Hans W. Koch

hwk.jpg
Professor of sound
+49 221 20189 - 284
hans.w.koch@khm.de

(*1962), composer and sound artist.

Studied music, history and physics at the Pädagogische Hochschule Weingarten from 1984 to 1988 and composition at Hochschule für Musik und Tanz Köln, with Johannes Fritsch, from 1988 to 1995.

Since his time as a student he has engaged intensively with the work of John Cage and Morton Feldman, also as a performer. Further important impulses have emerged from his studies of Giacinto Scelsi and Janis Christou, which have also been published. He also pursues research on composers on the edge of the mainstream, such as Nicolai Obouchow and Leni Alexander.

Artistically he is interested in the creation of sound and structure as a process, also in the search for hidden aspects of everyday objects. This also extends to the use of computers as musical instruments in a very literal sense.

“I see art in general as the shaping of thoughts in different materials. Personally I favour conceptual approaches: more thought, less material.”

2007 visiting professor of composition and experimental sound practices at California Institute of the Arts, Los Angeles.
Since 2012, lecturer in hybrid sound composition and extended systems at Robert Schumann University of Music and Media Düsseldorf.
He also curates concerts and sound art events in Cologne such as BrückenMusik from 1999 to 2012, and within the framework of Reihe M since 2009, and has been a member of the board of “ON - neue musik köln” since 2010.

His work has been presented at various festivals and by different broadcasters both nationally and internationally.

publications:
der generative tod - the benchmark consort für ein freiwilligen laptoporchester, in: positionen - texte zur aktuellen musik #99: generative kunst (muehenbeck 2014)
cages enkel - die komponisten des "experimental music yearbook"  in los angeles, in:
programmbuchbeitrag für das "rainy days" festival, philharmonie luxemburg (luxemburg 2012)
nikolai obuchow, le livre de vie: preface, in: programmbuchbeitrag für maerzmusik | berliner festspiele 2010 / wiederabdruck im programmbuch warschauer herbst 2010
corresponding editor für das leonardo music journal #19 "our crowd". editorialbeitrag:
"news and olds from the electronic orchestra pit" (mit press, cambridge 2009)
 archiv eines anonymen geistersehers, in: "wach sind nur die geister", katalog zur gleichnamigen ausstellung, hartware medienkunstverein (dortmund 2009)
3 woerter fuer friedhelm mennekes, in: "kunststation - für friedhelm mennekes" (koeln 2008)
computers as musical instruments, in: "i shall illuminate the dark side of the moon", kataog zum festival "safe and sound", umna-art & science in kooperation mit dem nikola tesla museum (belgrad 2007)
computers as musical instruments? from computermusic I to bandoneonbook, in: leonardo-music-journal #17 (mit press, cambridge 2007)
...two ways of not listening to..., in: "hermes´ear", katalog zur gleichnamigen ausstellung im kassák centre for intermedia creativity (nove zamky 2006)
erinnerung an die komponistin leni alexander, in: musiktexte 107 (koeln 2005)
märchen von der musik als abwesenheit von klang, in: kunstmusik 5 (world edition koeln 2005)
die koelner prometeo-akademie, in: programmbuch musiktriennale (koeln 2004)
response 2003 „musik und macht“, in: programmbuch musiktriennale (koeln 2003)
arbeit /schönheit (labor), in: programmbuch maerzmusik | berliner festspiele (berlin 2002)
g. scelsi "pranam II" fuer 9 instrumente, in: musiktexte 81/82 (koeln 1999)
notation und emotion (ueber die kompositionstechnik in jani christous anaparastasis I), in:
im dunkeln singen - das jani christou-symposium hamburg 1993 (ed. wolke, hofheim 1993)

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