Music and Text

The overlaps and tensions between sound and text are many-facetted and represent a field of work in its own right, which is able to integrate completely different approaches. At the IMM, the Music and Text major is divided into the following three areas: Writing on Sound, Artistic Text in Music, Film and Audio Plays, and Narration and Media Aesthetics.

Whether the focus is on the media-related or content-related aspects of artistic writing, whether a critical analysis of sound aesthetics is intended to lead to a cogent journalistic or scientific essay, or whether research and narration form part of the work on films, audio plays or performances – the study of text forms and writing methods holds great promise, as does the prospect of being able to access a further context of artistic, cultural, political or scientific topics. Music and Text is interesting for all those who wish to work on reviews, lyrics, booklets, audio plays, research art and documentary film, fictive narrations and theoretical arguments.

For further information check out this major's blog.


Die Lücke [The Gap]

In her text-sound collage Die Lücke [The Gap], Rebecca Himmerich presented people she knows with terms related to Zwischenraum [intermediate space]. Their spontaneous associations were then recorded on a smartphone. These brief texts correspond to processed noise recordings. The sounds provide an atmospheric accompaniment to the texts or drown them out. There is method behind sniffles and directness.
Die Lücke [The Gap] was created by Rebecca Himmerich as the final project in the Music and Text major concentration.


This is why I don’t like lyrics in music

In the electronic music piece This is why I don’t like lyrics in music, Music and Media student Verena Hentschel explores her aversion for lyrics in music pieces both musically and on a textual basis.
The same line This is why I don't like lyrics is repeatedly spoken while being varied through different vocal colors and by emphasizing different parts of the sentence to show various ways of interpreting the statement. At the same time the changing emphasis is supported by effects related to pitch and speed. The piece is accompanied by an indifferent tonal character in the voice as well as a certain monotonous quality in order to underline the special attitude regarding texts in music. A dramatic dialogue narration near the beginning of the piece as well as experimental sounds and whistling which seems to be there for no apparent reason are meant to lend a touch of caricature to the electronic music piece.



The street is not just a transportation route but also a collective archive. A wide range of textual forms mutually interact on the street: things which are illegible or can barely be read, scrawled texts – stickers, decals, graffiti, spray paint tags – intermingle with clearly discernible street signs, billboards, ads and names on doorbells. Motifs repeat or are varied. This archive of street language undergoing constant change serves as the scene of a field trip in slow motion.
The writing along these routes triggers thoughts, a runner carries on an interior monologue; things which are read evoke images, sounds and words in the runner. The written language along the route provides the runner with an improvisational basis and the text that results from this is the jumping off point for improvisation by narrators. A sound composition emerges from this improvised speech.
Routine is a psycho-geographical radio play by Christoph Collenberg created in the upper-level Music and Text module.
Narrators: Pia Alena Wagner, Johannes Sasse, Louisa Natterer, Ulf Mendak, Natalie Linz and Christoph Collenberg.


A visit to the studio of The Orsons

For the hip-hop magazine ALL GOOD, Simon Langemann visited the four-person band The Orsons in the Swabian Alps, where they were completing their successful album What's goes. He had a camera, a tripod and an audio recorder with him but  had did not have any specific plan worked out. His only goal was to go more deeply than usual, to get closer in terms of time and space into the process than in later promotional interviews. This meant he blended in with the afternoon’s activities, recorded here and there, took photos and filmed just for fun. It was due not least of all to the great willingness of the musicians to talk that far more material was captured than expected: two conventionally transcribed interviews, a detailed report, a documentary video clip, and a series of photographs.