Location: Studio Xenakis, Music Building room 2215
Since my first compositions of music as with Musique Douze (1976), which was presented with speakers also hanging above the audience, the acoustic domain of electroacoustic music has intrigued me.
In the composition the actual sound’s qualities could also be enhanced with its acoustical room in which it resides, and also juxtaposed with yet other sounds from different acoustical rooms. This gives us an acoustical universe where our possibility to understand where they all originate is no longer available. In a physical world we have one room, here we have double exposure virtual acoustics.
Crushing Silence (2013) many years from the early compositions has made use of this parameter of acoustics. One overall reverb applied to a composition might give it a sense of depth, but soon we’re accustomed to this new point of reference. With ever changing acoustical reverbs/rooms we live a different world.
Ragnar Grippe has worked with electroacoustic music since 1973. His work has brought him from feature films to La Scala’s bicentennial in Milan. Ragnar Grippe’s education in Paris at Groupe de Recherches Musicales (GRM) gave him a thorough knowledge of the French aestethics which he has further developed into his own style of electroacoustic music, often with voice as an important sound source.