Born in 1958 and educated in Germany. Studied psychology/sociology with a
final "Diploma" in 1983; 1983-1989 composition with Nic. A. Huber and
Dirk Reith. Commissioned to work with choreographer Susanne Linke for the
choreography of "Ruhrort", followed by several international performances
in America, Europe and Asia. Ballet music for the Nederlands Dans Theater
with the orchestral piece "Riti Contour". Several ICMC performances, in
San Jose, Tokyo, and Banff. Since 1995 Member of the jury for the "Ars
Electronica" award of the ORF Austria. Publication in the Computer Music
Journal. Commissioned by the "Akademie der Kuenste" Berlin, "Zentrum fuer
Kunst und Medientechnologie" Karlsruhe and the ICMA for the ICMC 1997 in
Thessaloniki. Awards: Folkwang Award , Essen, Award from the WDR for an
orchestral piece with the Philharmony Cologne. Busoni Award of the
"Akademie der Kuenste" Berlin. Scholarship of the German government by the
DAAD. Visiting Scholar at CCRMA between 1991 and 1993. "Menzioni D'Onore"
at the Luigi Russolo Award, Italy and the Stockholm Electronic Music Award.
"Golden Nica", 1st Price "Ars Electronica" Linz, Austria. Ludger Bruemmer
is currently living and teaching at the electronic studio ICEM, Folkwang
Hochschule Essen.
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A sample of the "Prelude" from Maurice Ravel's "Le tombeau de Couperin" is the
aesthetical and synthesis source for this composition. Its basic theorems
are used to create the musical ideas of the new composition. The pitch
directions for example are built out of the basic elements "upwards" and
"downwards." The combination of these two elements creates all the figures
and motives used in Ravel's composition, and even further they determine
the formal structure of the whole piece. The most important algorithms use
an idea which is derived from mathematical fractals. Those fractals
contain structures which are all similar to each other and differ only in
size. It is similar to a Russian doll where the same doll lives inside the
bigger one. Every grain of sound contains something and discovers
something in the duration of the piece: a bassoon sound is created by a
looped oboe, a choir sound is created by a looped harp. The grain is like
a keyhole which gives a limited view to what is behind the door. The piece
was created in 1992 on the NeXt computers of the Center for Computer
Research in Music and Acoustics, Stanford University, using Bill
Schottstaedt's Common Lisp Music synthesis software and Heinrich Taube's
Common Music. It was as well premiered at Stanford University in the Frost
Amphitheater with its legendary acoustics.
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