David Tudor was a pianist and experimental music composer who pioneered the creation of live electronic music in the mid-1960s. He performed many early works by John Cage, Christian Wolff, Morton Feldman, Earle Brown, Karlheinz Stockhausen, Stefan Wolpe,and La Monte Young.Many of these composers wrote pieces expressly for Tudor and he worked closely with Cage to develop many compositions. He became the pianist for the Merce Cunningham Dance Company and he and John Cage toured during the 1950s and 1960s with programs of Cage’s works.

Neural Synthesis

In 1989 he met technical writer and designer Forrest Warthman after a show at…


“Der moderne Tod” (The modern death) by Carl-Henning Wijkmark

The modern death

The fiction is radically real: at the end of the 1970s, the Swedish government (project group: DELLEM) invites people to a secret symposium on the subject of “The last stage of man’s life”. The real issue is how to get rid of the overaged society that we can no longer afford or want to afford. The question of how to kill the unproductive elderly and other superfluous people in the most humane way possible is discussed in a very practical way. …


How I managed to get an audience for an independent experimental music-theatre piece and enjoyed applying creative entrepreneurial strategies to a publicly funded art project. I hope this report to be inspiring and motivating to fellow theatre makers.
Info about “MAYA”:
https://mathis-nitschke.com/en/maya/

I’m a music composer and theatre director, working freelance for more than 20 years. I’m used to not leave my success to random effect. For example, I learned the hard way that it doesn’t help hoping for the work of a PR agent. …


Visit smallplaces.art

As a student I had made it my habit not to turn off the music when I left the apartment but the album I was listening to had not yet come to an end. To me it seemed disrespectful towards the music to just turn it off. What was brought into oscillation should be allowed to finish.

With the music playing on at home, I also connected the feeling that the music can resonate within me, although I no longer hear it. An empathic bond was formed between me and the distant music.

It was often albums from…


The sound impression for the musician in the orchestra is clearly different from the sound impression of the audience. Not only the instruments, but the entire body of sound is designed to resonate with the concert hall and enter into a symbiotic connection with the room. As a listener in the hall, one hears the result of this complex connection. The central feature is the distance to the instrument, which makes the sound soft and warm.

Many orchestra musicians are downright addicted to the direct sound of their own instruments and those sounding in their immediate neighbourhood. An immediacy that…


Increasingly, I encounter the problem that directors have the need to certify the use of music externally. For example, there should be a radio or a stereo system on stage that an actor uses to turn on the music. But why? So why shouldn’t there also be a light desk on the stage, where the actor turns on the light and changes the scene?

Not only since the Danish Dogme95 Manifesto do directors ask themselves this question. There is this famous anecdote by David Raksin and Alfred Hitchcock (check here and here): When Alfred Hitchcock was making “Lifeboat” at Twentieth…


Drawing by Katharina Dobner

“We become what we behold.
We shape our tools, and thereafter
our tools shape us.”
(John Culkin, Marshall Mcluhan)

Notes on the goals of my future music theatre projects

Instead of creating a linear narrative, I am fascinated by the idea of establishing poetic and musical spaces in which a user can move on its own, analogous to the principle of the Internet or to the form of the computer game. Entering this narrative space can possibly also change it at the same time. The art lies in taking up an artistic position despite all the freedom of the user and making it perceptible and experienceable without patronizing the user…


FOH Mixing Desk for HAPPY HAPPY

In my operas JETZT and HAPPY HAPPY I composed myself into the opera as a sound director, following a few basic thoughts on the subject of classical singing: This technique comes from a time in which great distances could not be bridged acoustically any other way. Today, however, we are surrounded by the sound of closely microphoned voices. It is sung quietly and intimately, the microphone catches every smallest detail. Understandably, we fell in love with this erotic closeness to the singer. …


Lecture to corporate event planners: The audience doesn’t listen to you? Get to know ways of thinking and strategies that lead to an event conception in which your audience likes to listen. Through a discussion of the phenomenon of listening itself, we approach the themes of ‘sound as identity’ and ‘musical dramaturgy’ before concluding the lecture with reflections on how to include the sense of hearing as an equal partner in a holistic production. By listening you will reach your audience deeper and the contents will have a long lasting effect.

Originated from a Lecture (watch here in German) @…


Abstract: There is no alternative. The public debate is under the seal of fatalism. There is no other objective than that of universal restrictions. The economy, the climate, overpopulation — the next catastrophe lies in wait at every bend. Minute by minute, the modern media feed us bad news. We know we should act but we feel powerless. We reduce our sphere of activity. We cease asking for anything whatsoever. We retreat into our shells. The link that would constitute values other than economic ones is missing. What might we do?

Mathis Nitschke

Mathis Nitschke is a sound designer, composer and director, specialising in sound combined with theatre, media and new technologies. www.mathis-nitschke.com

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