Period | Education | Instrument | Teacher | Education Organisation | Location |
---|---|---|---|---|---|
1974 - 1979
|
guitar | ||||
1978
|
school leaving examination | ||||
1979 - 1985
|
pedagogy | ||||
1979 - 1985
|
philosophy | ||||
1979 - 1985
|
psychology | ||||
1979 - 1985
|
theology | ||||
1984
|
composition | ||||
1985
|
master in theology | ||||
1992
|
doctorate in theology | ||||
1997
|
habilitation in theology |
Period | Activity | Organisation | Location |
---|---|---|---|
1981
|
study assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty | ||
1985
|
scientific assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty | ||
1986
|
Austrian Society of Philosophy of Religion: member | ||
1988
|
university assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty | ||
1989
|
member | ||
1992
|
Project Zeit.Schnitte: literature and music in interaction together with the writer Christoph Janacs | ||
1993
|
member | ||
1996
|
American Academy of Religion, Atlanta: member | ||
1997
|
Center for Process Studies, Claremont: member | ||
1998
|
assistant professor at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty | ||
1998
|
postdoctoral lecture qualification at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty | ||
1998
|
post-doctoral degree of "Dozent" at the catholic theological faculty | ||
1999
|
extraordinary university professor of catholic dogmatism | ||
2001
|
Xavier University: co-teaching a class on Christian Eschatology in US/European Dialogue with Prof. Joseph Bracken | ||
2002
|
editing Whitehead's Harvard Lectures 1925/1926 from the notes of Charles Hartshorne, published in Process Studies 30/2 (2002) 301-373 | ||
2003
|
publication of his book: "Gott als Poet der Welt. Anliegen und Perspektiven der Prozesstheologie" | ||
2005
|
Claremont Graduate University, Claremont: professor for religion and philosophy | ||
2005
|
Claremont School of Theology, Claremont: professor for process theology | ||
2006
|
Center for Process Studies, Claremont: co-director | ||
2006
|
Claremount Graduate University, Claremont: Faculty at the Department of Philosophy of the School of Humanities | ||
2006
|
Whitehead Research Project, Claremont: initiator and executive director | ||
2008
|
Chicago Divinity School: class | ||
2008
|
Society of Difference: member | ||
2008
|
Whitehead Metaphysical Society, Poland: member | ||
2008
|
new book: "God as Poet of the World: Exploring Process Theologies" |
Period | Performance | Composition | Organisation | Location |
---|---|---|---|---|
Contrast Trio | ||||
Hörgänge | ||||
Nomos Quartett | ||||
Österreich heute |
Period | Award | Composition | Awarding Organisation |
---|---|---|---|
1989
|
Cologne: international composition award | ||
1990
|
recognition award for music | ||
1990
|
work scholarship | ||
1990
|
promotional prize for composition | ||
1991
|
state scholarship for composition | ||
1992
|
recognition award for music | ||
1993
|
recognition award for music | ||
1994
|
work scholarship | ||
1995
|
Erwin-Schrödinger-foreign-exchange-scholarship | ||
2000
|
Kardinal Innitzer Fonds: prize of excellence in theology |
Sound studies. Intrusion into the sound of each instrument. The instrument as an orchestra.
Graphical notation. attempts of notation to the diversification of an instrument in "partial instruments."
"dimensioning" of techniques for sound initiation of a phrase. This forces on a selection of the actual sound from a potential sound space. Forced improvisation; by "dimensioning" an "underdetermination" of the factual is achieved.
"Deep structures": develop a sound field after structural criteria without regard of the actual time: this structure is like an (platonic) "idea", which can not be realized in time. "Time structures" are also made: they are time-related and show no timeless entity, they are more like sound "hoses," in where a sound may move along but cannot escape.
Modality by a thirteen-toned scale. Microtonality often required.
All works underlie a structure, from which both time structuring (metric, rhythm ...) as well as harmony and timbre space, the number of instruments and length of a piece can be determined. This thirteen-linked formation is purely formal in nature and can be applied on any category.
"Dark light" mystagogy: sound development between antipodean sound spaces as rough - soft, clean - very noisy, soft - hard, shrill - reassuring, etc.
"Disritualization": cognition is recognition: prevention of recurrence (recognition) enables (anti-) structures without evidence for the structure-spoilt ear. "Ritualization" is enabling repetition/recognition /detection of structural islands in the volatile time. These elements play a crucial role: according to their "rhythmic" or unbalanced distribution in a piece, the impression of satisfied settlement or distraught searching for a halt in the time stream. These structural "ideas" antagonistically determine a higher level of the rhythm of my music.
Roland Faber 1996