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>> yollar - diller <<
radiophonic composition
composition, text, speaker & realisation: harald muenz
duration: 52'13‘’
author's production for hr2-kultur, curator: stefan fricke
broadcast premiere: 7 december 2024, hr2-kultur, ‘the artist's corner’
made possible by the artist residency 'atelier galata istanbul' of the arts foundation of northrhine-westphalia

during my 3-month residency in istanbul, i was able to collect many gigabytes of original sounds, including complete audio recordings of all the city's metro lines.
in 'yollar - diller', i condense the unusual perspective of my objets trouvés into abstract urban-geographical audio spaces.
the public transport network is traversed in a transcontinental reflection using compositional means like an o-/aural sagittal section.
as the title suggests, 'ways - languages' invites you on a 50-minute acoustic journey through contrasting soundscapes, from the hectic atmosphere of urban centres to the idyllic sounds of remote terminal stations.
my multilingual sound-text landscapes of original sounds, music & 'polyphonetic poetexts' reflect in an idiosyncratic way the diversity & contradictions of the metropolis on the bosporus. (hm 2024)

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>> yollar - diller <<
radiophone komposition
komposition, text, sprecher & realisation: harald muenz
dauer: 52'13''
autorenproduktion für hr2-kultur, redaktion: stefan fricke
ursendung: 7. dezember 2024, hr2-kultur, "the artist's corner"
ermöglicht durch die künstler:innenresidenz atelier galata istanbul der kunststiftung nordrhein-westfalen

während meiner künstlerresidenz in istanbul konnte ich diverse gigabytes an o-tönen sammeln, darunter komplette audioaufnahmen aller bahnlinien der stadt.
in yollar - diller verdichte ich die ungewöhnliche perspektive meiner fundstücke zu abstrakten stadtgeografischen hörräumen.
das öffentliche verkehrsnetz wird in einer transkontinentalen reflexion mit kompositorischen mitteln wie einem o-/auralen sagittalschnitt durchquert.
wie der titel andeutet, lädt „wege - sprachen“ zu einer 50-minütigen akustischen reise durch kontrastreiche klanglandschaften ein, von der hektischen atmosphäre urbaner zentren bis zu den idyllischen klängen abgelegener endstationen.
meine mehrsprachigen klang-text-landschaften aus originaltönen, musik und „polyphonetischen poetexten“ spiegeln auf eigenwillige weise die vielfalt und widersprüchlichkeit der metropole am bosporus wider. (hm 2024)

yollar - diller

yollar - diller (2023-24)

Commissioned by Raumklänge 2015 / Georg Dietzler (curator)
Dedicated to Marina Cervetti who has provided me with an amazing collection of mechanical bird calls
Premiere: 12 June 2015, Alte Kirche St Martinus Pulheim-Stommeln
Live recording from 14 June 2015
Ortrud Kegel (flutes), Lucia Mense (recorders), Heather Roche (clarinets), Christine Chapman (double bell horn),  Harald Muenz (sound control), Youth Choir ConTakt Köln-Rath (mechanical bird calls), Georg Sachse (choirmaster)

Score link: http://bit.ly/1HLFsyE

I FIFFARI FUER FLOETE, BLOCKFLOETE, KLARINETTE, HORN, VOGELSTIMMENPFEIFEN (8 STIMMEN) UND VIERKANAL-ZUSPIEL

"I Fiffari" for mechanical bird calls, fl., recorder, clar., hn. & playback (2015, live recording)

Ostinato des parades

9’56''

Introductory note

‘in my maze’ is an independent sound composition based on a walk-in 3D installation that I developed in Second Life in 2024. It was inspired by my many years of work with the Avatar Orchestra Metaverse. To me, Second Life is not a game, but rather an artistic medium — a walk-in chat room complete with spatial stereo sound and 3D video. As a composer, builder and performer, I utilise its immersive capabilities in ways that transcend the concepts of commercial metaverses.

Avatars traverse my semi-transparent sound labyrinth, activating location-based sound objects and generating sound sequences that emerge from the situation. Their paths are an expression of their individual freedom to create sound in digital space. As with simultaneous chats, streams and background processes, time becomes fragmented and runs in parallel. Sonic coherence emerges through movement and interaction. 

Transformed swallow calls (natural sound), glockenspiel notes (human musical instrument) and modulated sine tones (digital world) intertwine to form a new tonal topology. Above a fundamental tone of 200 Hz, I construct pure minor thirds (6:5) that do not form octaves, producing audible beats. This is accompanied by my whispered text, 'Ancestralities' – a multilingual, poetic, fragmentary exploration of origin, inherited patterns, and emotional ambivalence towards one's own ancestry. 

By encoding interactive spatial structures as multi-layered sound forms, my maze subverts conventional listening experiences and deliberately sets transgressive impulses in motion. Rather than presenting 'internet music' as an aesthetic of permanent streaming, the composition offers an acoustic cartography of a metaverse in which the perception of time, identity and space can be experienced in sensual, fragmented and ambivalent ways. 

I 'play' my original Second Life installation as though it were an interactive instrument. Its spatial arrangement forms the tonal basis of an original fixed media composition. The labyrinth structure is translated into a rhizomatic network architecture comprising branching paths and an open form with no linear dramaturgy. Like the labyrinth itself, the text fragments reflect inner and genealogical turmoil.

A performance video by the Avatar Orchestra Metaverse documents the audiovisual context of my 3D installation in Second Life (https://youtu.be/4CRTNbabxw4?si=m6OJsFsW7oPFxEeA&t=1255, from 20:08). All the sounds you hear were played in real time by the avatars in Second Life during the performance. This is not a recording or post-production soundtrack.

in my maze (2025)

Paranormal est un trio réunissant le chant,  la percussion et des cordes pincées

K

Paranormal

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