistic way of making music an important part and I tried to incorporate in the score aspects of the freedom one experiences when improvising This search can already be traced back until No habra una sola cosa que no sea una nube a quintet for piano and woodwinds that I composed for Champ d Action In the final part of this quintet I used marbles in the inside of the piano directly on the strings Already when composing this piece I was fascinated by the vast sound possibilities of this way of soundproduction and decided to write a piece for piano solo using only marbles directly on the strings This gave me the possibility to go one step further in my search for the emancipation of the sound From this idea the Etude Interieure 1 has been born In this composition the keys of the piano we re not used at all the complete production of the sound happens INSIDE the piano directly on the strings using marbles Absolute pitch was replaced in the notation by relative pitch Durations on micro level are relatively flexible ryhthm and gesticulation were seen as commutable parameters sometimes the rhythm was translated to gesticulation sometimes the gesticulation was put into rhythmical patterns The composition therefore has a very important visual and theatrical aspect the movements of the performer made when manipulating the strings with the marbles form a complete choreography which is impossible to perceive in recordings And this brings me back to my experiences as an improvisig musician Improvisations always have a very physical almost dionysian aspact that the performing of traditional written music often lacks In the etude Intérieure 1 this tactile and theatrical aspect is of great importance Or to use the words of Richard Barrett Music as a theatre

    Original URL path: http://stefanprins.be/eng/composesChrono/comp_2004_01.html (2016-05-02)
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