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List of Skills – Autumn Semester 2020

Skills in Théâtre musical 2 Skills in Composition 7

Skills in Sound Arts 9 Skills in Curating & Music in Context 10

Mandatory Modules 12

MA in Music Composition

Specialisation

Creative Practice

Berner Fachhochschule | Hochschule der Künste Bern 2

1 Skills in Théâtre musical

Théâtre musical – Seminar (MACP S1) Simon Steen-Andersen 28.10. 13:00-16:00 16.11. / 11.12. 09:30–12:30 Ostermundigenstrasse 103, Auditorium or Room 160

Seminars on expanded musical material, performance, video, staging, instrumental theater, etc. in the context of the lecturer’s own work in the field. The course presents examples of and theoretical considerations about relevant recent directions and formats.

Semester course

Open for: all HKB students / Max. number of participants: 20 / ECTS: 1

Théâtre musical – Projects (MACP S2) Simon Steen-Andersen 27.10.–1.11. / 14.11.–18.11. / 11.12.–15.12. 09:00–18:00 Ostermundigenstrasse 103, Auditorium or Room 160

Conceptual and practical work related to participants’ (individual or collaborative) projects concerned with expanded musical material, performance, video, staging, instrumental theater, etc. Projects will be discussed in the group and to the extent possible tried out/ performed by the fellow group members.

Semester course

Open for: MA Composition – Creative Practice / Max. number of participants: 15 / ECTS: 1

Contemporary Vocal Arts Praxis & Improvisation (MACP S3) Franziska Baumann 15.10., 09:30–12:30 / 16.10., 10:30–12:30 26.11., 09:30–12:30 / 27.11., 10:30–12:30 10.12., 09:30–12:30 / 15.01., 10:30–12:30 Ostermundigenstrasse 103, Room 160 Vocal & breathing training / expanded field of vocal art / affective spectrum of the voice / language & text as vocal-musical phenomena / vocal improvisation

This course gives multifaceted insights into contemporary vocal improvisation and staged vocal performance: vocal training, various singing techniques and expanding


the vocal spectrum (emotions, energetic qualities, physicality, gestures), searching for a spontaneous, emotional voice in sophisticated, archaic or everyday expression. Exploring sounds and noises, melodies, yodelling, language and the unexpected is part of the musical process. Improvisational techniques on the basis of modules and ideas lead to group performances as a way of researching and uncovering spheres of the human voice in musical perception and in a staged context.

Annual course Open for: all Master students / Max. number of participants: 9 / ECTS: 1

Multivocal Performance & Improvisation for Singers (MACP S4) Franziska Baumann 14.10. / 04.11. / 25.11. / 09.12. / 14.01. 10:00–13:00 Ostermundigenstrasse 103, Room 160

Ever since there have been composers writing for singers, it has been of great interest to come to know the boundaries of the human voice. Exploring vocal potential has always been fascinating. Over the centuries the vocal possibilities in the West have been pushed forward and expanded. I propose pathways for exploring vocal performance art from the perspective of the composer-performer. This perspective provides the kind of constellation in which the singer acts as both composer and performer. By means of different improvisation techniques we will work on our sensual vocal and compositional intelligence.

From bel canto to extended contemporary vocal practices and text, we will explore new instant compositional approaches. We will investigate different vocal practices that focus on compositional-scenic aspects rather than psychological-dramatic ones. The aim is to achieve greater freedom in dealing with one’s own voice, to improve intuitive power, and to develop a sense of how to anticipate new and individual vocal spaces and possibilities.

Semester course

Open for: singers in Master Performance, Pedagogy, Jazz & Classic, Opera / Max. number of participants: 8 / ECTS: 1

Composed Theater Lab & Contemporary Vocal Arts: Practice – “Soundscape as scenic environment” (MACP S5) Franziska Baumann / Leo Dick 15.10., 13:30–16:30 / 16.10., 13:30–15:30 26.11., 13:30–16:30 / 27.11., 13:30–15:30 10.12., 13:30–16:30 / 15.01., 13:30–15:30 Ostermundigenstrasse 103, Room 160

The term “soundscape” was popularised by Canadian composer R. Murray Schafer. It means the interaction of all acoustic phenomena that are produced in and through a room. The soundscape of a place is composed of natural sounds, language, work and machine noise as well as music. Soundscapes range from sound art, music and theater


performance to sound design in public space. In this practical seminar we will explore different artistic strategies for creating soundscapes as scenic environments. In addition to compositional and dramaturgical procedures, the focus is on working with voice and body in space.

Semester course

Open for: all Master students / Max. number of participants: 12 / ECTS: 1

Creating, Composing, Choreographing: Between Music and Movement (#contemporarydance, #choreography) (MACP S6) Angela Bürger, Liz Waterhouse 28.9. / 12.10. / 26.10. / 23.11. / 7.12. 15:15–18:15 Mentored intensive day: 30.11., 14:00–20:00 Ostermundigenstrasse 103, Auditorium

This course focuses on the crossovers between composing and choreographing, examining the specific potential opened up when performers’ actions are audio-visual, between music and movement. Together with guest teacher Liz Waterhouse, formerly of the dance ensemble The Forsythe Company, we will give impulses for how to work with our bodies in a musical context. We will warm up and then try tasks of real-time composition: dancing synchronies, placing actions and interactions in space, and linking movement, text, instrument and voice. Students will also have the opportunity to look at video examples from the field of contemporary dance and théâtre musical and to make a draft of a short ensemble performance, which can be performed during the Playtime Festival in January 2021.

Open for: MA in Composition – Creative Practice, Performance, Pedagogy, Music and Movement / Max. number of participants: 15 / ECTS: 1

Noon – midnight – noon: 24-hour project (MACP S7) Angela Bürger Friday 23.10. – Saturday 24.10. Place: tba

We will choose a place in the Bernese Oberland in which to “instantly compose” a musical-visual poem within a period of 24 hours. Four phases of the visual-musical creation are planned: 1. Choosing a subject and musical research; 2. Scenic training and narrative attitude; 3. Try-out in an outdoor space (hike); 4. Rehearsals and/or video montage. The aesthetics of the resulting works can be extremely variable: from poetic to Pop Art to classical. Composing in a common place outside of everyday life while ensuring a good balance between workload and fun can lead to new and unexpected ideas.

Open for: MA in Composition – Creative Practice, Performance, Pedagogy, Music and Movement / Max. number of participants: 15 / ECTS: 1


Basic Scenic Work in Composed Theater (MACP S8) Angela Bürger 15.09. / 29.9. / 13.10. / 27.10. / 10.11. / 24.11. / 8.12. 13:00–14:30 Ostermundigenstrasse 103, Auditorium

Performing for an audience requires precise knowledge of the linguistic and physical means of expression. In this course we learn the basis for scenic body presence with and without an instrument, solo or in a group. We work with theater scenes in several languages as well as with phonetic-musical material. Through concentration exercises, improvisation and speaking techniques, the possibilities of performative expression are expanded.

Semester course

Open for: MA Composition – Creative Practice, BA Masterorientierung Composition Creative Practice / Max. number of participants: 12 / ECTS: 1

Stage Your Music! (MACP S9) Angela Bürger 29.9. / 13.10. / 27.10. / 24.11. / 8.12. 10:00–12:00 Ostermundigenstrasse 103, Room 160

The aim of this course is to approach the domain of musical stage directing under the aspects of spatiality, lighting and the interweaving of text/ gestures/ movement with music. All these stage elements become material for your composition and scenic projects. We’ll teach you how to construct a dramaturgical line and emphasise it in a reduced scenic space where instruments and movement become part of the scenography. The projects will be performed at the Playtime Festival January 12th.

Semester course

Open for: MA Composition – Creative Practice, Contemporary Jazz, BA Sound Arts / Max. number of participants: 9 / ECTS: 1

New Formats in Contemporary Composed Theater (MACP S10) Angela Bürger 29.9. / 13.10. / 27.10. / 24.11. / 8.12. 14:30–17:00 Ostermundigenstrasse 103, Room 186

This theoretical seminar gives an overview of and explores actual musical theater productions in the last decade in Europe. Reflection on the function of musicians is often a part of the piece, like a commentary: making music about music-making. Creation processes are executed live in the presence of the public in interactive forms. The panorama is wide: from operatic works based on narrative librettos to musical happenings in abstract situations. We will analyse the performative impact of these


new forms. How might these strategies be adapted to your own pieces? Together with colleague Leo Dick, we will attend 2–3 premieres in Basel, Bern, Zurich or Lausanne.

Semester course


Sounding Figures and Animated Material: 3-day introductory workshop on contemporary puppetry and object-based theater (MACP S11) Angela Bürger, Florian Feisel 2.11. –4.11. 10:00–15:00 Place tba

With our guest teacher Florian Feisel from the State University of Music and the Performing Arts Stuttgart (HMDK), we introduce students to the exciting field of contemporary puppet theater and link it to musical practice. The main question is how the focus can be switched from our perception of human-centred performance to a more general consideration of events and incidents on a theatrical stage. The course is held in English, French and German.

Open for: all Master of Music students interested in discovering a new practice / Max. number of participants: 15 / ECTS: 1

Composed Theater Lab: Theory – “The advanced Swiss music theater scene I” (MACP S12) Leo Dick 22.09. / 20.10. / 3.11. / 1.12. / 7.12. 14:00–17:00 Ostermundigenstrasse 103, room 142

Despite a well-equipped theater infrastructure, Switzerland has not yet developed its own opera tradition. Nevertheless, there is undoubtedly a specifically “Swiss music theater scene”. Its fissured and fragmented character is a mirror of the country’s topography and mentality. And, contrary to the country’s conservative image, the Swiss scene has repeatedly provided innovative impulses for advanced European music theater. By looking at exemplary productions from recent years, we will discuss the breadth of current music theater production in Switzerland and its institutional framework structures. Together with colleague Angela Bürger, we will attend 2–3 current musical theater productions in Basel, Bern, Zurich or Lausanne.

Semester course

Open for: all (Bachelor and Master) / Max. number of participants: 12 / ECTS: 1


2 Skills in Composition

Analysis course: Inside New Music (MACP S13) Wanja Aloe Thursdays 11:00–13:00 Ostermundigenstrasse 103, Room: 181

This course offers both aesthetic and technical analysis of the main trends in Contemporary Music from the 1950s until today. In addition to the classical analysis of music scores, listening sessions and subsequent discussions of contemporary music will lead to a deeper understanding of various compositional aesthetics.

Annual course

Open for: all MA students, BA Masterorientierung Composition Creative Practice, other HKB Music students on demand / Max. number of participants: no actual limitation / ECTS: 1

Instrumentation for Composers (MACP S14) Xavier Dayer Thursdays 14:00–15:00 Ostermundigenstrasse 103, Room 182

This course focusses on learning the specifics and techniques of instrumentation in the 20th and 21st centuries. It is based on a mixture between exercises and analyses.

Annual course

Open for: Master students / Max. number of participants: 8 / ECTS: 1

Ensemble Conducting (MACP S15) Corsin Tuor Wednesdays 9:00–10:00 Ostermundigenstrasse 103, Room 112

A conductor is his own, very complex instrument that has to be practiced just like any other instrument. By means of studying etudes which deal with the laws of baton technique, students are taught a solid conducting technique. The students’ natural an untapped potential will be analyzed and refined into an individual style of movement. This course sets out to support the development of each conductor’s personality as a critical evaluation of their movement style encourages discussion. Questioning and assuming responsibility for what can be elicited on the conductors’ podium is thus an eternal driving force in the development of a future conductor.

Annual course

Open for: MA Composition – Creative Practice, other HKB Music students on demand / Max. number of participants: 6 / ECTS: 1


Hearing Skills (MACP S16) Marc Kennel Dates to be arranged with Marc Kennel Ostermundigenstrasse 103, Room 187

The verb “to hear”, in its integral definition, means to perceive, identify and understand. Through many examples that have revolutionised the major musical works of different repertoires, we will try to perceive, identify and understand those melodic, harmonic and rhythmic turns of events that will keep this radical force of innovation and contemporaneity going on indefinitely. In addition to harmonic language, there are the many modal and modern expressions, which are exploited through recordings at the highest technical and musical level.

Annual course

Open for: MA Composition – Creative Practice, BA Music / Max. number of participants: 6 / ECTS: 1

Composing and performing with electronics and video - Seminar/Workshop (MACP S22)

Gilbert Nouno

21.10 / 4.11 / 25.11 / 9.12 / 16.12

09:00 - 13:00

Ostermundigenstrasse 103, Room 160 or 107

Electronics, a multifaceted plastic and conceptual art, is approached and explored through practice and theory. This seminar/workshop encompasses five modules that address electronic tools for composition such as orchestration assistance with Orchidea, writing assistance with Open Music, generative processes with Sonic Pi and Antescofo for Max8, as well as electronic tools for performance and human-machine interaction focusing on video and on physical interfaces. Each workshop will go through some elements of theory and practical examples leading to the realization of a short project.

Semester course

Open for: Master Composition-Creative Practice / Max. number of participants: 15 / ECTS: 1


3 Skills in Sound Arts

Voice & Live – Electronics (MACP S17) Franziska Baumann / Teresa Carrasco 12.10., 12:00–16:00 / 23.11., 12:00–16:00 / 07.12., 12:00–16:00 12.01., 13:00–16:00 Papiermühlestrasse 13 d, Multifunktionsraum

The course initiates conversations about the interaction between body and vocal practices in staged live electronic environments and the way they communicate between multi-layered realities. Students are invited to explore and develop new forms of concert-based and virtual practice, dramaturgical and compositional structures as well as questions of de- and embodiment in technical systems. A special focus on contemporary vocal arts practice and gestural live interfaces, or the exploration of different possibilities of interaction with the audience, are further possible topics of discussion. Perspectives on the practice and experience of oral, physical and digital scores will be developed.

Annual course Open for: all Master students / Max. number of participants: 8 / ECTS: 1

Basics in Electroacoustic Composition I (MACP S18) Teresa Carrasco 22.9. / 6.10. / 20.10. / 3.11. / 17.11. / 1.12. / 15.12. 9:30–11:30 Papiermühlestrasse 13d, Multifunktionsraum

This course teaches the basics for realising your own musical projects in programming environments like Max/MSP. Principles of audio signal processing and the implementation of different sound effects in relation to possible installation and composition strategies for electroacoustic music will be covered. 120 minutes every two weeks in 2 semesters.

Previous knowledge in computer music and programming is not required.

Semester course


Applied Audio Programming / DSP I (MACP S19) Cedric Spindler Tuesdays 11:00–12:30 Papiermühlestrasse 13d, Multifunktionsraum

Students often enter the field of audio programming using the Max/MSP development environment. This course is aimed at all those who want to explore the field further,


especially with regard to the connection between music and science. The theoretical basics that students already bring with them are applied to topics such as Music Information Retrieval (MIR), Machine Learning and advanced DSP, which are then related to live electronics and the composition of acousmatic music. In addition to Max/MSP, other programming languages and environments such as Python, JavaScript (Node4Max), C (for Max/MSP Externals) and Supercollider are covered. The course is partly based on part 1 (Applied Audio Programming and DSP) from autumn semester 2019 and will cover some of the following topics:

DSP: Spectral Freezing / Stretching / Phase Vocoder / GEN (Max/MSP) Video: Jitter / Processing/P5.js Externals in Max/MSP, Part 2: Externals Programming in C / Scheduler External / DSP External Programming Interfaces, Part 2: Node4Max 2 / C Sound / Supercollider

Annual course

Open for: MA Composition, MA Contemporary Arts Practice / Max. number of participants: 12 / ECTS: 1

4 Skills in Curating & Music in Context Introducing Audiences to Lachenmann’s Music (MACP S20) Barbara Balba Weber Thursdays 24.9. / 8.10. / 15.10. / 22.10. / 29.10. / 5.11. / 19.11. / 26.11. / 3.12. / 10.12. 10.30–12:00 public presentations in the presence of Helmut Lachenmann (the precise date between 11.12–14.12. tba) Ostermundigenstrasse 103, Room 184, and various places in Bern

How easily can an interest in complex music be cultivated among difficult target groups? If it were up to Helmut Lachenmann, this would not be witchcraft: “It would simply have to be chic to take risks when listening to music. I always say that people go bungee jumping, others risk white-water rafting, climb mountains just to increase the existential tension within themselves. […]. But in the concert hall, where is the spirit of adventure?” Lachenmann’s question is our starting point for experimentally investigating certain segments of society: a) professional musicians without an affinity for New Music, b) young people, and c) middle-of-the-road politicians. The course is also an introduction to the social biotopes of Bern: we will get to know very different people, study the listening behaviour of non-professionals, and talk to them about their and our music. From this we will develop very personal formats, which we will then discuss with Helmut Lachenmann. Depending on their status, certain ideas might also be implemented directly in a concert by “Kammermusik Bern”.

Open for: Master in Composition – Creative Practice / Max. number of participants: 20 / ECTS: 1


Music Aesthetics (MACP S21) Peter Kraut / Xavier Dayer 21.9 / 12.10. / 19.10. / 26.10. / 02.11. / 16.11. / 23.11. 09:30–11:30 Ostermundigenstrasse 103, Room 180

Is the concept of progress relevant for music and the arts? What is postmodernism? Collage? Appropriation? Remix? What do you consider “music” and what is “context”? Do we know too much to create “new” music? What does “time” mean exactly? What’s a score? Let’s talk, read and exchange ideas about these questions.

Annual course

Open for: BA Classical, Jazz, Sound Arts, all MA students / Max. number of participants: 20 / ECTS: 1


5 Mandatory Modules Colloquium in Master Composition / Creative Practice Xavier Dayer and Stefan Schultze 22.09. / 13.10. / 27.10. / 1.12. / 15.12. 17:00-19:30 Ostermundigenstrasse 103, Room 185

This course is a platform for exchange among the students, teachers and invited composers and performers. It is the only mandatory course for all students in the Master of Arts in Composition including both specialisations Creative Practice and Contemporary Jazz.

Mandatory for: all MA Composition (Creative Practice and Contemporary Jazz), BA Masterorientierung Composition Creative Practice / ECTS: 1

Intensive Week – Collective Creative Practice 14.12., 9.1.–14.1.2021 Precise times tba Auditorium, Room 160

14.12.2020, 09:00–18:00, Room 160, O103 Oral project presentation and project feasibility discussion. This is an important date on which you will present your work (in 30-minute time frames) and discuss it with the teaching staff as well as with the sound engineer (Beat Müller) and the organisational assistant (Nemanja Radivojevic). We will program the concert depending on what you present here, so it is of the utmost importance that you bring a technical rider and a detailed description of what you intend to do.

9.1.–12.1., 09:00–18:00, Auditorium, O103, Rehearsals, installations and preparation for the concert (the detailed plan will be announced after 15.12.)

13.1. and 14.1.2020, 18:00, Auditorium, O103 Student concert

Mandatory for: all MA Composition – Creative Practice / ECTS: 1

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