Rolf Gehlhaar

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Rolf Gehlhaar (born December 30, 1943 in Breslau , now Wrocław , Poland ; † July 7, 2019 ) was an American composer , professor of experimental music at Coventry University ( England ) and researcher in assistive technologies for music and music. for making music.

Life

Gehlhaar was the son of a German rocket scientist who emigrated to the United States in 1953 to work in a research center for rocket development in New Mexico ( Montague 2001 ; Schürmann 1976, 20 ). Although he was interested in music at the age of eight or younger, the family could not financially afford to enable him to learn an instrument in the post-war years, and so Rolf did not begin to play the piano until he was fifteen, and around the same time he was already starting to compose for fun ( Schürmann 1976, 20 ). In 1958 he became an American citizen and studied at Yale University and the University of California, Berkeley ( Montague 2001 ). At first he studied medicine, but soon switched to philosophy and philosophy of science as a major; at Yale he then attended a course in composition, which was an enlightening experience for him ( Schürmann 1976, 20 ). In 1967 he moved to Cologne , Germany to become an assistant to Karlheinz Stockhausen and also became a member of his ensemble ( Montague 2001 ). In 1969, together with Johannes Fritsch and Johann David C. Johnson, he founded the Feedback Studio in Cologne, a center and publisher for new performing music. He later moved to England, where in 1979 he became a founding member of the Electro-Acoustic Music Association of Great Britain. In 2002 he became a lecturer in design and digital media at Coventry University ; then he was Professor of Experimental Music at Coventry University, School of Art & Design. He was also a founding member of the British Paraorchestra and its Technical Director.

His works are designed for both acoustic and electro-acoustic media applications, although he was primarily known for his work with computer-controlled compositions and for his interactive installations such as Sound = Space (1985), HeadSpace (2000), CaDaReMi (2006), Walking on Earth (2007). He worked for many years with Luis Miguel Girao from Artshare, Aveiro, Portugal (Anon. N. D.) .

Selected compositions

  • Beckenstück for 6 amplified cymbals (1969)
  • Piano piece 2-2 for 2 pianos (1970)
  • Phase for orchestra and time delay (1972)
  • Musi-ken for string quartet (1972)
  • Liebeslied for orchestra and alto (1974)
  • Solipse for cello and tape delay (1974)
  • Five German Dances for 4-track tape (1975)
  • Resonances for 8 orchestral groups (1976)
  • Lamina! for orchestra and trombone (1977)
  • Polymorph for bass clarinet and tape delay (1978)
  • Linear A for marimbaphone (and bass marimba) (1978)
  • Strangeness, Charm and Color for piano, 2 Tp and Tbne (1978)
  • Fluid for clarinet, violin, cello and piano (1980)
  • Sub Rosa for 4-track tape (1980)
  • Step by Step ... music for ears in motion real-time computer generated 3-dimensional sounds with 4 instruments, (IRCAM 1981)
  • Tokamak for orchestra and piano (1982)
  • Naiiri for amplified violin (or electric violin or viola) (1983)
  • Sound = Space interactive computer controlled musical environment (1985)
  • Diagonal Flying for piano and live electronics (1989)
  • Chronicle for 2 pianos, 2 percussionists & electronics (1991)
  • Cusps, Swallowtails, and Butterflies for amplified percussion and tape in a Sound = Space (1992)
  • Grand Unified Theory of Everything for flute, bass clarinet and piano (1992)
  • Quantum Leap for piano (1994)
  • Sonnet for mixed choir (8-8-8-8) (1996)
  • Astral Shadows for 6 dancers in a Sound = Space (1997)
  • Divine Wind for saxophone quartet (S, A, T, Bar.) (1997)
  • Waiting for Rain for soprano, flute, violin, viola da gamba and 2 harpsichords (1998)
  • Cybersong for tenor and wearable electronics (2003)
  • Multiverse for a camera-based performance system (2006)
  • Viagem for an orchestra of disabled musicians, a Casa da Musica project (2010)
  • Song for alto saxophone (2012)

Publications

  • Gehlhaar, R., Girao, LM, Rodrigues, P., Penha, R. Instrument for Everyone: Designing New Means of Musical Expression for Disabled Creators Casa da Musica, Porto; DRHA 2010 Conference Proceedings, Brunel University 2010
  • Gehlhaar, R., Girao, LM, Rodrigues, PM, CaDaReMi, an Educational Game , ICDVRAT Intl Journal for Disability and Human Development 2010.
  • Almeida, AP, Girao, LM, Gehlhaar, R. Rodrigues, P. and Rodrigues, H. SOUND = SPACE: Music Perception in Action . In Proceedings of 5th International Conference on Multimedia and Information and Communication Technologies in Education (Porto, April 2009), formatsx, 1199-1203. Available at formatex.org
  • Gehlhaar, R., Girao, LM, Rodrigues, PM, Almeida, AP, 2008. Musical Topologies in Sound = Space . In 28th ISME World Conference. Bologna, Italy , (CD-ROM / ISBN 978-0-9804560-2-8 )
  • Almeida, AP, Girao, LM, Gehlhaar, R. and Rodrigues, P. SOUND = SPACE Update at Casa da Musica . In Proceedings of 2nd European Conference on Development Psychology of Music Perception (Roehampton, September 2008) , Roehampton University, 80-84.
  • Almeida, AP, Girao, LM, Gehlhaar, R. Rodrigues, P., Neto, P. and Monica M. SOUND = SPACE OPERA . in Proceedings of 7th International Conference on Disability Virtual Reality and Associated Technologies with ArtAbilitation (Maia, September 2008) , ICDVRAT / University of Reading, 347-354.
  • Gehlhaar, R., Rodrigues, P., Girao, L, Cybersong Nime'05, May 26-28, 2005 . Vancouver, BC, Canada.

Selected exhibitions & performances

  • SONG for alto Saxphone, Aveiro, Portugal 2012
  • VIAGEM , orchestral composition for 80 disabled musicians, premiered April 2010 at Casa da Musica, Porto, Portugal

literature

  • Anon. n. d. Luis Miguel Girão. artshare.com.pt; accessed on January 11, 2014.
  • Claus-Henning Bachmann: Acted participation. Composed orchestral workshops . In: Schweizerische Musikzeitung / Revue Musicale Suisse , 118, January / February 1978, pp. 20–26.
  • Rolf Gehlhaar: On the composition Ensemble: Kompositionsstudio Karlheinz Stockhausen, International Summer Course Darmstadt 1967 . In: Ernst Thomas (Ed.): Darmstadt Contributions to New Music , 11, Schott, Mainz 1968.
  • Rolf Gehlhaar: SOUND = SPACE: An Interactive Musical Environment . In: Contemporary Music Review , 6, no. 1, 1991, pp. 59-72.
  • Rolf Gehlhaar: Three-Dimensional Sounds, or, An Acoustic Analogue of a Hologram: The Resolution of Complex Spectra through Spatial Phase-Shifting — A Report on Research Carried Out at IRCAM, 1979-1981 . In: Feedback Papers , no. 41, July 1996, pp. 8-16.
  • Rolf Gehlhaar: Leap of Faith: A Personal Biography of Karlheinz Stockhausen's Prozession . In: Perspectives of New Music , 36, no. 2, Summer 1998, pp. 53–62 ( gehlhaar.org )
  • Oliver Lowenstein: Return to the Body . In: Musicworks: Explorations in Sound , no. 76, Spring 2000, pp. 19-24.
  • Stephen Montague: Gehlhaar, Rolf (Rainer) . In: Stanley Sadie , John Tyrrell (Eds.): The New Grove Dictionary of Music and Musicians . Second edition. Macmillan Publishers, London 2001.
  • Boris Schiffer: Rolf Gehlhaar: Strangeness, Charm and Color . In: Schweizerische Musikzeitung / Revue Musicale Suisse , 118, June 1978, pp. 379–380.
  • Hans G. Schürmann: Loosening of the imagination or the flow of energy in time. A conversation with Johannes Fritsch and Rolf Gehlhaar . In: Musica , 30, no. 1, January / February 1976, pp. 20-25.

Web links

Individual evidence

  1. ↑ BBC Last Word
personal data
SURNAME Gehlhaar, Rolf
BRIEF DESCRIPTION american composer
DATE OF BIRTH December 30, 1943
PLACE OF BIRTH Wroclaw , Poland
DATE OF DEATH 7th July 2019