[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki41\/alexander-schubert-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki41\/alexander-schubert-wikipedia\/","headline":"Alexander Schubert – Wikipedia","name":"Alexander Schubert – Wikipedia","description":"before-content-x4 From Wikipedia, the free encyclopedia after-content-x4 German composer Alexander Schubert (born 13 July 1979) is a German composer. 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Much of his music is experimental, involving multimedia, improvisatory, and interactive elements.[1] He draws upon free jazz, techno, and pop styles.[2][3]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of ContentsBiography[edit]Accolades[edit]Writings[edit]Compositions[edit]Pieces with live electronics and visuals[edit]Interactive sensor pieces[edit]Instrumental pieces with live electronics[edit]Superimpose cycle[edit][edit]Tape pieces[edit]Installations[edit]Video pieces[edit]Select discography[edit]CD[edit]DVD[edit]References[edit]Further reading[edit]English[edit]German[edit]External links[edit]Biography[edit]Alexander Schubert was born in Bremen. He studied Bioinformatics in Leipzig, then spent a year at the Center for Art and Media Technology in Karlsruhe at the Institute of Music and Acoustics.[4] He received a doctorate in multimedia composition at the Hochschule f\u00fcr Musik und Theater Hamburg, studying under Georg Hajdu and Manfred Stahnke.[5] He teaches at the Musikhochschule Hamburg,[6] directs the electronic studio at Musikhochschule L\u00fcbeck[7] and has been a visiting lecturer at Darmstadt International Summer Courses.[8] A founding member of ensembles Decoder, Trnn, Schubert-Kettlitz-Schwerdt, and Ember, he has also pursued an experimental pop music solo project under the name Sinebag.[9]Schubert’s pieces have been performed at several international institutions, including Wien Modern,[10][11][12]ICMC,[13]SMC,[14]Ultima Oslo Contemporary Music Festival,[15] DLF Forum neuer Musik,[16][17]IRCAM,[18][19][20]ZKM Center for Art and Media Karlsruhe, Huddersfield Contemporary Music Festival,[21][22] and Blurred Edges in Hamburg.[23]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Jennifer Walshe, Matthew Shlomowitz and Zubin Kanga have situated Schubert within what Walshe terms “The New Discipline” of contemporary music, alongside such composers as James Saunders and Fran\u00e7ois Sarhan.[24][25] Shlomowitz writes,The remit of New Music has moved on and broadened out in the twenty-first century. Composers such as Joanna Bailie, Michael Beil, Johannes Kreidler and Jennifer Walshe have created work that: engages popular and everyday culture; develops historical ideas from the visual arts (e.g. conceptualism); utilises technology to create new musical instruments; combines field recordings with music to form new relationships between music and the world; and establishes a music-led interdisciplinary practice with multimedia and theatricalised works. Whilst evidently connected to each of these trends, Alexander Schubert’s work is a distinctive voice within this milieu.[26]Schubert’s music makes extensive use of multimedia, including live video, internet-sourced content, lighting, and motion sensors.[27][28] Praised by some commentators for its fusion of avant-garde and pop styles,[29][30] immersive qualities,[31][32] and distinctive engagement with the internet,[33][34] Schubert’s critics have found his work excessively confrontational[35] or conceptual.[36]Accolades[edit]In 2009, Schubert won the Bourges Residency Prize, and his piece Nachtschatten (Nightshade) placed in the Canadian Electroacoustic Community “Jeu de temps” competition.[37] He won the European Conference of Promoters of New Music competition in 2012[38] and a Giga-Hertz Production Award in 2013.[39]Wiki-Piano.Net received an honorary mention in the 2019 Prix Ars Electronica.[40]Writings[edit]Schubert has published articles on virtuality, post-digitality and multimedia composition. A collection of texts can be found in his book Switching Worlds.Compositions[edit]Pieces with live electronics and visuals[edit]Coryllus Avellana (2007), for 49-channel tape, clarinet and electronics[41] (named after Corylus avellana, common hazel)Bifurcation Fury (2012), for electric bass guitar, live electronics and lightingLucky Dip (2013), for midi-drumkit, keyboard, and electric guitarSensate Focus (2014), for electric guitar, bass clarinet, violin, percussion, live electronics and animated lightHELLO (2014), for any number of instruments, live-electronics, and videoSupramodal Parser (2015), four pieces for singer, electric guitar, saxophone, percussion, piano and electronics (with haze and lighting)Star Me Kitten (2015), for singer, flexible ensemble, video, and electronicsSCANNERS (2013, rev. 2016), for string quintet, choreography and electronicsf1 (2016), for variable group of musicians and videoCodec Error (2017), for double bass, two percussionists and lightingInteractive sensor pieces[edit]Laplace Tiger (2009), for drum kit, arm-sensor, live electronics and live videoWeapon of Choice (2009), for violin, sensor, live electronics and live videoBureau Del Sol (2011), for drumkit, saxophone\/piano\/e-guitar\/clarinet and timecode-vinylYour Fox’s A Dirty Gold (2011), for solo performer with voice, motion sensors, electric guitar and live electronicsPoint Ones (2012), for small ensemble and augmented conductorSerious Smile (2014), for sensor-equipped ensemble (piano, percussion, cello, conductor) and live electronicsInstrumental pieces with live electronics[edit]Sugar, Maths and Whips (2011), for violin, double bass, piano, drum kit, and electronicsBird Snapper (2012), for singer, saxophone, e-bass, e-guitar, percussion, and keyboardGrinder (2015), for saxophone, percussion, keyboard, e-guitar, and electronicsWavelet A (2017), for 4 electric guitars and electronicsBlack Out BRD (2017), for any combination of instrumentsSuperimpose cycle[edit]Superimpose I (2009), for jazz quartet and electronicsSuperimpose II \u2013 Night of the Living Dead (2009), for jazz quartet and electronicsSuperimpose III \u2013 Infinite Jest: (2010), for e-guitar, drum kit, saxophone, and live electronics[edit]Public Domain (2017), for one or more performers and\/or electronics and\/or videoSilent Post (2018), for any number of instruments and\/or electronics and\/or videoBlack Out Software (2018), for any combination of instrumentsWiki-Piano.Net (2018), for piano and internetBehind the Scenes (2019), for any combination of instrumentsTape pieces[edit]Nachtschatten (2008)Semaphores (2011)Mimicry (2015)The Password Disco (2017)Installations[edit]A Set of Dots (2007), interactive audiovisual installationSome forgotten patterns (2009), audiovisual installationUnit Cycle (2013), audiovisual installationSolid State (2016), sound- and light-installationBlack Mirror (2016), hour-long participatory concert installationControl (2018), 90-minute participatory concert installationA Perfect Circle (2019), participatory “therapy session” for audience, 2 speakers, 2 assistants, and supervisorUnity Swtich (2019), interactive virtual performance installationVideo pieces[edit]It Was not an Easy Situation (2018), video and soundAcceptance (2018), documentary piece for solo performerSelect discography[edit]CD[edit]2005: Milchwolken in Teein (Ahornfelder: AH01) as Sinebag.2005: Pr\u00e8s de la lisi\u00e8re (Ahornfelder: AH02) as Sinebag.2006: Oullh d’baham (Euphorium: EUPH 010) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.2010: Aurona Arona (Creative Sources\/Abhornfelder: AH18) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.2011: plays Sinebag (Ahornfelder: AH16, 2011).DVD[edit]2008: Live Scenes (Euphorium Films: EUPH 011) with Urs Leimgruber, Christian Lillinger and Oliver Schwerdt.2011:Weapon of Choice (Ahornfelder: AH21).References[edit]^ Nonnenmann, Rainer (May 2017). “Ein Portr\u00e4t des Komponisten Alexander Schubert”. MusikTexte\u00a0[de] (153): 33\u201342. Retrieved 7 July 2020.^ Adkins, Monty (2017). “Extending the Instrumental Sound World Using Electronics”.  In Collins, Nick; d’Escrivan, Julio (eds.). The Cambridge Companion to Electronic Music. Cambridge University Press. p.\u00a0263. doi:10.1017\/9781316459874. ISBN\u00a0978-1-316-45987-4. Schubert’s music draws on many influences, from the energy of punk, electronica, jazz, improvisation, live electronics, noise and electroacoustic music … Schubert’s works, such as Superimpose I (2009), Laplace Tiger (2009) and Your Fox’s A Dirty Gold (2014) make extensive use of on- body sensors to allow performers to control sound, video and lighting. Although the raw, visceral musical aesthetic is very different from that of Max Mathews and Tod Machover, the underlying desire for human gestural control of electronics is the same.^ Stefan, Ilja. “Alexander Schubert \u2013 Der Digital Native”. In Hajdu (2017), pp.\u00a018\u201319.^ “Prof. Alexander Schubert”. HfMT (in German). Retrieved 21 May 2019.^ Hajdu, Georg, ed. (2017). “Alumni”. 13 Jahre Masterstudiengang Multimediale Komposition (PDF) (Jubil\u00e4umsschrift) (in German). Hochschule f\u00fcr Musik und Theater Hamburg. p.\u00a0120\u2013148 (132). ISBN\u00a0978-3-00-056586-1. Retrieved 6 August 2022.^ “Prof. Alexander Schubert”. Hochschule fur Musik und Theater Hamburg. Retrieved 30 September 2019.^ “Dozenten”. Musikhochschule L\u00fcbeck. Retrieved 30 September 2019.^ “Musiker-Dozenten”. Darmst\u00e4dter Ferienkurse. Retrieved 30 September 2019.^ Wollweber, Jens (19 February 2011). “Alexander Schubert Plays sinebag”. Kreuzer Online. Kreuzer Medien. Retrieved 7 July 2020.^ Mader, Barbara (27 November 2015). “Es wird schnell und exzessiv”. Kurier. Retrieved 8 July 2020.^ “Wien Modern 2015: Programm bekanntgegeben”. Music Austria. Retrieved 21 May 2019.^ R\u00f6gl, Heinz (2 December 2015). “Abschlussbericht Wien Modern 2015: Bright Days, Partly Cloudy”. Music Austria. Retrieved 8 July 2020.^ Six, Joren (31 August 2012). “ICMC 2012 – Sound to Scale to Sound, a Setup for Microtonal Exploration and Composition”. 0110.be. University of Ghent. Retrieved 8 July 2020.^ “SMB und S.T.R.E.A.M Festival 2016”. Kampnagel. Retrieved 21 May 2019.^ “Oslo Contemporary Music Festival” (PDF). September 2015. Retrieved 8 July 2020.^ Beck, Georg (May 2014). “Ist doch toll, wenn aus wilden Jungen junge Wilde werden”. Neue Musikzeitung. Retrieved 8 July 2020.^ “Forum neuer Musik 2010”. Desutschland Radio. Retrieved 21 May 2019.^ “Alexander Schubert: CODEC ERROR (2017)” (work details) (in French and English). IRCAM.^ “Alexander Schubert: Serious Smile (2013\u20132014)” (work details) (in French and English). IRCAM.^ “Video: Three Minutes with Alexander Schubert”. IRCAM. 1 September 2017. Retrieved 8 July 2020.^ “Hear and Now: Huddersfield Contemporary Music Festival 2014”. BBC Radio 3. BBC. 20 December 2014. Retrieved 8 July 2020.^ Driver, Paul (25 November 2018). “Northern exposure; Huddersfield Contemporary Music Festival’s bill was astonishing \u2013 and exhausting, says Paul Driver”. No.\u00a01. The Sunday Times. p.\u00a028. Retrieved 7 July 2020.^ “Blurred Edges Festival has kicked off in Hamburg”. The Wire. 5 June 2017. Retrieved 21 May 2019.^ Walshe, Jennifer (May 2016). “Editorial: The New Discipline”. MusikTexte\u00a0[de] (149): 3. Retrieved 8 July 2020.^ Kanga, Zubin (5 December 2016). “Flaws in the Body and How We Work with Them: An Interview with Composer Alexander Schubert”. Contemporary Music Review. 35 (4\u20135): 535\u2013553. doi:10.1080\/07494467.2016.1258105. S2CID\u00a0193583025.^ Shlomowitz, Matthew (2015). “The Composer Alexander Schubert” (PDF). Alexander Schubert. Wien Modern Programme. Retrieved 8 July 2020.^ Wieschollek, Dirk. “Hyperaktives Sensorium: Der Komponist und Performer Alexander Schubert verbindet mediale Wirklichkeiten zu explosiven Gemischen”. Neue Musikzeitung. ConBrio Verlagsgesellschaft. Retrieved 7 July 2020.^ Cossio, Eduardo (29 April 2019). “Mix and Match Media (Review: Zubin Kanga ‘Piano Ex Machina’)”. Seesaw Magazine. Retrieved 7 July 2020.^ Drees, Stefan (2014). “Gestische Momente und Energetisches Potenzial zur Musick Alexander Schuberts”. Neue Zeitschrift f\u00fcr Musik. Schott Music. 3: 48\u201351. Retrieved 7 July 2020.^ Schwind, Elisabeth (17 October 2018). “7 Dinge, ohne die es in der Neuen Musik nicht geht”. S\u00fcdkurier. Retrieved 7 July 2020. Unvergessen auch die Performance fur Schlagzeug, Kontrabass und Elektronik, in der Alexander Schubert ein Sperrfeuer an Stroboskoplicht und Geraeusch entfachte. Techno-Disco Fuer Avantgardisten.^ Chung, Andrew (16 November 2017). “Festival Recap: 2017 Donaueschinger Musiktage”. I Care if you Listen. Retrieved 7 July 2020.^ von Frantzius, Martin (2017). “How to Get Lost: Rave-Erfahrung in der Musik von Alexander Schubert”. Neue Zeitschrift f\u00fcr Musik. Schott Music. 1 (178): 24\u201327. JSTOR\u00a044758546.^ Wilkie, Ben (11 April 2019). “Piano ex machina (Zubin Kanga)”. Limelight. Retrieved 8 July 2020.^ Llach, Federico (6 September 2018). “Multidisciplinarity and Reference as a Solution to Inward-Focused Aprroaches in Music Composition”. Tempo. 72 (286): 59. doi:10.1017\/S0040298218000359. S2CID\u00a0150279835.^ Bergnach, Laurent (15 September 2017). “Cr\u00e9ation de Codec Error d’Alexander Schubert ‘d\u00e9conseill\u00e9 aux \u00e9pileptiques et aux personnes cardiaques’“. Anaclase: la musique au jour le jour. Retrieved 7 July 2020. En effet, pour ceux qui m\u00e9connaissent la sc\u00e8ne techno d’outre-Rhin, les oreilles (et les yeux) vont prendre une sacr\u00e9 racl\u00e9e! Le probl\u00e8me est que le sadomasochisme implique un accord mutuel, sinon… Mais laissons de c\u00f4t\u00e9 Mike Godwin.^ Brown, Geoff (19 November 2018). “Review: Huddersfield Contemporary Music Festival; The festival embraced everything from the music of Anthony Braxton and Enno Poppe to Zubin Kanga’s adventurous piano recital”. The Times. Retrieved 7 July 2020.(subscription required)^ “News”. Computer Music Journal. The MIT Press. 34 (1): 5\u20139. 2010. doi:10.1162\/comj.2010.34.2.5. JSTOR\u00a025653527.^ “Alexander Schubert wins ECPNM Competition 2012”. European Conference of Promoters of New Music. Retrieved 21 May 2019.^ “Giga-Hertz Award Winners”. ZKM. Retrieved 21 May 2019.^ “Prix Ars Electronica: Jury Statements 2019”. Ars Electronica. Retrieved 8 July 2020.^ “Coryllus Avellana“, alexanderschubert.netFurther reading[edit]English[edit]Kanga, Zubin and Alexander Schubert. “Flaws in the Body and How We Work with Them: An Interview with Composer Alexander Schubert.” Contemporary Music Review 35, no. 4\/5 (2016): pp.\u00a0535\u2013553.Thorpe Buchanan, Jason. Behavior and Compositional Process in Georges Aperghis\u2019 Luna Park ProQuest\u00a02229635361 (2019), pp.\u00a068\u201370 (discussion of Star Me Kitten).German[edit]Hurt, Leopold. “Zwischen Hardcore und Software: Ein Portr\u00e4t des Komponisten Alexander Schubert”, Positionen, 102, 2015, pp.\u00a031-33.Nonnenmann, Rainer. “Der Mensch denkt, die Machine lenkt: ein Portr\u00e4t des Komponisten Alexander Schubert”, MusikTexte\u00a0[de], no. 153, May 2017, pp.\u00a033-42.Schubert, Alexander and Hanno Ehrler. “Verbindung von K\u00f6rper und Klang: Alexander Schubert im Gespr\u00e4ch”, MusikTexte, no. 153, May 2017, pp.\u00a043-45.Schubert, Alexander. “Bin\u00e4re Komposition”, MusikTexte, no. 153, May 2017, pp.\u00a046-50.External links[edit]     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki41\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki41\/alexander-schubert-wikipedia\/#breadcrumbitem","name":"Alexander Schubert – Wikipedia"}}]}]