"A magical fusion of sounds."
Globe & Mail, Toronto
"There was more than just a hint of oracular mysticism in Westerkamp's art. There was a magic in those sounds.”Stephen Pedersen, Chronicle-Herald, Halifax
(Read Full Article below)
at RMIT University, Melbourne, Australia
7-10TH OCTOBER, 2018.
August 26 to September 2, 2018
Three different programs of music were offered in the 8-channel system, each 6 hours and 15 minutes in length. The programs were repeated once each night to account for the full 12 hour, 30 minute running time. The music presented was composed by 40 different composers, mostly working in octophonic (8-channel) format, but also in 7.1, 5.1, quadraphonic (4-channel), and even stereo, all adapted to suit the 8-channel system.
Read all about it here
October 11 - 13, 2018 in Denmark at the Sound Forms Symposium, Copenhagen
Hildegard will be leading a soundwalk and presenting her compositions Beneath the Forest Floor and Fantasie for Horns I at the final concert. Sound Forms is a 3-day experiential symposium of talks, sound walks, participatory scores and sound-based art that aims to engage people in concepts in Sound Studies, with an emphasis on sonic perception, Acoustic Ecology and listening practices. https://soundingbodies.kunstakademiet.dk/sound-forms-symposium/
October 4 - 7, 2018 in Germany at The Global Composition 2018, a conference on Sound, Ecology, and Media Culture, University of Applied Sciences Darmstadt, Media Campus Dieburg:
September 25, 2018 in Florence, Italy: Gently Penetrating Beneath the Sounding Surfaces of Another Place . See: http://www.temporeale.it/programma-2018-y/maratona-soundscape.html
"Westerkamp's music balances a poetics of sound with social commitments that include feminism and environmental politics. Her compositions are critical enactments of acoustic space....All invoke attentive listening." Donna Zapf, Beiträge zur Neuen Music, Germany
My workshops are essentially an enquiry into our relationship to place through listening and an enquiry into listening itself. Conscious attention to the soundscape is like learning a new language and conscious listening and soundmaking is a way of placing ourselves inside the workings of our cultures, societies and landscapes as involved, living participants.
A variety of listening and soundmaking activities offer ways to deepen our relationship to place and to explore what acoustically balanced sound existences might be. Some workshops may be conducted entirely without the use of technology, others may involve recording equipment, editing and mixing facilities, depending on the context and the focus. Soundwalks may be simple listening walks "by ear" or may also include the use of field recording equipment and/or ear protection. Other activities/actions may involve the creation of sound maps and sound scores, monitoring of and documenting a sound environment in a specific location and for a specific time span, writing of sound journals and many more actions/activities.
Not only is the focus of each workshop slightly different, but also the group of participants may vary greatly. Workshop themes, activities, length and participation are developed according to each context. Topics may range from sound ecology, to listening perception, soundscape composition, the use of music, sound design, noise, radio/media, music, silence, and so on.
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