German Society for Electroacoustic Music

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German Society for Electroacoustic Music eV
(DEGEM)
logo
purpose Promotion of electroacoustic music on a national and international level
Chair: Ipke strong
Establishment date: April 26, 1991
Number of members: around 180 individual members and institutions such as electronic studios at German-speaking universities and concert organizers (as of 2016)
Seat : Berlin
Website: degem.de

The German Society for Electroacoustic Music eV (DEGEM) is a non-profit registered association for the promotion of electroacoustic music .

history

The history of the association is closely linked to the history of electronic sound art in the GDR . This began in 1949 with the studio for artificial sound and noise generation in the Central Radio and Television Office (RFZ) of the Deutsche Post in Berlin-Adlershof , when Oskar Sala was commissioned by the Ostberliner Rundfunk to produce a new kind of quartet- Trautonium with two double tables, which however apparently never used. After the end of the studio for electronic sound generation in the Berlin Funkhaus and the experimental studio in the laboratory for musical-acoustic border areas of the RFZ in Berlin-Adlershof in 1970, motivated by cultural policy, no officially funded electronic studios in the GDR were known until the 1980s. Until the mid-1980s, there were only unofficial work and information opportunities alongside small private studios and initiatives.

In 1981 the Confédération International de la Musique Electroacoustique (CIME) was founded in Bourges and became a member of the International Music Council and UNESCO . After the GDR was accepted into the CIME, which in the GDR was linked to the Secretariat of International Non-Governmental Music Organizations, Georg Katzer and Lothar Voigtländer initiated the Electroacoustic Music Workshop Days in the electroacoustic production studio founded in 1986 at the GDR Academy of the Arts brought to life. The workshop days should cultivate international contacts to electronic studios and offer the still relatively small but highly motivated and committed scene of electroacoustic composers in the GDR an information platform.

The German reunification in 1991 made it necessary to find a new legal form for the CIME section of the GDR. During the 4th workshop days for electroacoustic music in 1991, the German section of the Society for Electroacoustic Music (DecimE) was founded by 38 founding members under the direction of Georg Katzer. The founding assembly elected Folkmar Hein from West Berlin, who was already a member of the GDR's CIME section, as chairman of an otherwise equal board. DecimE took over the membership in the German Music Council and the International Society for New Music (IGNM) and continued the work on the dissemination of electroacoustic music. The first year of DecimE also saw the founding of the magazine Mitteilungen , which was published by Pfau-Verlag in Saarbrücken until 2005 . Due to the exit from the CIME and a temporary membership in the New International Community of Electroacoustic Music (NICE), the name was changed to German Society for Electroacoustic Music (DEGEM) in 1994.

aims

The association promotes electroacoustic music on a national and international level. The organization of specialist conferences, courses and concerts, the international exchange of information and the issuing of publications and sound carriers serve this purpose. DEGEM is selfless and pursues exclusively charitable purposes. It is mainly financed by membership fees and donations.

activities

Publications

In addition to organizing concerts and organizing specialist conferences, DEGEM documents the current work of its members in a series of its own productions on CD , DVD and CD-ROM . Since October 2011, all publications curated by DEGEM have been published on the EDITION DEGEM label , owned and operated by Till Kniola.

Conference Sound and Music Computing

DEGEM u. a. through her involvement in the annual Sound and Music Computing conference organized by advocacy groups for electroacoustic art from seven European countries.

DEGEM WebRadio

At the initiative of the then board of directors under the leadership of Sabine Schäfer and Michael Harenberg, the association has been offering the DEGEM WebRadio since June 2005 in technical cooperation with the Center for Art and Media Technology (ZKM) in Karlsruhe . The editorially supervised range of programs on all aspects of electroacoustic art is divided into five sections:

  1. Studio forum
  2. Reports / features
  3. Concerts / recordings
  4. ZKM / Musik aktuell
  5. Sounds only

The program includes recordings of concerts, symposia and portraits of composers and studios as well as reports on projects and research projects, themed features and current discussions. Reports from festivals, congresses and exhibitions as well as productions from the archives of electroacoustic music also have a fixed broadcast slot.

The aim of the offer, which is open to all interested parties, is to provide a platform for electroacoustic art of various styles and genres. Here electroacoustic art can be heard, discussed and reflected in the mirror of current events.

archive

Through the cooperation with the ZKM, the WebRadio archive of all broadcasts is created from the ongoing broadcasting operations. This supplements the DEGEM archive , which was set up in cooperation with the ZKM Karlsruhe and in which productions of electroacoustic music created or conceived in Germany are collected for the first time and made accessible to the public.

The club's own archive records electroacoustic music by German composers or composers living in Germany, including performance materials, and makes it available primarily for information purposes. All materials are included in the database of the ZKM media library and can also be researched on the Internet according to various criteria. The materials are available for the public and research at the multimedia stations of the ZKM media library in Karlsruhe. The DEGEM archive strives to work with all German composers and studios to ensure that the materials are centrally recorded and available. In addition, cooperation with organizers is sought in order to promote the spread of German electroacoustic music nationally and internationally.

Database of International Documentation of Electroacoustic Music (EMDoku)

The International Documentation of Electroacoustic Music project is also about an archive . On the initiative of Folkmar Heins, work on this international database project began as early as 1988 on the occasion of the Berlin Cultural City of Europe, E88 project . The aim of the project is to list and categorize as many electroacoustic compositions as possible in the field of e-music in order to enable historically informed performance practice and interpretation research in addition to research. A first edition was published in 1992 with the assistance of Golo Föllmer and Roland Frank. In its second edition, which appeared in 1996 under the direction of Folkmar Hein and Thomas Seelig, the database already named over 18,000 productions. Another version can be found on the DEGEM CD-ROM Sound Art in Germany published by Schott Verlag in 2000 . A current version of the archive is available online.

membership

Persons and institutions can apply for admission to DEGEM, in particular composers, musicologists, sound engineers and sound engineers, performers, ensembles, studios as well as corresponding institutions and organizers from home and abroad. The aim is to create a network of all those interested in composing, interpreting, teaching, learning, researching, performing, organizing and distributing electroacoustic music.

Honorary members of DEGEM are well-known people who have made a name for themselves in electroacoustic music. These include the late composer Karlheinz Stockhausen , the late long-time head of the experimental studio of the Polish Radio Józef Patkowski , the late composer and long-time head of the experimental studio of the Heinrich Strobel Foundation in Freiburg / Br. Hans Peter Haller , the composer Georg Katzer , the composer Josef Anton Riedl , the composer Gottfried Michael Koenig , as well as the longtime director of the internationally renowned electronic studio of the TU Berlin Folkmar Hein.

literature

  • German Section of the International Society for Electroacoustic Music (DECIME) (Ed.): The Analysis of Electroacoustic Music - A Challenge to Musicology? Pfau Verlag, Saarbrücken 1997, ISBN 3-89727-003-X
  • Martha Brech: DEGEM - a rhizome. In: Klangkunst in Deutschland 01. CD-ROM, Schott / Wergo, Mainz 2000, ISBN 3-7957-6028-3 .
  • Martha Brech: Who is and what does DEGEM want? In: New magazine for music. No. 5, 2000, Schott Verlag, Mainz, pp. 48-53.
  • Michael Harenberg: Sound generation of the experimental kind. The German Society for Electroacoustic Music as a collecting basin for artistic border crossers. In: German Music Council (Hrsg.): Zeitschrift Musikforum. 01/2005, pp. 32-36.
  • Michael Harenberg, Frank Niehusmann: The DEGEM WebRadio as a medial mediator of electroacoustic art. In: Golo Föllmer, Sven Thiermann (Eds.): Relating Radio. Contributions to the future of radio. Spector Books, Leipzig 2006, ISBN 3-940064-80-7 .
  • Michael Harenberg: The German Association for Electroacoustic Music (DEGEM). In: Stefan Fricke (Ed.): Contemporary Music in Germany. In: New World Music Magazine. 16, Pfau Verlag, Berlin 2006, ISBN 3-89727-336-5 , pp. 24-29.

Web links

Individual evidence

  1. ↑ a b Information on the DEGEM website
  2. ↑ "Confédération International de la Musique Electroacoustique"
  3. ^ Sound and Music Computing
  4. ↑ DEGEM WebRadio @ ZKM on the DEGEM homepage
  5. ^ ZKM media library
  6. ↑ International Documentation of Electroacoustic Music , current version of the archive
  7. ^ Folkmar Hein: Obituary Jozef Patkowski. 2005. Retrieved January 22, 2016.