Hildegard Westerkamp

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Hildegard Westerkamp (born April 8, 1946 in Osnabrück ) is a German - Canadian sound artist , sound researcher, composer of electroacoustic music , sound ecologist, flutist, pianist and author.

Many of her compositions contain field recordings of urban and rural environments with voices, noises, silence, music, media, etc. In some compositions, she processed lyrics by her partner, the Canadian writer Norbert Ruebsaat. She composed film music, among others for two films by Gus van Sant - Elephant (2003) and Last Days (2005). She is a co-founder of the World Forum on Acoustic Ecology (WFAE) and the Vancouver Co-op Radio .

Life

From 1966 to 1968 Hildegard Westerkamp studied flute and piano at the Freiburg University of Music . Since 1968 she has lived in Vancouver , Canada . From 1968 to 1972 she studied at the University of British Columbia and graduated in 1972 with a Bachelor of Music . She gave birth to her daughter Sonja Ruebsaat in 1977.

During the 1980s she was a teacher at the School of Communication at Simon Fraser University in Vancouver. At the same time she worked on the research project World Soundscape Project under R. Murray Schafer . As part of this activity, she mike the sound of a wide variety of environments for archiving. At the same time she worked as a sound artist and composer .

A feminist approach is expressed in Westerkamp's work, particularly in two works from 1985. Women Voicing is a document by female Canadian musicians that Westerkamp produced for Musicworks 31 . Works by Alassie Alasuak, Wende Bartley, Susan Frykberg, Nellie Nungak, Ann Southam , Kim Erickson, Gayle Young, Westerkamp himself and Pauline Oliveros are compiled . His Masters Voice is a soundscape of male voices from presenters and politicians and recordings of drivers listening to loud music. Westerkamp himself sees the play as “satirical protest against the male macho voice that can be heard relentlessly in the media”. The piece formulates a feminist critique of acoustic male dominance in radio and public space. The feminist content of Westerkamp's work is also recognized by the reception. As stated by Donna Zapf in her contributions to New Music : "Westerkamp's music balances a poetics of sound with social commitments that include feminism and environmental politics."

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Compositions

  • 1975: Whisper Study , for 2-channel tape
  • 1976: Family with a kick , for 2-channel tape
  • 1978: Fantasie for Horns I , for horn and 4-channel tape
  • 1979: Fantasie for Horns II , for horn and magnetic tape
  • 1981: A Walk Through the City , for 4-channel tape and with poems by Norbert Ruebsaat
  • 1984: Cool Drool , for speaking voice and 2-channel tape
  • 1985: His Masters Voice , for 2-channel tape, "satirical protest against the male macho voice that can be heard relentlessly in the media" (Westerkamp)
  • 1986: Harbor Symphony , for over 100 boat horns in the port of Vancouver, for the opening of the Canadian pavilion at Expo 86
  • 1987: Cricket Voice , for 2-channel tape
  • 1988: Moments of Laughter , for 2-channel tape and female voice
  • 1988: Music from the Zone of Silence: Desertwind / Meditation / The Truth is Acoustic , for one to four voices and 2-channel tape
  • 1988: Harbor Symphony , for six boat horns in St. John's Harbor , Canada
  • 1989: Convergence Radio
  • 1989: Kits Beach Soundwalk , for 2-channel tape and voice
  • 1989: The Deep Blue Sea , for 2-channel tape and voice, together with Norbert Ruebsaat, text: Brain Shein
  • 1989: doors of perception , commissioned by the ORF -Kunstradios and the Ars Electronica , used in the film Elephant by Gus van Sant
  • 1990: Breathing Room II , for 2-channel tape, bottles and audience
  • 1990: École polytechnique - for eight church bells, mixed choir, bass clarinet, trumpet, percussion and 2-channel tape
  • 1991: My Horse and I , for 2-channel tape, with poem and reading by Sharon Thesen
  • 1991: Breathing Room III - A Self Portrait , for voice and 2-channel tape
  • 1992: Beneath the Forest Floor , for 2-channel tape
  • 1993: From the India Sound Journal , Work in Progress for voice and 2-channel tape
  • 1995: Sensitive Chaos , for 2-channel tape
  • 1996: Dhvani , for 2-channel tape,
  • 1997: Talking Rain , for 2-channel tape, broadcast on CBC Radio for Westcoast Performance on April 20, 1997.
  • 1997: Gently Penetrating beneath the sounding surfaces of another place , for 2-Kanal-Tape, Honorary mention, Prix ars electronica, Linz, Austria, 1998.
  • 2000: Into the Labyrinth , for 8-channel distribution
  • 2002: Breaking News , for digital soundtrack
  • 2002: Attending to Sacred Matters , for 2-channel tape, on behalf of the Association of Canadian Women Composers (ACWC), short version Then, Now and Beyond at the Festival of Music by Women, Ottawa 2002.
  • 2002 Like A Memory , for piano and two digital soundtracks
  • 2005: Für Dich - For You , for eight digital soundtracks
  • 2008: Liebeslied / Love Song , for cello and for eight digital soundtracks
  • 2008: MotherVoiceTalk , for two digital soundtracks
  • 2012: Once Upon A Time , for two digital soundtracks, fairy tales by Hildegard Westerkamp, ​​narrator: Caleb and Caius Martin-Ruebsaat, Sonja Ruebsaat

Sound installations

  • 1980: Cordillera , acoustic environment for 4-channel tape, with poems by Norbert Ruebsaat, Western Front Gallery, Vancouver, for the Music from the New Wilderness Festival
  • 1985/86: Zone Of Silence Story , acoustic environment, together with Norbert Ruebsaat for a group exhibition of the Zone of Silence Project in the Museum of Quebec , Quebec City
  • 1989: Doors of Perception , a radio environment for Ars Electronica in Linz on behalf of ORF- Kunstradio. The installation could be heard in public space and played over loudspeaker systems in the airport, at the bus stop or in the department store. The soundscapes were specially produced for these locations.
  • 1998: Nada - An Experience in Sound , sound installation by Mati Ghar, Indira Gandhi National Center for the Arts Janpath, New Delhi, India
  • 2000: Soniferous Garden , version of part 4 of Nada-An Experience in Sound , at Gallery Engine 27 , New York
  • 2000: At the Edge of Wilderness , installation about ghost towns in British Columbia, together with photographer Florence Debeugny

Film music

  • 1982: This Borrowed Land , directed by Bonnie Kreps
  • 1982: One Woman Waiting , directed by Josephine Massarella
  • 1985: Streetkids , directed by Peg Campbell
  • 1985: Still Sane , film by Women in Focus , Vancouver
  • 1985: Ranch , directed by Steven Denure and Chris Lowry
  • 1995: Bones of the Forest , directed by Heather Frize and Velcrow Ripper
  • 1998: I Know , radio feature by Norbert Ruebsaat, produced by William Lane, CBC
  • 2000: A Time of Love and War , directed by Sabrina Matthews
  • 2003: Elephant , film by Gus van Sant
  • 2005: Last Days (2005), film by Gus van Sant

radio

Hildegard Westerkamp is co-founder of Vancouver Co-operative Radio . There she operated the programs Soundwalking and Musica Nova .

Texts

  • 1974: Westerkamp, ​​Hildegard: Soundwalking , Sound Heritage III / 4, pp. 18-27.
  • 1980: Westerkamp, ​​Hildegard: The New Museum of Anthropology in Vancouver: An Acoustic Dump , Musing II / 1
  • 1990: Westerkamp, ​​Hildegard: Cool Drool. In: Sound by Artists, ed. D. Lander, M. Lexier. Banff, Alberta: Art Metropole & Walter Phillips Gallery, pp. 222-226.
  • 1990: Westerkamp, ​​Hildegard: Listening and Soundmaking: A Study of Music-as-Environment. In: Sound by Artists, ed. D. Lander, M. Lexier. Banff, Alberta: Art Metropole & Walter Phillips Gallery, pp. 227–234.
  • 1994: Westerkamp, ​​Hildegard: The Soundscape on Radio. In: Radio Rethink: Art, Sound and Transmission, ed. D. Augaitis i D. Lander, pp. 86-94.
  • 1997: Westerkamp, ​​Hildegard: Silent Night in the City , The New Soundscape Newsletter 3, p. 5.
  • 1997: Westerkamp, ​​Hildegard: Bourges at Night. In: The New Soundscape Newsletter 5, pp. 7–8.
  • 1998: Westerkamp, ​​Hildegard: Nada: An Experience in Sound
  • 1999: Westerkamp, ​​Hildegard: Soundscape Composition: Linking Inner and Outer Worlds (written for Soundscape before the conference in Amsterdam from November 19 to 26, 2000)
  • 2000: Westerkamp, ​​Hildegard: Sound Excursion: Plano Pilato, Brasilia. In: Soundscape, The Journal of Acoustic Ecology, 1/2, pp. 18-19.

Discography

Albums

  • 1986: Fantasie For Horns I And II (Label: Inside The Soundscape, # 1, C30 - cassette)
  • 1986: Streetmusic (Label: Inside The Soundscape, # 2, cassette)
  • 1986: Cordillera / Zone Of Silence Story (Label: Inside The Soundscape, # 3, cassette), together with Norbert Ruebsaat
  • 1986: Voices for the Wilderness (Label: Inside The Soundscape, # 4, cassette)
  • 1986: Harbor Symphony (Label: Inside The Soundscape, # 5, C25 - cassette)
  • 1996: Transformations (Label: Empreintes DIGITALes, IMED 9631, CD)
  • 2002: Into India (Label: Earsay, ES 02002, CD)

Contributions to compilations

  • 1984: A Walk Through The City (Abridged) , Cool Droo and When There Is No Sound. In: A Walk Through The City , Label Musicworks - MW 26 (cassette C45)
  • 1985: New Year's Eve In Vancouver, 1980/81. In: Times & Tides , Label Musicworks - MW 29 (cassette C45)
  • 1985: various tracks on the compilation Women Voicing , Label Musicworks - MW 31 (cassette C45):
    • Carpenter Creek, New Denver, British Columbia (3 ×)
    • We Appear Silent To People Who Are Deaf To What We Say
    • Desertwind , Untitled
    • Excerpts From Music Nova
    • His Master's Voice (Excerpt)
    • Collage Of Desert Plant Sounds
    • Cricket's Nightsong
    • Canada Geese And Water Lapping At Slocan Lake, BC
  • 1986: Untitled - Feb 18/84 (together with Norbert Ruebsaat), in: Decade: The First Ten Years Of The Music Gallery , Music Gallery Editions, cassette C90
  • 1988: In Conversation With Wende Bartley (2 ×), Excerpt From Cricket Voice. In: Sounding The Borders Of Sense , Musicworks - MW 42, cassette C60
  • 1990: Cricket Voice. In: Ear Magazine Presents Absolut CD # 1, New Music Canada, Label Ear Magazine - CD1
  • 1990: Harbor Symphony. In: Musicworks 45 , Label Musicworks - MW 45, cassette C90
  • 1990: Interview , A Walk Through The City. In: SoundViews Volume One: Sources , Label ¿What Next? Recordings - WN0001, cassette C90
  • 1990: Cricket Voice. In: Musique Électroacoustique - Electroacoustic Music , Label Radio Canada International - ACM 37 CD 1-4, 4xCD
  • 1990: Cricket Voice. In: The Aerial 2 (Label: The Aerial AER 1990/2, CD)
  • 1990: Anthology of Canadian Music: Electroacoustic music
  • 1990: Breathing Room. In: Electric clips , Label Empreintes DIGITALes IMED-9004-CD, CD
  • 1992: Cool Drool , Fragmented Thoughts On Radio Ecology. In: Musicworks 55: 7e Printemps Électroacoustique , Label Musicworks - MW 55, CD
  • 1994: Contours of Silence - Razzle Dazzle. In: Daina Augaitis, Dan Lander (Ed.): Radio Rethink - art sound and transmission. Banff Center Press, Alberta (Canada) 1994. (Book with CD)
  • 1995: Kits Beach Soundwalk (German version). In: Hans-Ulrich Werner u. a. (Ed.): KlangWege. Series of publications by the University of Kassel, Volume 21, Kassel 1995. (Book with CD)
  • 1996: Doors of Perception. 21 min., In: Transmissions From Broadcast Artists, Radius # 4 , Label: ¿What Next? Recordings - WN0019, CD
  • 1996: with Barry Truax: New Year's Eve In Vancouver Harbor and introduction and documentation The Changing Soundscape In: The Vancouver Soundscape 1973 / Soundscape Vancouver 1996. (Cambridge Street Records - CSR-2CD 9701)
  • 1997: Sensitive Chaos. In: Hans Ulrich Werner: SoundScapeDesign: Klangwelten, Hörzeichen. Akorama. The Soundscape Newsletter Europe Edition, 1997, ISBN 3-9520335-2-9 . (Book with CD)
  • 1997: Dhvani. In: 1977-1997, 20 years of Osnabrück composers.
  • 1997: Kits Beach Soundwalk (German version). In: The loss of silence: sound paths and audio images. CD for a conference of the Evangelical Academy Baden. Evangelical Academy Baden, Baden 1997, ISBN 3-89674-512-3 , In: Evangelical Academy Baden, Klaus Nagorni, Ralf Stieber (ed.): The loss of silence. Approaches to an acoustic ecology. Baden 1997, ISBN 3-89674-512-3 .
  • 1998: Talking Rain. In: Harangue I. Label Earsay, ES 98001
  • 1998: Gently Penetrating Beneath the Sounding Surfaces of Another Place. In: Harangue II. Label Earsay, ES 98005
  • 1998: Talking Rain. In: Musicworks 72: Outdoor Music, Improvisation And Complexity , also field recording to Andra McCartney's Soundwalking Queen Elizabeth Park (Excerpts) , Label Musicworks - MW 72, CD
  • 1998: Gently Penetrating. In: Prix ​​Ars Electronica CyberArts 98 , Label Ars Electronica Center - ARS 98
  • 1999: Sensitive Chaos. In: Brandon LaBelle & Steve Roden: Site of Sound: of Architecture and the Ear. Errant Bodies Press and Smart Art Press - Volume VI, No. 59, Los Angeles 1999. (Book with CD) ISBN 0-9655570-2-2 .
  • 1999: Beneath the Forest Floor. (only middle part and end part of the piece), In: The Dreams of Gaia. (Label Earthear ee9012, 2CD)
  • 2000: Two Rural Soundscapes From India's Country And City Life. In: Farm Soundscapes , Label Earminded - 2000, CDr
  • 2000: Cricket Voice and Radio that Listens (with: His Master's Voice and My Horse and I). In: Radiant Dissonance. a 10-piece. Series Including Works by Canadian Sound Artists (5 CD Set)
  • 2000: Breathing Room. In: eXcitations , Label Empreintes DIGITALes - IMED 0050, CD
  • 2001: Beneath The Forest Floor (Excerpt). In: The Disc Of Music & Nature , Terra Nova, Wesleyan University Press - ISBN 0-8195-6408-7 .
  • 2001: Beneath The Forest Floor (Excerpt). In: Between Sound And Vision , Label Gallery 400 - VS01, CD
  • 2003: Whisper Study , together with Norbert Ruebsaat, in: 20 Jahre Inventionen II. Label Edition RZ - Ed. RZ 4004, CD
  • 2003: Cricket Voice (excerpt), in: Nicole Gingras u. a. (Ed.): S: on - Sound in Contemporary Canadian Art , Artextes ENG 02, book with CD
  • 2003: Gently Penetrating. In: Electricities - Électricités , Label Canadian Music Center - CMCDS-S4, CD
  • 2004: Dhvani (1996). In: This Place Is Dreaming , Label (K-RAA-K) ³ - K047
  • 2005: Whisper Study. In: SFU 40: Celebrating Electroacoustic Music At Simon Fraser University 1965–2005 , Simon Fraser University, Cambridge, Canada, Cambridge Street Records label - CSR-CD 0501, CD
  • 2005: Doors Of Perception. In: Last Days: Musique Inspirée Et Tirée Du Film , Label MK2 Music - MK 0052, CD
  • 2007: His Masters Voice 1985. In: Autumn Leaves , Gruenrekorder label - GrDl 088, 32 × file, FLAC
  • 2009: Für Dich - For You , text by Rainer Maria Rilke , translated by Norbert Ruebsaat, in: Trans_Canada - ZKM | Karlsruhe (recorded at the ZKM Karlsruhe ), label Empreintes DIGITALes - IMED 09100, DVD

Awards

  • 1992: Recommendation from the 4th International Rostrum of Electroacoustic Music to broadcast the composition Beneath the Forest Floor on the radio
  • 1994: Honorable mention of the composition Beneath the Forest Floor at the Prix ​​Italia 1994
  • 1998: Honorable mention of the composition Gently Penetrating Beneath the Sounding Surfaces of Another Place at the Prix ​​Ars Electronica , Linz

Literature about Hildegard Westerkamp

Web links

Individual evidence

  1. ↑ a b Randolph Jordan: The Work of Hildegard Westerkamp in the Films of Gus Van Sant. ( Memento of the original from November 22, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: OFFSCREEN. Vol. 11, No. 8/9, August / September 2007. @1@ 2Template: Webachiv / IABot / www.offscreen.com
  2. ↑ a b Ios Smolders: Hildegard Westerkamp. Interview, In: Vital Magazine. 1993.
  3. ^ Andra McCartney: Sounding Places: Situated Conversations Through the Soundscape Compositions of Hildegard Westerkamp. unpublished dissertation. York University (Canada) 1999, pp. 164-166.
  4. ↑ Hildegard Westerkamp's website, under Comments from the Media
  5. ↑ Hildegard Westerkamp's website, subpage "Kits Beach Soundwalk"
  6. ^ Kunstradio: "Doors of Perception", March 22, 1990
  7. ↑ Thomas Burkhalter: About noises interpret the world. Radio feature in the Zündfunk Generator, broadcast on September 5, 2010 on Bayerischer Rundfunk
  8. ^ Kunstradio: Doors of Perception , March 19, 1990
  9. ^ Ios Smolders: Hildegard Westerkamp, ​​Interview, in: Vital Magazine , 1993
  10. ↑ Maksymilian Kapelanski: Acoustic Ecology and the soundscape Bibliography. In: Leonardo Music Journal, ed. from the International Society for the Arts, Sciences and Technology (Leonardo / ISAST), October 2003
  11. ↑ Earthear website, subpage The Dreams of Gaia
  12. ↑ S: on on the actuellecd.com website
personal data
SURNAME Westerkamp, ​​Hildegard
BRIEF DESCRIPTION German-Canadian electroacoustic composer, sound researcher, flautist, pianist, author
DATE OF BIRTH April 8, 1946
PLACE OF BIRTH Osnabrück