Rotunda Project 2025: Rupert Huber. Music of Encounters
The Austrian composer Rupert Huber (*1967) has composed a piece of music especially for the Rotunda in the Pinakothek der Moderne. It will be 鈥榩erformed鈥� by visitors to the museum: their movements will trigger melodic sequences from the composition and create a polyphonic 鈥榤usic of encounters鈥�.
鈥楽ocial Music鈥� is the name of the musical-spatial format that Rupert Huber has developed from his 鈥榙imensional music鈥� composition theory. In the composer鈥檚 installations, human encounters become music. 鈥楧imensional music鈥� is characterised by the inclusion of a third axis in the (traditional) musical notation of pitch and duration: the 鈥榩ossibility鈥� axis.
鈥楽ocial music鈥� is based on being able to incorporate unforeseeable events into a composition 鈥� in line with the principle of interaction: a person moves, a sensor detects their movement and triggers a melodic tonal sequence. In this way, several people create a symphony-like sound: their encounters are not only orchestrated but form the basis of the music installation as well 鈥� a symphony of individuals鈥� coming together. The sounds are adapted to the architectural situation, the proportions of the space determine the harmonisation of the parts.
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The Austrian composer Rupert Huber (*1967) has composed a piece of music especially for the Rotunda in the Pinakothek der Moderne. It will be 鈥榩erformed鈥� by visitors to the museum: their movements will trigger melodic sequences from the composition and create a polyphonic 鈥榤usic of encounters鈥�.
鈥楽ocial Music鈥� is the name of the musical-spatial format that Rupert Huber has developed from his 鈥榙imensional music鈥� composition theory. In the composer鈥檚 installations, human encounters become music. 鈥楧imensional music鈥� is characterised by the inclusion of a third axis in the (traditional) musical notation of pitch and duration: the 鈥榩ossibility鈥� axis.
鈥楽ocial music鈥� is based on being able to incorporate unforeseeable events into a composition 鈥� in line with the principle of interaction: a person moves, a sensor detects their movement and triggers a melodic tonal sequence. In this way, several people create a symphony-like sound: their encounters are not only orchestrated but form the basis of the music installation as well 鈥� a symphony of individuals鈥� coming together. The sounds are adapted to the architectural situation, the proportions of the space determine the harmonisation of the parts.
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