Zur Metanavigation
Zur Hauptnavigation
Zur Suche
Zum Inhalt
Zum Seitenfuss

Hochschule für Musik und Theater HfMT

Deutsch
English

https://mediathek.hfmt-hamburg.de/en/l2go?p_p_id=AutocompleteSearch_INSTANCE_GlobalMobileSearch&p_p_lifecycle=2&p_p_state=normal&p_p_mode=view&p_p_cacheability=cacheLevelPage&_AutocompleteSearch_INSTANCE_GlobalMobileSearch_task=findVideos

MEDIATHEK

Videos
Contact

Videos
Contact
FAQ

https://mediathek.hfmt-hamburg.de/en/l2go?p_p_id=AutocompleteSearch_INSTANCE_GlobalDesktopSearch&p_p_lifecycle=2&p_p_state=normal&p_p_mode=view&p_p_cacheability=cacheLevelPage&_AutocompleteSearch_INSTANCE_GlobalDesktopSearch_task=findVideos

SAM PENDERBAYNE - Cross-Genre Composition: Opening the Classical Music Tradition - HfMT Videoteam - University

MEDIATHEK
Videos
HfMT
HfMT
ArtSearch Symposium 2024

Videos

License: HfMT-Web

579 Views

25.10.2024

HfMT

SAM PENDERBAYNE - Cross-Genre Composition: Opening the Classical Music Tradition

HfMT Videoteam

Cross-Genre Composition: Opening the Classical Music Tradition More than one hundred years after Schönbergs Verein für musikalische Privataufführungen and its accompanying (since falsified) hypothesis that broad audiences in the 2010s and 2020s would whistle serial tone rows in the street with the same effortless joy as they do tonal melodies, we stand before a tightening Genrefication of classical music that restricts it to a few dozen dead, white and male composers from colonial times. Cross-Genre music seeks to provide an artistic-academic system with which break out of such closed spaces and look over traditional borders into the diverse plethora of music-making in modern times. Prof. Dr. Samuel Penderbayne is an Australian composer and artistic researcher, living and working between Hamburg and Vienna. His primary interest is in combining modern, non-classical music genres with contemporary classical composition, as such aiming for both an aesthetic and cultural “opening" of traditional practice. In addition to a classical music education, he has played in indie and prog-rock bands, produced progressive electronic dance music and composed film music. After studies in Sydney and Munich, he was awarded the “Opernstipendium” of the Hamburg State Opera, University of Music and Theatre, Hamburg and the Claussen-Simon Foundation to write a dissertation and compose a full-length chamber opera based, resulting in the work “I.th.Ak.A.” (2018) and a textual analysis of the work under a newly developed framework of Cross-Genre Composition, which was awarded summa cum laude (1,0). Subsequently, he composed operas for the Zurich Opera House, Deutsche Oper Berlin, Komische Oper Berlin, Lucerne Opera, Music-Theatre Aalto, Neuköllner Oper Berlin and Deutsche Oper am Rhein and taught artistic research at the Hamburg University. Recently, he was named Professor of Composition at the Music and Arts University of the City of Vienna. In addition to artistic practice, research and teaching, he curates - together with pianist Henriette Zahn - the biennial NORDLIED-Festival for progressive song art in Hamburg, which explores new formats of “lied" recital and places them in a discursive-active context.

Share

Links

Video URL The link to this video.
IFrame Code This IFrame supports html5 and flash based embed code. It is dynamically generated and includes chapter marks within the video.
IFrame code for series Use this code to embed the video and the complete series with the Lecture2Go video player.
series URL The link to the series.

Citation2Go

Start Defines the starting point for Citation2Go. Please click in the field to select the current time.
end Defines the end point for Citation2Go. Please click in the field to select the current time.
Citation2Go link After selecting a start and end point, this link points to the excerpt of the video.
IFrame Code This IFrame is dynamically generated and contains the portion of this video that you selected using the start and end points defined above.

Series

25.10.2024

BENJAMIN SPRICK - Benjamin Sprick: Epistemic Dromology Art, Knowledge, Speed

HfMT Videoteam
25.10.2024

GIJS DE BOER - Gazing at your Gaze: self-trained algorithms as reflexive mirrors for artists

HfMT Videoteam
25.10.2024

MARGO ZÁLITE - Exploring AI as a Tool for Social Justice in Arts Education. A Case Study of the Arts University

HfMT Videoteam
25.10.2024

STEFFEN KREBBER - sinusoidal run rhythm

HfMT Videoteam
25.10.2024

SAM PENDERBAYNE - Cross-Genre Composition: Opening the Classical Music Tradition

HfMT Videoteam
25.10.2024

SANJA BOJANIC: AI's Dual Edge: Moving Beyond Copy-Paste to Preserve Human Agency and Creativity

HfMT Videoteam
25.10.2024

NICOLA HEIN - Investigating Musical Listening and Identity through Human-Machine Improvisation and AI

HfMT Videoteam
25.10.2024

LISA HOFFMANN - Augmented Reality in alternative documentarisms of crisis and catastrophes

HfMT Videoteam
25.10.2024

JANNE KUMMER - Unreal Conditionals

HfMT Videoteam
24.10.2024

MARIA LINDEMAN - Towards explorative and collaborative processes in opera

HfMT Videoteam
24.10.2024

MICHAEL HIRSCHBICHLER - Drecksarbeit/dirty work. Analog Intelligence

HfMT Videoteam
24.10.2024

STEPHANIE SCHROEDTER - Choreomusical Research as Artistic Practice – exemplified by György Ligeti’s 18 Études pour piano

HfMT Videoteam
24.10.2024

JAN PHILIPP SPRICK - Artistic Research in Current Institutional Discourses

HfMT Videoteam
24.10.2024

AXEL DÜRKOP - The Hidden Costs and Potential Benefits of AI: How can questions of AI and sustainability inspire artistic creation?

HfMT Videoteam
24.10.2024

GEORG HAJDU - The (Hi)story of the ArtSearch Symposium

HfMT Videoteam

>Legal Notice
>Disclaimer
>Privacy policy
>Accessibility