Daniel Mayer
Registered as:
Instrument: electro acoustics

Mit freundlicher Genehmigung von D. Mayer (© Privatfoto)

Mayer Daniel

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 kitchen studies 2016 10m 35s
2 Lokale Orbits / Duo 3 2014 13m 15s
3 Lokale Orbits / Duo 2 2013 9m
4 Lokale Orbits / Solo 10 2013 20m
5 Lokale Orbits / Solo 9 2013 8m
6 crushed letters 2 - für 8-Kanal-Tonband 2012 8m
7 crushed letter 1 - für Tonband 2011 6m30s
8 Lokale Orbits/Solo 8 - für Stimme und 4-kanaliges Zuspiel 2011 10m 45s
9 Hybride Strukturen 1 - für Bassposaune, Streichquartett und 8-kanaliges Zuspiel 2010 8m50s
10 Lokale Orbits/Solo 6 - für Klavier und 8-kanaliges Zuspiel 2010 11m30s
11 Lokale Orbits/Solo 7 - für Viola und 4-kanaliges Zuspiel 2010 11m30s
12 Lokale Orbits/Trio 1 - für Violine, Violoncello, Klavier und 4-kanaliges Zuspiel 2009 9m
13 Lokale Orbits/Solo 4 - für (Kontra-)Fagott und 4-kanaliges Zuspiel 2009 17m
14 Lokale Orbits/Solo 5 - für Violoncello und 8-kanaliges Zuspiel 2009 15m
15 Lokale Orbits / Solo 3 2008 18m 30s
16 Paraphrasen / Solo 1 2008 ~ 15m
17 Lokale Orbits/Duo 1 - für Violine, Bassklarinette und 4-kanaliges Zuspiel 2008 19m30s
18 Lokale Orbits / Duo T1 2007 9m 45s
19 MF 2007 ~ 8m
20 Lokale Orbits / Solo 2 2007 25m 30s
21 Grundlinienspiel 2007 ~ 9m
22 Lokale Orbits / Solo 1 2007 ~ 20m
23 Modulation und Echo 2006 14m - 16m
24 E-Es 2006 ~ 10m
25 FD:G-D-F 2006 12m 30s - 13m 30s
26 line, step, phrase 2005 ~ 40m
27 two minutes retuned 2005 42m 30s
28 Rondo for buffer granulator 2005 - 2007 8m
29 Elliptische Variationen 2004 17m - 19m
30 Algorithmische Etüden für computergesteuerten Konzertflügel 2003 ~ 5m
31 Study 0 in computer aided sound synthesis 1999 - 2000 9m 30s
32 Helix 1999 16m 30s - 18m
33 Duo für Akkordeon und Klavier 1997 ~ 12m

General Information

Year of Birth:  1967
Date of Birth:  7. January 1967
Place of Birth:  Graz
Region of Birth: 
Country of Birth: 
Nationality: 

 

Daniel Mayer (*1967) studied pure mathematics and philosophy at the University of Graz (MSc, MPhil) and music composition (MA) with Prof. Gerd Kühr at the University of Music and Performing Arts Graz, Austria. 2001 / 02 postgradual study at the electronic studio of the Music Academy of Basel, Switzerland, with Hanspeter Kyburz. Guest composer at the Center for Art and Media Karlsruhe (2003 / 04) and at IEM Graz (2005). Artistic-scientific staff member at University of Music and Performing Arts Graz / IEM within the FWF-funded research project Patterns of Intuition, teaching. Working with generative computer algorithms in electronic and instrumental music.

 

Performances and work contributions at SuperCollider Symposium 2006, Birmingham, UK; ÉuCuE Electroacoustic Concert Series 2008, Montreal; JSEM / MSJ Electroacoustic Festival 2009, Nagoya; Giga-Hertz-Award concerts 2007, 2008, ZKM Karlsruhe; Electrovisiones 2009, Mexico City; Nuit bleue 2009, Saline Royale d'Arc et Senans; International Computer Music Conference (ICMC) 2010, New York; ISEA2010 RUHR, ICEM, Essen; Pixilerations [v.7] 2010, Providence, Rhode Island; Sound and Music Computing Conference (SMC) 2011, Padova; Hilltown New Music Festival 2011, Ireland; EMUFest 2011, Rom; SICMF 2011, Seoul; FILE Hypersonica São Paulo 2012; ICMC 2012, Ljubljana; WOCMAT 2012, Taipeh; Ensemble Continuum Contemporary Music, Concert Series 2013, Toronto; NYCEMF 2013, New York; ICMC 2013, Perth ...

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1973 - 1977

lessons with Anneliese Illenberger

1977 - 1980

lessons with Brigitte Straßnig

1994 - 2000

composition

2001 - 2002

postgraduate studies "algorithmic composition"

Activities

PeriodActivityOrganisationLocation
2003 - 2004

lectureship (computer music) at the Fachhochschule Darmstadt-Dieburg

2003 - 2004

guest composer

2004 - 2005

teacher (music theory, aural training)

2005

guest composer

2011 - 2014

co-worker at the researching project "Patterns of Intuition"

2012

ever since teacher (art and media, internship electronic music)

2014

ever since teacher (sound synthesis, integral aural school)

2016

ever since visiting professor for electroacustic composition

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
2005
2006

SuperCollider Symposium

2006

Generalmusikdirektion Graz

2006
2007
2007
2007
2007
2008

ÉuCuE, Electroacoustic Concert Series

2008

Landesgalerie

2008
2009

JSEM/MSJ Electroacoustic Festival 2009

2009

Bilder einer Ausstellung - Raue Einstellungsbilder: Clara Frühstück (piano, conception) und Florian Frühstück (video)

2009

Fonoteca Nacional - Electrovisiones 2009: Alejandro Escuer (flute)

2009

Robert Gillinger-Buschek (contraforte)

2010

Richard Vaudrey (violoncello)

2010

Folkwang Univeraity of Arts - ISEA 2010 RUHR, Day of Sound: Nora Krahl (violoncello)

2010

Folkwang University of Arts - ISEA 2010 RUHR, Day of Sound: Sabine Vogel (flute)

2010

Pixilerations [v.7]

2011

Conservatorio "Cesare Pollini" - SMC 2011, Sound and Music Computing Conference: Aldo Orvieto (piano)

2011

Claudia Cervenca (voice)

2011

Conservatorio S. Cecilia - EMU Fest 2011: Silvia D'Augello (piano)

2011

Jayu Theater, Seoul Arts Center - SICMF 2011: Eunha Kang (piano)

2012

University of Music and Performing Arts Graz - Students of the course Performance Practice of Contemporary Music (PPCM), live-elektronics-conzert: Elisa Azzarà (flute)

2012

Španski borci - ICMC 2012: Nina Prešiček (piano)

2013

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)
2004
2005
2006
2007
MF
2007

Awards

PeriodAwardCompositionAwarding Organisation
2000

3rd prize at the Luigi-Russolo-competition 2000

2001

state scholarship for composition

2003

promotional award for music

2007

Giga-Hertz-Award for electronical music

2008

state scholarship for composition

2008

Theodor Körner Promotion Award for Science and Art (composition)

Description of Style

[...] When it comes to the use of algorithms, it's their continuous modification as response to the generated musical results which for me stands in the foreground. The own relation to what is remembered is included in the modifications of the main procedure and the final review of its results . The dynamic adaptation of an algorithm and not its rigid musical "implementation" is the paradigm. In aesthetic terms, regardless of the degree of complexity, it's finally never structures in itself which tend to be the crucial element of our ratings. The decisive factor is always how new structures are scarring along the remembered ones. Precisely because of this complexity, and as well simplicity, is not only of interest because of its structural properties, but primarily when put into the historical context [...]

 

Daniel Mayer, text for a programm of the Kulturzentrum bei den Minoriten, Graz

Performer of (Composition)

Contact, Links

Language:  German, English