Komposition im Medienwandel. Operationsketten als kompositorische Strategien bei Peter Ablinger, Bernd Thewes und Isabel Mundry

Abstract

The article conceives of composition within the context of a cultural media history. For a better understanding of compositional processes, the media situation of the respective historical period must be considered. The text develops a media perspective of contemporary composition and explores the influence of media practice on compositional processes. This perspective is developed by introducing three compositions that are performed in a traditional concert-situation. Common to all three pieces is a concept based on multiple operational chains that describe processes of medial transfer. Peter Ablinger’s Das Orchester for CD and orchestra (2005) uses computer technology to filter sounds recorded in the city of Graz, Austria into an orchestral piece. His work is media-reflexive since it highlights the disparaties between the medial sound carrier (the sound recording) and the orchestra. Bernd Thewes also uses filtering technology in his Die siebende Gestalt. SPEECH REMIX nach Jakob Böhme for orchestra (2007). Unlike Ablinger, Thewes strives for a compositional situation in which technically supported sound generation and free compositional invention do not diverge. While he interacts with the technical media, subjective decisions within the compositional process are not excluded. Isabel Mundry’s Sandschleifen for string trio, percussion and piano (2003) is equally based on a multiple operational chain, although Mundry does not use technical equipment. The piece transfers a text into music; the text again transfers a picture into words. Mundry stresses the subjective aspects of composition. However, the discussion of her work induces the discussion to what extent her term for compositional transfer-processes “touching” [Abtasten], reminiscent of phonography, betrays a disposition informed by medial technique. The three discussed pieces are examples of the integration of medial transfer – with all its possibilities, its gaps, breaks and limits – into the compositional structure. They exploit new media techniques to create aesthetic experience. This is an important contribution by the arts to contemporary culture understood as media culture. Marshall McLuhan’s argument that the use of media is usually unconscious remains valid. The arts, with their media-reflexive potential, contribute to a better understanding of media. This suggests the necessity of a media-reflexive turn in music theory and musicology.