Postal address
KreativInstitut.OWL
Emilienstraße 45
32756 Detmold
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Kreativ Campus Detmold
Bielefelder Straße 66a
32756 Detmold
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I believe that us artist-researchers have a certain obligation of contributing to the ongoing discourses on important environmental and societal issues and phenomena. Most recently I have focused on raising awareness on the global problem of the pollution of our marine environments by combining methodologies of the arts, humanities, and computer sciences in my research. On top of scientific dissemination focusing on data sonification, my research consists of series of musical compositions that have been performed internationally. The next step of my research in KIO will be to extend the concept to a large-scale orchestral setting, in collaboration with the local orchestras and colleagues. Whereas the previous works composed in the framework of this project are based on translating data into rhythms and pitches with the help of computer-based analysis of underwater sound recordings, the next phase will also involve a wider research perspective by using mathematical modeling as a further research tool.
Artistic researcher, KreativInstitut.OWL, Hochschule für Musik Detmold
Visiting scholar, Mixed Reality Laboratory/Nottingham University
Composer represented by Fennica Gehrman publishing
Independent composer and pianist
Assistant professor, Hong Kong Baptist University
Postdoctoral Fellow, Aalborg University. Research project: Automatising Musical Expression in Real Time Performance Settings: Procedural Music Systems as a Composition Technique.
DPhil in Music/Composition, University of Oxford
Postgraduate degree in electro acoustic composition, Universität fur Musik und darstellende Kunst, Wien
MMus in composition, Royal Academy of Music
Bachelor of music degree in performing arts (piano), University of Applied Sciences in Jyväskylä, Finland
Studies in composition, piano and chamber music at Sibelius Academy (2004-) and Universität Mozarteum Salzburg
What you hear is what you see? Perspectives on modalities in sound and music interaction.
At the beginning of the twentieth century, the physicist Erich Waetzmann had already identified limitations in the functionality of the human ear in his “School of Listening”, where he provided instructions on “how the severely neglected auditory organ could be trained and strengthened in its performance”,2 when compared to our sense of sight. Therefore, he decided to address the shortcomings of the auditory sense with his booklet.
Personal and Ubiquitous Computing, 28(5), 655–656
Iber, M., Enge, K., Rönnberg, N., Neidhardt, A., Schnell, N., Pollack, K., Kallionpää, M., & Chamberlain, A. (2024)
The Reef
A study on corals for two pianos and video
Maria Kallionpää, Partitur Music Finland, 2023
Sonification as a Composition Technique and Means of Artistic Expression
Despite of the ever-expanding variety of technological means accessible to composers, performers, orchestrators, music producers, and music pedagogues of our time, the essence of music composing has mostly remained the same for centuries: the key question is, how to form an artistically innovative core idea of a musical piece and to find the most ideal instruments for it? This paper discusses composers’ explorations on establishing their individual voices, as well as finding and selecting the tools and techniques that would best serve their artistic goals in today's complex and pluralistic network of aesthetics.
Dr. Maria Kalionpää, Prof. Dr.-Ing. Axel Berndt, Mag. rer. nat., Dipl.-Psy. Hans-Peter Gasselseder, wissenschaftlicher Artikel zur XXV Generative Art Conference - GA2023