Music Informatics

Music Informatics is an interdisciplinary work field that experiments with algorithmic processes and embeds them in the context of installations, compositions, programs and theoretical ideas. Projects in this area may be concerned with artistic and/or scientific questions and supplement other modules. At the IMM, Music Informatics is currently divided into the following areas: Algorithmic Acoustics (Algorithmic Sound Synthesis, Sonification, Philosophy of Informatics, SuperCollider), Hybrid Sound Computing / Extended Systems (Live Electronics, Tangible Auditory Interfaces, Semi-Analogue Sound Synthesis, and Graphic Programming (PureData, Max/MSP). The teaching courses live from the combination of practical abstraction and theoretical work on the material.

 

Nichtung auf allen Kanälen [Nihilation on All Channels]

The point of departure in the work of Florian Zeeh is the work series Die Entdeckung der Null [The Discovery of Zero], where he explores the potentials of nothing and possible applications of nullity to artistic practice. In Nichtung auf allen Kanälen [Nihilation on All Channels] the attraction defies the expectations of visitors and leaves behind a dark blank spot. At the same time thanks to its surprising effect, the work has entertainment value for the public. In this intermediate space the paradoxical relationship between nothing and something becomes a tangible dimension which can be experienced. The interactive audiovisual installation was shown as part of the Lichtung exhibition at the Düsseldorf Betonbox.
Lichtung auf allen Kanälen was created as a project in the Music Informatics major concentration and supervised by Prof. Julian Rohrhuber and Hans W. Koch.

 

Projection Mapper

Projection mapping is a technology used for manually turning objects, often irregularly shaped, into a display surface for video projection. Lukas Reichert has developed a program for projection mapping using the SuperCollider programming language which allows sound and images to be processed and presented in parallel.
The idea for the development of the software emerged in connection with his work on the sound sculpture A dynamic of its own, for which the program was used for the first time. The source text will be publicly accessible as SuperCollider Class soon, and will then be available for further algorithmic experiments at the interface between music and visualization.

 

Hyper-polyphonic algorithmic spatialisation

The Mallet Ensemble from Wuppertal is performing arrangements and compositions by Mathias Haus, jazz vibraphonist and musical director of the group.
Henrik Plünnecke undertook a three-day production with the ensemble in March 2013, the result of which was a one-hour concert programme in Surround as well as an algorithmic installation for eight loudspeakers as part of his Bachelor thesis in the Music and Media program. The installation examines the piece Suspense for various musical parameters and the programming transforms them into something completely new. The conceptual design of the electronic processing and spatialisation using the program environment SuperCollider was implemented particularly due to the polyphony of the piece as well as the function and position of the instruments.
The conceptual design and programming of the installation was supervised by Prof. Julian Rohrhuber (Music Informatics), the Surround production was supervised by Prof. Dagmar Birwe (Classical Music Production).
A stereo mix of the recording will also be produced and released on CD.

 

switchology

The dignified Elektronische Studio [Electronic studio] of the broadcaster WDR is in a deep sleep in a cellar in a Cologne suburb, once much cared for by the former studio technician Volker Müller.
In January, students from the IMM in Düsseldorf set about revitalising the collection of devices from the birth of electronic music that can be found there. However, the object of their microphones were not the electronic sounds, but rather the unique sounds of their switches, control dials and faders, whose actuation reveals knowledge about the craftsmanship of composing electronic music, which was thought to be lost. From the editorial and algorithmic processing of the recordings emerged an audio piece, which was first broadcast by the Hessischen Rundfunk broadcasting corporation.
Hans W. Koch (assistant professor for Hybrid Sound Composition) is responsible for the idea and artistic direction, the concept and composition was supervised by Prof. Julian Rohrhuber and the contributions were created by IMM students Armin Badde, João Martins, Raffael Seyfried and Florian Zeeh.

 

Rhythmic theory | Fragmented voice | Conceptional dance music

The Bachelor thesis of Lukas Truniger (Music and Media program) revolves around three topics: voice, theory and electronic dance music. The connections between the three aspects form the basis for the composition of electronic pieces. The voice as sound material is highly alienated and specifically used for vocalising individual texts. Markov chains are used as an algorithmic composition technique and to fragment the texts. An EP was produced with four tracks, which were presented as part of the Prozess & Reflexion [Process & Reflection] exhibition on 25 July 2013 in Düsseldorf's Betonbox in the form of listening stations. In the exhibition, the texts of the respective piece were seen as generative visuals. They were produced together with the Basel programmer Fabian Frei.