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Nocturne 56: Cathy van Eck

22.05.14
21:00h
Aula
Cathy van Eck (*1979, Niederlande) ist Komponistin und Klangkünstlerin. Ihre Arbeiten umfassen sowohl Kompositionen für Instrumente und Live-Elektronik als auch Performances mit (selbstentworfenen) Klangobjekten. Sie promoviert am Orpheusinstitut in Gent zum Thema Lautsprecher und Mikrofone als Musikinstrumente. Sie studierte am Königlichen Konservatorium in Den Haag und an der Universität der Künste Berlin. Als Stipendiatin nahm sie an Kursen beim Centre Acanthes, am Pariser IRCAM und an der Sommerakademie des Schloss Solitude in Stuttgart teil. Ihre Arbeiten wurden u.a. augeführt: Gaudeamus Festival, TRANSIT, NYCEMF New York, Klangwerkstatt Berlin, Klangspuren Schwaz, STEIM, November Music (Niederlande) und Spaziomusica (Italien). Seit 2007 unterrichtet sie Musik und Medien an der Kunstuniversität in Bern. English----- Cathy van Eck (1979 Belgium/Netherlands) is a composer and sound artist as well as a researcher in the arts. She is focusing on the relationship between technical objects and human performers.  Her artistic work includes compositions with live-electronics, as well as performances with sound objects, which she often designs herself. She is interested in bringing the movements of the performer into an unusual releationship with the sounding result, mainly by electronic means. She performs her works regularly on festivals and venues such as SPARK in Minneapolis, NYCEMF in New York, Klangwerkstatt in Berlin, Hapzura Digital Art in Israel, Avantgarde Schwaz in Austria, STEIM and November Music in the Netherlands and Spaziomusica in Italy. Since 2007 she has a teaching position at the department for music and media arts of the University of the Arts in Bern, Switzerland.

program notes ("music stands" does not have any program notes, since I think they will—hopefully—speak for themselves during the concert):
in blik (2008) for tin can towers and electronics

In in blik there are no musicians on stage. Five tin can towers placed on tactile transducers produce the sound. Tactile transducers function as loudspeakers without membranes. They vibrate, depending on the electric current they receive, but, contrary to loudspeakers with membranes, they barely produce any sound. They transmit their vibrations directly to the tin cans placed upon them. The tin cans amplify these vibrations and make them audible. Depending on the way the tin cans are placed upon each other and the height of each tower, every tin can tower will amplify the vibrations through its own characteristics.

Music Stands (2011) for two music stands, two small loudspeakers, contact microphones and live electronics

Song no 3 (2010) for one performer, loudspeaker, microphone and live electronics

Song No 3 is a performance during which I use arm gestures, normally used by singers as a by-product of their singing performance, as a means to control electronic sound. Within traditional performance practice, a singer’s movements are incidental to the production of sound. They are related to making sound but not perceived as its main cause: a singer may be able to sing without any arm movements (although it will probably sound different), but definitely not without breathing and pushing the air through the vocal chords. To render my arm and head movements audible, I decided to use a loudspeaker in front of my mouth to diffuse the sound during the performance. I am not singing at all during the performance. All sounds are generated by the computer software and emitted through the loudspeaker. A large piece of white paper was glued onto the loudspeaker to obscure my face. To make the sound interact with the movements of my arm, I used a microphone, exactly as singers do. The distance between the microphone and loudspeaker can be manipulated to produce different sound shaping processes.

groene ruis (2007) for a small box tree, hairdryer and live electronics

My project groene ruis, dutch for green noise, is a performance for a small tree, a hair dryer, live electronics and a performer. The performance takes the story of the greek nymph Daphne, who changed into a tree to escape the love of Apollo, as a departure point. It questions the different relationships between humans and their environment and the possibilities or impossibilities not to change their environment by their behaviour.

and a new piece!


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