Johannes Kreidler (musician)

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Johannes Kreidler (2008)

Johannes Kreidler (* 1980 in Esslingen am Neckar ) is a German composer , concept and media artist .

Life

From 2000 to 2006 Kreidler studied composition with Mathias Spahlinger , electronic music with Orm Finnendahl and Mesias Maiguashca, and music theory with Eckehard Kiem at the Freiburg University of Music and at the Institute for Sonology ( computer music ) of the Koninklijk Conservatorium The Hague . He also studied philosophy and art history at the Albert-Ludwigs-Universität Freiburg .

He worked as a lecturer at the University of Music and Theater in Rostock , the Detmold Academy of Music and the Academy of Music and Theater in Hanover . Since 2019 he has been teaching as a professor for composition and music theory at the Basel Music Academy.

In September 2008, his product placements campaign , with which he contributed to the discussion about copyright law and the height of creativity in music, received wide press coverage. In a 33-second piece of music, he processed 70,200 quotations from other works, all of which he registered individually with GEMA . For this purpose, accompanied by numerous press representatives, he drove to the GEMA General Directorate in Berlin in a small truck full of completed applications. The work is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it has so far been impossible to finally clarify the case.

In December 2008, he again attracted attention through the Call Wolfgang campaign , in which he had two computers telephone each other via VoIP and automatically generated terrorist agreements that could be relevant for the BKA . With the action he turned against the intentions of the federal government to operate data retention on a larger scale .

In January 2009, Kreidler published the video Charts Music , in which he used the stock prices of various companies to derive pitches from them. In addition to share prices, some statistics were also used, for example the number of US soldiers killed in Iraq. This piece also alludes to the border areas of copyright law by listing the respective companies in the credits as composers and copyright holders instead of Kreidler himself. The work was later shown in the exhibition A House full of Music at Mathildenhöhe in Darmstadt.

In October 2009 he announced that he was hiring composers from low-wage countries for a commissioned composition for the Klangwerkstatt Berlin festival in order to plagiarize his own music. For much less money than Kreidler himself received for the commission, he had pieces made for concerts in China and India. According to their own information, the action with the title Foreign Work serves to draw attention to the topics of exploitation and authorship.

Kreidler's orchestral work Minusbolero , which premiered in Stuttgart in 2015, consists of Maurice Ravel's Boléro , whereby Kreidler has removed all melodic elements from the score; so you can only hear the accompaniment. Kreidler says that it represents the inversion of the orchestra hierarchy, since almost only the second consoles played in his piece.

Kreidler mostly works with algorithmic composition methods and also uses media such as video and performance. His artistic vision is the concept of music attributed. With his sometimes provocative works and writings, he has sparked controversies, which have also appeared in book form and which he, in turn, processed through music theater.

Awards

Work overview (selection)

Concert music

  • RAM Microsystems for Joysticks (2005)
  • Piano piece 5 for piano and four-channel playback (2005)
  • Windowed 1 for drums and tape (2006)
  • Five programs of a MIDI keyboard (2006)
  • Deconfabulation for speaker, accordion, drums and playback (2007/08)
  • Cache Surrealism for accordion, baritone saxophone, cello and tape (2008)
  • In hyper intervals for four instruments and playback (2008)
  • Cantata. No future now for large ensemble and sampler (2008)
  • External work for four instruments and moderator (2009)
  • Living in a Box for large ensemble and sampler (2010)
  • Style 1 for variable instrumentation and playback (2010)
  • Study for piano, audio and video feed (2011)
  • The "collecting experience" (Benn): the sound for six instruments, audio and video playback (2012)
  • The "Path of Despair" (Hegel) is the chromatic one for nine instruments, audio and video playback (2012), premiered at the Donaueschinger Musiktage
  • Shutter Piece for eight instruments, audio and video feed (2013), premiered at the Witten Days for New Chamber Music
  • Irmat Studies for Sensor Table (2013)
  • Minusbolero for large orchestra (2009-2014)
  • Steady Shot for piano, camera, audio and video feed (2015)
  • TT1 for large orchestra and electronics (2014/2015)
  • Two Pieces for Clarinet and Video (2016)
  • Instrumentalisms for instrument and video (2016)
  • Typogravitism for electric guitar, audio and video feed (2016)
  • The Wires for cello, audio and video feed (2016)
  • Lipstick for choir, audio and video feed (2016)
  • Piece for Harp and Video (2018)

Videos

  • Charts Music (2009)
  • Compression Sound Art (2009)
  • Kinect Studies (2011/13)
  • Split Screen Studies (2012)
  • Scanner Studies (2012)
  • 22 Music Pieces for Video (2014)
  • Movie 1 (2017)
  • Movie 2 (2017)
  • Movie 3 (2018)

Musical theater

  • Feeds. Listen to TV (2009/10), music theater in the Gelsenkirchen district
  • Audioguide (2014), Darmstadt Summer Courses for New Music / Ultima Festival Oslo
  • Audioguide III (2015), KunstFestSpiele Herrenhausen
  • Industrialization of Romanticism (2016), Operncafé Halle
  • My State as a Friend and Beloved (2018), Halle Opera House
  • Self-timer (2018), Volksbühne Berlin / BAM! festival

Actions

  • product placements (2008)
  • Call Wolfgang (2008)
  • Earjobs (2011)

Graphic work

  • Sheet Music (2013)
  • Album (2015)

Radio plays

  • Listomania , Hessischer Rundfunk 2016

Fonts

Books

items

  • Sound files . In: KunstMusik 8 (2007), pp. 26–36.
  • Luhmann's medium-form distinction as a theory of sentence models . In: Journal of the Society for Music Theory 4 (2007) 1/2, pp. 135–141.
  • Media of composition . In: Musik & Ästhetik 48 (2008), pp. 5–21.
  • Copyright versus creativity. Score of a music theater for composers . In: Positions 77 (2008), pp. 2–7.
  • To the "material status" of contemporary music . In: Musik & Ästhetik 52 (2009), pp. 24–37.
  • Young composers 1 . In: Positions 84 (2010), pp. 10-17.
  • Digital naives or digital natives? Reply to Claus-Steffen Mahnkopf's essay on computers and music . In: Musik -tex 125 (2010), pp. 19–24.
  • Elitist vs. popular. About dubious distinctions . In: Dissonance 114 (2011), pp. 26–28.
  • A short essay on love . In: Neue Zeitschrift für Musik 173 (2012), pp. 38–39.
  • With a mission statement ?! For the reception of conceptual music . In: Positions 95 (2013), pp. 29–34.
  • Music with music . In: Darmstädter Contributions to New Music 21 (2012), pp. 26–36.
  • What is new about New Conceptualism . In: Neue Zeitschrift für Musik 1/2014 (2014), pp. 44–49.
  • Sentences about musical conceptual art . In: MusikTexte 145 (2015), p. 85.
  • Against applause . In: Neue Zeitschrift für Musik 3/2015 (2015), p. 15.
  • The expanded concept of music . In: + and. Catalog of the Donaueschinger Musiktage 2014 (2014), pp. 82–89.
  • To music criticism . In: Dissonance 137 (2016), pp. 11–15.
  • The dissolved concept of music . In: Musik & Ästhetik 4/2016 (2016), pp. 85–96.

literature

  • Thomas Groetz: "Art must be suspicious". The composer and action artist Johannes Kreidler . In: Musik -tex 123 (2009), pp. 5–10.
  • Max Erwin: '' Here comes newer Despair. An aesthetic primer for the New Conceptualism of Johannes Kreidler ''. In: '' Tempo 70 '' (2016), pp. 5–15.
  • Gordon Kampe : '' Johannes Kreidler '' (lexicon article), in: '' Contemporary composers '' (2015).
  • Tobias Eduard Schick: Lexicon article '' Konzeptuelle Musik '', in: '' Lexikon Neue Musik '' (Metzler, 2016), p. 346f.
  • Florian Käune: “Concept and context. Comments on Johannes Kreidler's sentences about musical conceptual art ”. In: Seilanz 9 (October 2014), pp. 47–56.
  • Peter Lell: Sonification of the digitized world. The composer Johannes Kreidler . In: Positions 116 (2018), pp. 29–31.
  • Tobias Eduard Schick: Aesthetic content between autonomous music and a new conceptualism . In: Musik & Ästhetik 66 (2013), pp. 47–65.
  • Gisela Nauck: New Conceptualists . In: Positions 96 (2013), pp. 38–43.
  • Harry Lehmann: The digital revolution in music . Schott Verlag, Mainz 2012, ISBN 978-3795708252 , pp. 80-97.

Web links

Individual evidence

  1. ↑ Johannes Kreidler is appointed professor at the Music Academy in Basel. Retrieved February 25, 2020 .
  2. ↑ Report in the Neue Musikzeitung , last seen on September 13, 2013
  3. ↑ http://www.kreidler-net.de/call.html , last seen on December 5, 2008
  4. ↑ Johannes Kreidler - Charts Music - Songsmith fed with Stock Charts
  5. ↑ Jörg Scheller: Only art can do that, Die ZEIT , last seen on September 1, 2013
  6. ↑ Peter Mühlbauer : Implementation of globalization beyond world music kitsch , Telepolis, last seen on October 30, 2009
  7. ↑ John Kreidler: Minus Bolero . In: Sentences about musical conceptual art (Wolke, Hofheim, 2018), p. 139
  8. ^ Gisela Nauck: New Conceptualism . In: Positions 96 (2013), pp. 38–43
personal data
SURNAME Kreidler, Johannes
BRIEF DESCRIPTION German composer and performance artist
DATE OF BIRTH 1980
PLACE OF BIRTH Esslingen am Neckar