Albert Mayr
Registered as:

Mayr Albert


# Title Year of Originsort icon Duration Instrumentation Category Sheet Music Shop
1 Insertions (Einschübe) 1996 variable
2 Concetto temporale 1995
3 Übung II 1994
4 Percorsi e permanenze 1994
5 Cronocorofonica 1994
6 Horch auf - für vier Sprecher 1994 3m
7 Stazioni - für drei Glocken 1994 3m
8 Liber organi - für Orgel und Dias 1993 50m
9 Laetantes ibimus - für gemischten Chor 1993
10 Wir haben den toten Spatzen begraben - für gemischten Chor 1993 3m
11 Kreuzweg - für variable Bläsergruppen 1992
12 die gesprächsrunde - für Sprecher 1992 50m
13 Largo allargato 1991
14 Time Walk 1988
15 Octo in primis 1988 8m
16 Nullum ingenium sine dementia - für zwei Trompeten, zwei Posaunen und Tuba 1988 4m
17 Merzzeiten 1987
18 Orario composto nr. 2 1987
19 Layers 1986
20 Übungen für Spielgruppen 1985
21 Dies Harmonica - Klangaktion für Klavier und Verstärkung 1984 8h
22 Hora Harmonica 1983 1m
23 Abendgrün - für neun Blechbläser 1983 6m
24 Collassi 1983 4m
25 Triade poco probabile 1982 5m
26 Echos - für variable Bläsergruppen 1982
27 Calendario Armonico 1981
28 Orario composto nr. 1 1981
29 Dauernstücke 1981
30 Dorfabschreitung 1979 40m
31 Signale in der Stadt - Klangaktion für 4 Gruppen mit Signalgebern, Mikros und Tonband 1979
32 Signal/Noise? 1978 4m
33 Der Mond ist aufgegangen 1978 9m
34 Ritmi - Installation 1977
35 Parcours rythmé 1977
36 Available Amplification 1976
37 Parallel Durations 1976
38 Hommage à H. v. H. 1976
39 32 CIFI - für fünf Trompeten 1976 6m
40 Performances from Time Aspects 1975
41 Relazioni - Trasformazioni 1975 11m
42 Vereinzelte Abläufe - für Orgel 1974 6m
43 Tre Trii - für Tasteninstrumente 1973
44 O du fröhliche - für Kirchenchor und Streicher 1973 3m
45 Küsten - für Fagott, Dias, Tonband 1973 7m
46 Syntape 1973 6m
47 Namplay 1972
48 Juli, Juli zwei - für Schul- oder Amateurensemble (18 oder mehr Spieler) 1971
49 Tape for Live Musicians 1971
50 So könnte es geschehen, so oder ähnlich II 1970 7m
51 Über allen Gipfeln ist Ruh 1970 4m
52 Juli, Juli 1969
53 Proposta sonora XIII 1969 ~ 5m
54 An old lady's wallpaper 1969 6m
55 So könnte es geschehen, so oder ähnlich I 1969 8m
56 Proposta sonora VIII-XII 1968 ~ 5m
57 Proposta sonora III-VII 1967 ~ 5m
58 Proposta sonora I, II 1966 ~ 5m
59 Hommage à Miro - für Horn und Orgel 1965 5m
60 Duo - for violin and violoncello 1960 4m 40s

General Information

Year of Birth:  1943
Date of Birth:  1. August 1943
Place of Birth:  Bolzano
Country of Birth: 


PeriodEducationInstrumentTeacherEducation OrganisationLocation

school leaving examination

1962 - 1965

composition (Carlo Prosperi)

1962 - 1965

composition (Roberto Lupi)

1965 - 1966

composition (Heinz Hartig)


diploma in "Musica e Canto Corale e Direzione di Coro"


scholarship of the Canada Council


composition (Alfredo Sangiorgio)

private courses in electronic music (Pietro Grossi)

contacts to the group around Luigi Dallapiccola


1964 - 1969

collaboration wit the Studio di Fonologia Musicale di Firenze, run by Pietro Grossi

1964 - 1969

lecturer in music education at various schools

1971 - 1973

lecturer in composition, harmonics, electronic music and score playing at McGill University

1973 - 1991

professor of electro-acoustic and experimental music

1974 - 1975

summer courses in electronic music at McGill University


participation in the World Soundscape Project led by R. Murray Schafer

1982 - 1993

several summer courses in electronic music, environmental music and experimental music at the GAMO Festival


summer workshop for experimental music

environmental music and speculative music

texts of electroacoustic and experimental music

theoretical studies, creative media work, seminars and consultants in the field of application of aesthetic criteria to the design of everyday time ( "Time-Design")

Performances (Selection)


Autunno Musicale Como


Performance Art Kassel


Muzicki Biennale Zagreb


Musica ex machina


GAMO Festival


Sound Art at Mobius



numerous performances in Canada (Montreal, Toronto, Vancouver), USA (Boston, New York), Italy (Bolzano, Bressanone, Florence, Pescara, etc.), Sweden, Switzerland

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Divisione Musicologica CNUCE - C. N. R., Pisa


Sound Art at Mobius, Boston


Ars cantandi Bruneck

Description of Style

During my education, since my collaboration with Pietro Grossi, a radical - not very famous - pioneer of electronic music in Italy, I asked myself which functions are open for composers - besides the traditional, closed works on paper or tape. In the early sixties Grossi already made sound installations on works without beginning or end and postulated the abolishment of the property character of music productions into collective works in progress.
In the seventies, I met R. Murray Schafer, the founder of the World Soundscape Project, who approximated to quit the music business to rather attend the more and more polluted sound environment. I have devoted different artistic, theoretical and organisational works to this topic.
The desire to set music into new concepts, led to a musical group effort with patients of the psychiatric clinic in Volterra and the assistance of some of my Florentine students, which - under a decided delimitation of the official music therapy - was about bringing new dynamics into the according department by producing sound together in a group. In those same years the preoccupation - inspired by the coincidental request of the Montreal art critic Henry Lehman to write a text on this topic - with the phenomenon time began in the theoretical and artistic respect.
The question, whether music may be the most important art of time and be able to deliver ideas and methods for an aesthetic handling of every day time, still fascinates me.
The list of these - commonly not or not primarily musical -concerns may make it clear that for me, next to (and ultimately above) the so-called intra-musical problems of composing, there has always been the possibility of using music in non musical areas.
First: the development moved from amateur twelve-tone beginnings on employment with electroacoustic music and improvisation to experimental or conceptual art and music (performances, action, installations), inspired especially by the close contact with visual artists. In addition, there are still pieces that can be more or less as compositions.
Second: Experimental art (almost) always claimed to go beyond areas designated as art ambling places (not only in terms of the physical premises), and modified forms of life as such (see, for example, Joseph Beuys). This lofty claim rubs on the fact that in our desperate work-sharing society, artists, and composers in particular, are not fully recognized as contact persons when it comes to non artistic issues. This has led to the fact, that in my various projects and activities (from the documentary "About times and people: the example Sarntal" to time consultancy) I don't use my skills as a composer and rather draw attention to the scientific merits, although for me these works are musical works in the sense an expanded concept of music (see Boethius to Kepler). But I will probably have to continue living with this contradiction.


Albert Mayr 1997