| Period | Education | Instrument | Teacher | Education Organisation | Location |
|---|---|---|---|---|---|
|
1978
|
conducting | ||||
|
1978
|
electro acoustics | ||||
|
1978
|
composition | ||||
|
1978
|
music theory | ||||
|
1978
|
music theory | ||||
|
1987
|
diploma in composition with distinction | ||||
|
| |||||
|
music theory | |||||
|
counterpoint |
| Period | Activity | Organisation | Location |
|---|---|---|---|
|
1988
|
freelancer | ||
|
1988
|
Austrian citizenship | ||
|
1989
|
founder of the Ensemble Wien 2001 | ||
|
1991 - 1992
|
establishment of the department of computerized music notation | ||
|
intensive preoccupation with computer und video installations | |||
|
international lectures about comtemporary music | |||
|
concerts as a conductor for various ensembles | |||
|
private composition lessons | |||
|
cooperation with solo artists such as Aurél Nicolet, Jean Pierre Rampal, Robert Aitken, and various others |
| Period | Performance | Composition | Organisation | Location |
|---|---|---|---|---|
|
concerts in Europe, USA, Japan, Canada |
| Period | Commission | Composition | Commissioner (Organisation) | Commissioner (Person) |
|---|---|---|---|---|
| Period | Award | Composition | Awarding Organisation |
|---|---|---|---|
|
1988
|
promotional award | ||
|
1990
|
work scholarship | ||
|
1997
|
state scholarship for composition | ||
|
promotion | |||
|
scholarship |
I do not want to display a catalogue of possible options. I do not even want to give the impression that I constantly have something new to express. I would rather reveal the development that takes place in the course of time, "my time". A transformation of events that hide under the remains of repetition. The choice of notations is due to the fact that I am fascinated by symbolism. I invent the notations by interpretating the given symbols in my own way, not a single movement can be expressed elsewise und can work, look and sound in the same way as this movement.
I was interested in expressing one and the same process into several views and the observation of the evolvement from one to the other. Soon I gave up the idea of illustrating a continuous transformation as a process. I had to realise that I could not remember ever experiencing a transformation in the here and now. I only then experienced a transformation when it was complete, and process was always staged, depending on the nature of my observation. Just as I wake up in the morning and notice that I am old. Then I realise that an "offence" took place, but only as an experience. The transformation has taken place, without me noticing. Therefore I see in my doings no factor more important than the "remembering".
Nader Mashayekhi, 1995