Music Beyond Sound

Abstract

This dissertation examines the potential of music to create places that enable the intertwining of the speakable and unspeakable, the present and the absent, materiality and thinking. In my compositions I aim to build ambiguities by searching for radical places of this communion. The dissertation contains scores to seven works composed between 2013 and 2017: Keiner kennt seinen eigenen Namen, keiner kennt sein wirkliches Antlitz (Léon Bloy) (2013-14) for violin, viola, violoncello, flute, oboe, clarinet, percussion and electronics, Keiner kennt seinen eigenen Namen, keiner kennt sein wirkliches Antlitz (Léon Bloy), Elf Orte after Texts by Robert Musil and of the New Testament (2014) for tuba (F) and amplification, Keiner kennt seinen eigenen Namen, keiner kennt sein wirkliches Antlitz (Léon Bloy), Four Improvisations after a Poem from “grenzland” by Anja Kampmann (2014) for amplified guitar, Totenfest, I. Echo (2015) for string quartet, Totenfest, II. Endymion (2016) for bass clarinet and string trio, Totenfest, III. Die Tränen der Aphrodite (The Tears of Aphrodite) for ensemble (2017), Totenfest, IV. Syrinx (2017) for ensemble. The scores are ordered chronologically and given as the numbered chapters of this dissertation.