Welcome

Hildegard Westerkamp is a composer, radio artist and sound ecologist.
She presents soundscape workshops and lectures internationally, performs and writes.
  • "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
  • "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
  • "Westerkamp creates new possibilities for listening. One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change.”
    Pauline Oliveros,Kingston, N.Y., USA (about CD transformations)
  • "Mere words are inadequate to describe what took place when the symphony began....Waves of sound rolled back and forth across the harbour bringing thousands of downtown office workers to their windows. The Canada geese from Stanley Park were aroused and circled through the boats, honking loudly as they joined in." Ken Drushka, Harbour and Shipping) about the Harbour Symphony)

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Soniferous Garden at ohrenhoch - The Noise Shop, Berlin, Sunday 18 and 25 October, 1 and 8 November 2020

ohrenhoch, der Geräuschladen | Weichselstr. 49 | 12045 Berlin-Neukölln

Soundgallery - SOUNDAKTIVISMUS - ohrenhoch-Sonntage - ohrenhoch-Kids

Covid-19 measures: Only 2 visitors at a time in the space / Mandatory use of face masks

Covid-19-Maßnahmen: Nur 2 Besucher*innen gleichzeitig in der Soundgallery / Maskenpflicht

Soundgallery 'ohrenhoch-Sonntage'

-- For English version: please scroll down --


Hildegard Westerkamp, Eröffnungsfeier 'Nada–an Experience in Sound', Indira Gandhi National Centre for the Arts, New Delhi, India, 1998

Zu hören am Sonntag 18. und 25. Oktober, 1. und 8. November 2020

durchgehend 14 - 21 Uhr:

Soniferous Garden

(1998, überarbeitet 2000)

für Zweikanalton

von Hildegard Westerkamp

ohrenhoch Lautsprecher-Installation: Knut Remond

Hildegard Westerkamp über 'Soniferous Garden':

Die Klangumgebung 'Soniferous Garden' (dt.: 'Tönender Garten') besteht aus Geräuschen von heiligen Orten in Indien: Tempelglocken, Muezzin-Rufe, Gebete aus Hindutempeln und Gurdwaras, Kirchenglocken, OM, etc. Zu hören sind auch Wassergeräusche von Goa und Kanada, die Klänge von Glockenspielen, leise Atemgeräusche und ein "drone", der dem ganzen Stück zugrunde liegt und sich durchgehend in die Stille ein- und ausflechtet. Hin und wieder erscheinen menschliche Stimmen. Vereinzelte Stille interpunktiert den Fluss dieses Stückes.

'Soniferous Garden' war der vierte und letzte Raum der Klanginstallation 'Nada–an Experience in Sound' im Indira Gandhi Nationalen Zentrum für die Künste in Neu-Delhi, Indien, Dezember 1998. 'Nada' war ein gemeinschaftliches Projekt, das von Savinder Anand, Mona Madan, Veena Sharma und Hildegard Westerkamp konzipiert und ausgeführt wurde.

Hier in der Soundgallery ohrenhoch wird 'Soniferous Garden' als eigenständiger Raum über die feste Lautsprecherinstallation von ohrenhoch präsentiert.

Bisher in der Soundgallery ohrenhoch präsentierte Werke von Hildegard Westerkamp:

2011: Harbour Symphony, 2013: At the Edge of Wilderness (mit Florence Debeugny), 2018: Once Upon a Time

Hildegard Westerkamp kreiert in ihren Kompositionen akustische Reisen, die vielleicht alltäglichen Hörreisen nicht unähnlich sind––immer an der Grenze zwischen realen und bearbeiteten, realen und imaginierten Sounds. Sie hat Klangspaziergänge an vielen verschiedenen Orten geleitet, indem sie Kontexte erschuf, damit die Teilnehmenden erforschen konnten, wie Ohren und Imagination akustische Erfahrungen weiterverarbeiten. Sie war aktiv bei dem 'Board of the World Forum for Acoustic Ecology' (WFAE) und Mitherausgeberin von Soundscape—The Journal of Acoustic Ecology. Ihre Website bietet detaillierte Informationen über ihre verschiedenen Aktivitäten in den Gebieten von Soundscape-Komposition, akustische Ökologie und Soundscape-Studien:

Website Hildegard Westerkamp:

http://www.hildegardwesterkamp...

ohrenhoch Website 1 Archiv seit 2008:

http://www.ohrenhoch.org

ohrenhoch Website 2 (wird gerade aufgeschaltet):

http://www.ohrenhoch.berlin

ohrenhoch auf facebook:

http://facebook.com/ohrenhoch

ohrenhoch bei Twitter:

http://twitter.com/ohrenhoch

Spenden für ohrenhoch:

Postbank

ohrenhoch, der Geräuschladen gUG (haftungsbeschränkt)

IBAN: DE49100100100901675101

BIC: PBNKDEFF

Bitte teilen Sie uns Ihre Adresse mit, falls Sie eine Spendenbescheinigung wünschen.

Herzlichen Dank für Ihre Spende

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ohrenhoch - the Noise Shop | Weichselstr. 49 | 12045 Berlin-Neukölln

Soundgallery - SOUNDACTIVISM - ohrenhoch Sundays - ohrenhoch-Kids

Soundgallery 'ohrenhoch Sundays'

soniferous_3unnamed_web2.jpg

Hildegard Westerkamp, opening ceremony 'Nada–an Experience in Sound', Indira Gandhi National Centre for the Arts, New Delhi, India, 1998

To hear on Sunday 18 and 25 October, 1 and 8 November 2020

continuously from 2 pm to 9 pm:

Soniferous Garden

(1998, revised 2000)

for two-channel audio

by Hildegard Westerkamp

ohrenhoch loudspeaker installation: Knut Remond

Hildegard Westerkamp on 'Soniferous Garden':

The soundscape 'Soniferous Garden' consists of sounds from sacred places in India: temple bells, muezzins calling, prayers from Hindu temples and Gurdwaras, churchbells, OM, etc. One also hears water sounds from Goa and Canada, the sounds of chimes, some soft breathing sounds, and a drone which underlies the whole piece and weaves in and out of silence throughout. Occasionally human voices appear. Occasional silences punctuate the flow of this piece.

'Soniferous Garden' was the fourth and final space of the sound installation 'Nada–an Experience in Sound' at the Indira Gandhi National Centre for the Arts in New Delhi, India, December 1998. 'Nada' was a collaborative project conceived and executed by Savinder Anand, Mona Madan, Veena Sharma and Hildegard Westerkamp

Here at the ohrenhoch Soundgallery, 'Soniferous Garden' is presented as a space of its own, over the fixed ohrenhoch loudspeaker installation.

Works by Hildegard Westerkamp that have been presented at the Soundgallery ohrenhoch:

2011: Harbour Symphony, 2013: At the Edge of Wilderness (mit Florence Debeugny), 2018: Once Upon a Time

Hildegard Westerkamp creates sonic journeys in her compositions that may not be dissimilar to daily life listening journeys—always on the edge between real and processed, real and imagined sounds. She has conducted soundwalks in many different places, creating contexts for participants to explore how ears and imagination process sonic experiences. She was active on the Board of the World Forum for AcousticEcology (WFAE) and co-editor of Soundscape—The Journal of Acoustic Ecology. Her website offers detailed information about her various activities in the areas of soundscape composition, acoustic ecology and soundscape studies:

Website Hildegard Westerkamp:

http://www.hildegardwesterkamp...

ohrenhoch Website 1 archive since 2008:

http://www.ohrenhoch.org

ohrenhoch Website 2 (being connected):

http://www.ohrenhoch.berlin

ohrenhoch auf facebook:

http://facebook.com/ohrenhoch

ohrenhoch bei Twitter:

http://twitter.com/ohrenhoch

Fantasie for Horns II performed at The Sound Festival, University of Aberdeen, October 22-25, 2020,

Fantasie for Horns II was performed at the Sound Festival, University of Aberdeen, October 22-25, 2020,

along with compositions by Bethan Morgon-Williams, Adrian Moore and Esa-Pekka Salonen,

in a concert entitled “Digital Horn” on October 23.

Ben Goldscheider, Horn & Pete Stollery, Electronics

For full festival program: http://www.sound-scotland.co.u...

Listen to concert online: https://www.youtube.com/channe...

Here is a review of the event:

Goldscheider’s earlier lunchtime concert (*****) pitted his remarkably focused, lyrical playing against live electronics from Stollery to magical effect. (It was all the more magical, in fact, because of its long-distance collaboration: Goldscheider had recorded his part alone in London, then emailed it to Stollery, who added the electronics separately.) The standout work among a concert of surprises was the 1978 Fantasie for horns II by Canadian Hildegard Westerkamp, which contrasted a live Goldscheider on orchestral horn against more prosaic signal horns recorded across the world – train horns, foghorns, factory horns, boat horns, even alphorns. It was a beautiful, deeply melancholy piece, brought wonderfully alive in Goldscheider’s supple, subtle performance, as though a refined concert instrument were calling for connection with its more functional siblings.
By David Kettle
Monday, 26th October 2020,
The Scotsman

At the Edge of Wilderness Artist Talk + Soundwalk September 4 at 2pm

[Update on Sep 15, 2020: A nice review of the installation can be found here.

Hildegard Westerkamp gives an artist talk and soundwalk in Sechelt at 5714 Medusa Trail on September 4 at 2pm to launch the exhibit "At the Edge of Wilderness."

To register for the event, visit sunshinecoastartscouncil.com

Westerkamp featured at Acoustic Ecologies Festival in Sussex, England Jan. 29 to Feb. 1

I will be in a Q&A session on January 29 and they are playing some of my pieces, along with other events involving other composers and colleagues. See details at the web site.

Wednesday 29 January, 2020 – Saturday 01 February, 2020.

University of Toronto WEATHER SOUNDINGS events, this week Jan 13 to 17: soundwalks, chats, and a concert

The University of Toronto WEATHER SOUNDINGS event series features five days of chats, concerts, and soundwalking. Complete schedule below. Also see the lovely posters!

Monday 13 January 2020, 5:00-7:00 pm, Canadian Music Centre
BEING IN THE WEATHER: MUSIC, ENVIRONMENT, AND ACTIVISM
Cinq-à-sept Reception, Listening Session and Artist Chat –– in conversation with Hildegard Westerkamp, Rachel Iwaasa, and Daniel Grimley Canadian Music Centre, 20 St. Joseph Street

Tuesday 14 January 2020, 7:30 pm, Walter Hall
THE 2020 KAREN KIESER PRIZE CONCERT
Vancouver pianist Rachel Iwaasa performs music of Hildegard Westerkamp with live electroacoustic diffusions by Westerkamp, plus performances by Montréal’s Quatuor Cobalt, including Francis Ubertelli’s prizewinning work University of Toronto Faculty of Music, 80 Queen’s Park Crescent

Wednesday 15 January 2020, 10:45 am-1:00 pm
SOUNDWALKING
A ravine walk with Hildegard Westerkamp and Amish Morell
meet at the Doris McCarthy Gallery, UTSC, 1265 Military Trail

Thursday 16 January 2020, 3:30 pm, Barker Fairley Room (130)
WHITE LIGHT: GREENLAND, DENMARK, AND THE POSTCOLONIAL
Lecture by Daniel Grimley (Oxford University), part of the
Faculty of Music Graduate Colloquium Series in Musicology, Ethnomusicology, and Music Theory –– reception to follow
University of Toronto Faculty of Music, 80 Queen’s Park Crescent

Friday 17 January 2020, 1:00-1:45 pm
SOUNDWALKING
A campus walk with Hildegard Westerkamp, Sherry Ostapovitch, and WalkingLab
meet at the Jackman Humanities Building, main lobby, 170 St. George Street

All events are free and open to everyone

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Workshops

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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