|Mo | 03. Dez. 2018||
14.00 Uhr | MUT Zi 206/207
Reverse Simulation Music: The (im)possibility of algorithmic composition
Reverse Simulation Music The (im)possibility of algorithmic composition Today we all live in unprecedented circumstances. This means the human world based on highly sophisticated technologies―an environment “which exists on the premise that electricity continues to be provided at all times without fail while thinking about our responsibilities and the future of our children directly leads to the efforts for ‘further development of technologies.*’” I decided to define such a world simply as “electricity civilization.” In the lecture, I will try to explain my activities as pursuits for the potential of the arts in electricity civilization as defined above over composition/music. Specifically, I will talk about my composition activities related to “Reverse Simulation Music.” As an example is known as algorithmic composition, I would like to introduce a piano piece automatically generated by a self-feedback system and some other works of “Reverse Simulation Music.”
*From “Chubu Denryoku Geijutsu Sengen”(Japanese 2009) http://www.iamas.ac.jp/~mmiwa/ElectricArt.html
Masahiro Miwa was born in Tokyo in 1958. He first ventured into the musical world when he formed a rock band with his friends in 1974. In 1978 he moved to Germany to attend the National Academy of Art in Berlin, where he studied composition under Isang Yun. From 1985 he studied under Günther Becker at the Robert Schumann National Academy in Dusseldorf. He taught computer- and electronic music at the Academy from 1986 and at the Academy of Media Arts Cologne from 1995.
Miwa has been the recipient of many awards for his work, including; the Hambacher Prize (Honorary Mention) in 1985; the 10th Irino Prize (1st prize) in 1989; the Music Today Composition Contest (2nd prize) in 1991; the 14th Concorso Internationale Luigi Russoro (1st prize) in 1992; the Muramatsu Award (New Face Award) in 1995; the Akutagawa Award for Music Composition in 2004 (for "Bolero by Muramatsu Gear Engine for Orchestra"); Prix Ars Electronica (Golden Nica) in Digital Musics & Sound Arts in 2007 (for his original musical methodology "Reverse-Simulation Music"); Prix Ars Electronica (Honorary Mention) in Hybrid Art in 2008 (for his collaboration work with artist Martin Riches “Thinking Machine”); and Prix Ars Electronica (Honorary Mention) in Digital Musics & Sound Arts in 2009 (for his work as Formant Brothers, a composition cooperative with Nobuyasu Sakonda, "Le Tombeau de Freddie/L' Internationale").
He has been involved in various projects, including collaborations (e.g. a monologue opera "The New Era" in 2000 and an installation work "Matarisama Dolls" in 2003), creative/intellectual/lecture activities as Formant Brothers, and recordings (e.g. a CD album "Muramatsu Gear (Le Sacre du Printemps)" in 2012). He is also the author of "Computer Age no Ongaku Riron (Music Theory in the Computer Age)" in 1995, and "Miwa Masahiro Ongaku Geijutsu Zenshiko 1998-2010 (The Music-Art and Thoughts of Masahiro Miwa: 1998-2010)" which received the 61st Minister of Education, Culture, Sports, Science and Technology’s Artistic Commendation Award for Fine Arts for the Fiscal Year 2010. He is currently professor at the Institute of Advanced Media Arts and Sciences (IAMAS), Japan. He is a former member of the Methodicism coterie.