Prof. Sonja Lena Schmid

Professor for Ensemble and Digital Performance

Prof. Sonja Lena Schmid
Landeszentrum MUSIK–DESIGN–PERFORMANCE

Staatliche Hochschule für Musik
Schultheiß-Koch-Platz 3
78647 Trossingen

Phone +49 (0) 7425 9491-52
E-Mail sonja.schmid@mh-trossingen.de

  • Since 2019 Professor for Ensemble and Digital Performance
  • Studied cello and chamber music in Hamburg, Amsterdam, The Hague and Lübeck
  • Internationally active as cellist and performer, e.g. since 2012 with the Decoder Ensemble for Contemporary Music, 2008-2019 with Salut Salon (ECHO Klassik 2016)
  • Is passionate about both “classical” ensemble work as well as for scenic and interdisciplinary projects

Lectures in the Winter Terms 2019/20

Zwischen kulturellem Erbe und digitaler Gegenwart.

ZUORDNUNG: Offen für alle Studierenden. Auch Einzelunterricht möglich.

ANMELDUNG: SONJA.SCHMID@MH-TROSSINGEN.DE PROF. SONJA LENA SCHMID

Fächerübergreifendes Seminar zu interaktiven Kompositionskonzepten und „open scores“ des späten 20. und des 21. Jahrhunderts. Diese können z.B. Live-Ensembles, Performance und Bewegung, Elektronik oder Video einbeziehen. Ein Schwerpunkt liegt auf Arbeiten des Multimedia-Komponisten Alexander Schubert. Abschluss-Workshop mit Alexander Schubert und Präsentation der Ergebnisse im Januar 2020

ZUORDNUNG: Offen für Studierende aller Fächer; fächerübergreifende Teams sind möglich und erwünscht! 1 LP, Bei paralleler aufführungsreifer Realisierung eines Werkes (allein oder in Gruppen, live oder digital) wird zusätzlich 1/2 bis 1 LP vergeben.

R C 102 | TERMINE: 15.10.(EINFÜHRUNG), 29.10., 12.11., 26.11., 17.12., 17.01. 04.02. JEWEILS 14.00-16.00 UHR, PRAXIS-MODUL: UNTERRICHTSTERMINE N.A. | ANMELDUNG: SONJA.SCHMID@MH-TROSSINGEN.DE | PROF. SONJA LENA SCHMID, DR. JOACHIM GOSSMANN

In aktuellen Ensembles, z.B. bei Stücken mit Elektronik, ist ein Klangregisseur oder Sound-Designer unverzichtbar. Er bedient die Schnittstelle von Live-Musik zu Elektronik und Multimedia und hat oft großen eigenen Gestaltungsspielraum. Maximiliano Estudies (Klangregisseur, Komponist und Gründer der Firma Omslo) gibt Einblick in seinen Beruf, berät Studierende und betreut gemeinsam mit den Studierenden als Sounddesigner das Abschlusskonzert.

ZUORDNUNG: Offen für Musikdesign-Studierende und alle anderen Interessierten.

Kleine Aula | TERMIN: 02.–04.12. | ANMELDUNG: SONJA.SCHMID@MH-TROSSINGEN.DE | PROF. SONJA LENA SCHMID, A.G. MAXIMILIANO ESTUDIES

Nähere Informationen hierzu unter: www.next-level.org

ZUORDNUNG: Für Musikdesign-Studierende und Interessierte.

Kleine Aula | TERMIN: 28.11.–01.12. BEGRENZTE TEILNEHMERZAHL | ANMELDUNG: SVEN.REISCH@MH-TROSSINGEN.DE | PROF. SONJA LENA SCHMID

Drei kurze Fragen an Sonja Lena Schmid

You studied cello and chamber music and are today active in many artistic fields - classical as well as avant-garde. The denomination of your professorship at the Landeszentrum MUSIK–DESIGN–PERFORMANCE is "Ensemble and Digital Performance". What role does the digital play in your artistic work?

In my projects with contemporary music, especially with the Decoder Ensemble, digital elements – for example live electronics or electronic feed, video, sensor technology – are always present. This often means a fascinating expansion of your own sound and expression spectrum. Sometimes it's like learning to adjust to an additional "player". I'm particularly enthusiastic about the connection with live instruments when a musician is asked to act extremely precisely, but also has his own musical and performative design possibilities.

I also find the development exciting that in the meantime some composers do not take the classical way of studying composition, but have found access, for example, via technology or computer science, or from the perspective of completely different musical genres. Here I see an opportunity for genuine renewal and fresh ideas, and I also consider this to be a very important aspect of the Landeszentrum: the bringing together of know-how, mutual inspiration.

In the summer semester 2019 you will take up your professorship and thus also start ensemble work with students of the Musikhochschule Trossingen. What artistic ideas and performance projects can we look forward to?

First of all, I am looking forward to getting to know the students and teachers! It is important to me that students of all disciplines feel welcome at my university and at the Landeszentrum. I find the musical work in small groups the most beautiful of all: ensemble spirit, joy of playing, listening to each other, acting flexibly, body language, these are things that are important regardless of the style. I'm curious to see what the students have to offer and would like to encourage them to try out concepts and instrumentations that seem a bit weird – there are really good pieces with open scores that are feasible in any conceivable combination.

I am also looking forward to opportunities like the Trossinger Klangpavillon. And to develop ideas with the students on how concerts could be rethought in a new and different way, on exchange and discussion. It won't get boring!

With the quartet Salut Salon you have taken over a sponsorship for the "Escuela Popular de Artes", a music and art school in a poor district of the Pacific city Viña del Mar in Chile, collect donations and visit the project regularly. Does the social commitment with music change the view of one's own musical work?

As a musician, I find it important to think outside the box and to ask and experience again and again: what does music mean to people, especially those who cannot easily participate in cultural life? It can be as impressive an experience as meeting children in a favela in Chile or a slum in Kenya, for example playing for old or sick people, or even in prison. As a student I had many impressive experiences through the association "Live music now Yehudi Menuhin". In such situations, music often develops a particularly deep, connecting effect. This also helps with the question of why you actually make music yourself: hopefully out of an inner need and a love for music. There is already a danger that one loses sight of this in a music study with all the pressure and the compulsion to perfection. Finding a balance between self-criticism, ambition and discipline on the one hand and fun and joy in the cause, perhaps also gratitude, on the other - that's what I consider to be an important aspect of musician's life.

Further Professors of the Landeszentrum