Nora-Louise Müller
Musikhochschule Lübeck, Musikhochschule Lübeck, Faculty Member
Jonas Baes (geb. 1961) erforscht seit Jahrzehnten die vielen traditionellen Musikstile seines Heimatlands, der Philippinen, und lässt sich in seiner kompositorischen Arbeit insbesondere von der Musik der Mangyan-Volksgruppen auf der Insel... more
Jonas Baes (geb. 1961) erforscht seit Jahrzehnten die vielen traditionellen Musikstile seines Heimatlands, der Philippinen, und lässt sich in seiner kompositorischen Arbeit insbesondere von der Musik der Mangyan-Volksgruppen auf der Insel Mindoro inspirieren. Dabei verwendet er überwiegend philippinische Instrumente wie z. B. Bohnenschotenrasseln, Bambusflöten oder Chimes aus Eisennägeln. Baes interessiert sich besonders für die geräuschhaften Ebenen der philippinischen Musik, für ihre Sprachanteile und ihre poetischen Formen. In der Verbindung zu Neuer Musik klingen seine Kompositionen ganz eigen.
Jonas Baes (born 1961) has been exploring the many traditional musical styles of his home country, the Philippines, for decades and draws particular inspiration for his compositional work from the music of the Mangyan ethnic groups on the island of Mindoro. He mainly uses Filipino instruments such as bean pod rattles, bamboo flutes or chimes made of iron nails. Baes is particularly interested in the noisy levels of Filipino music, its linguistic components and its poetic forms. In connection with new music, his compositions sound very unique.
Jonas Baes (born 1961) has been exploring the many traditional musical styles of his home country, the Philippines, for decades and draws particular inspiration for his compositional work from the music of the Mangyan ethnic groups on the island of Mindoro. He mainly uses Filipino instruments such as bean pod rattles, bamboo flutes or chimes made of iron nails. Baes is particularly interested in the noisy levels of Filipino music, its linguistic components and its poetic forms. In connection with new music, his compositions sound very unique.
Research Interests:
In 2012 we collaborated on a solo work for Bohlen–Pierce (BP) clarinet in both the BP scale and Carlos alpha scale. Neither has a 1200 cent octave, however they share an interval of 1170 cents which we attempted to use as a substitute for... more
In 2012 we collaborated on a solo work for Bohlen–Pierce (BP) clarinet in both the BP scale and Carlos alpha scale. Neither has a 1200 cent octave, however they share an interval of 1170 cents which we attempted to use as a substitute for motivic transposition. Some computer code assisted us during the creation period in managing up to five staves for one line of music: sounding pitch, MIDI keyboard notation for the composer in both BP and alpha, and a clarinet fingering notation for the performer in both BP and alpha. Although there are programs today that can interactively handle microtonal notation, e.g., MaxScore and the Bach library for Max/MSP, we show how a computer can assist composers in navigating poly-microtonal scales or, for advanced composer-theorists, to interpret equal-tempered scales as just intonation frequency ratios situated in a harmonic lattice. This project was unorthodox for the following reasons: playing two microtonal scales on one clarinet, appropriating a quasi-octave as interval of equivalency, and composing with non-octave scales.