Music score
1 score (344 unnumbered pages) : illuminations ; 36 cm, case 45 cm, 2 v. : facsimiles, music, illustrations ; 27 cm, case 29 cm, 1 audio disc : digital, CD audio, stereo ; 4 3/4 in. Sound: digital; optical; 1.4 m/s; stereo. Digital: audio file; CD audio.
  • Facsimile contents: Temporale. Advent ; Weihnachtszeit ; Vorfasten- und Fastenzeit ; Osterzeit ; Nachpfingstzeit
  • Sanctorale. Heiligenfeste mit Eigengut ; Heiligenfeste mit wenig oder keinem Eigengut
  • Totenmesse ; Litanei und Glaubensbekenntnis
  • Zusätzliche Gesänge für die Liturgie der Kar- und Ostertage
  • Kyriale
  • Sequentiale.
  • Introductory volume contents: Zum Geleit / Bischof Franz-Josef Bode
  • Einführung : Der Codex Gisle / Harald Wolter-von dem Knesebeck
  • Vom Wunder zur Wallfahrt : das Zisterzienserinnenkloster Marienbrunn in Rulle / Hermann Queckenstedt
  • Psallite sapienter : liturgische und musikalische Anmerkungen zu einigen Propriumsgesängen aus dem Codex Gisle / Franz-Josef Rahe
  • Ausgewählte Gesänge : Transkription der Musikbeispiele auf der CD / Fabian Kolb
  • Beschreibung der Zierinitialen / Harald Wolter-von dem Knesebeck
  • Der Codex Gisle wird zugänglich : eine orginalgetreue [that is, originalgetreue] Faksimile-Edition entsteht / Quaternio Verlag Luzern
  • Inhaltsübersicht der beiliegenden CD
  • Literatur.
  • Accompanying volume contents: Der Codex Gisle als Graduale für das Zisterzienserinnenkloster Rulle bei Osnabrück
  • Beobachtungen zum Äusseren des Codex Gisle, zu seiner Entstehung und seiner Geschichte sowie zum heutigen Einband der Handschrift
  • Übersicht über den Inhalt des Codex Gisle / Beate Braun-Niehr
  • Kunsthistorische Beschreibung und Betrachtung des Codex Gisle
  • Zur Entstehung und kunsthistorischen Einordnung des Codex Gisle / Harald Wolter-von dem Knesebeck
  • Huic oportet ut canamus cum angelis : Musik, Liturgie und Spiritualität im Graduale der Gisela von Kerssenbrock / Fabian Kolb
  • Jungfrauen, die ihr Leben Gott geweiht hatten : das Zisterzienserinnenkloster Marienbrunn und seine Aura als Wallfahrtsort im Spiegel der Zeit / Hermann Queckenstedt
  • Tafelteil
  • Anhang
  • Glossar
  • Bibliographie
  • Bildnachweis.
  • CD contents: Introitus 1. Advent : Ad te levavi / Solovers: Katharina Moschner
  • Introitus Weihnachten : Puer natus est / Solovers: Judit Stärker
  • Introitus Ostersonntag : Resurrexi / Solovers: Judit Stärker
  • Graduale Ostersonntag : Haec dies / Solovers: Stephanie Rethmann
  • Halleluja Ostersonntag & Vers : Pascha nostrum/ Solovers: Julia Arling
  • Offertorium Ostersonntag : Terra tremuit
  • Communio Ostersonntag : Pasch nostrum
  • Introitus Pfingstsonntag : Spiritus Domini / Solovers: Henriette Queckenstedt
  • Introitus Allerheiligen : Gaudeamus / Solovers: Anne Bessmann.
Facsimile of monastic gradual from 1300, named after Gisle, von Kerssenbrock, who is credited with its creation in an inscription, for the Cistercian Convent Marienbrunn in Rulle (near Osnabrück). Illuminations include 53 historiated initials depicting the life of Christ, text is in textualis (Gothic), and the notation, on 4 lines, in hufnagel neumatic notation.
SAL3 (off-campus storage), Special Collections

2. Bestiario Onirico [2011]

Music score
1 score (v, 76 p.) ; 44 cm.
Special Collections
Music score
v. : col. ill., music ; 33-50 cm.
  • [Facsimile of Codice rico]
  • Commentary. v. 1, Edición crítica / Elvira Fidalgo Francisco ; v. 2. [Estudios interpretativos].
Special Collections
Music score
1 online resource.
abstract. EINSPIELUNG. INSTRUMENTALE LEKTÜRE. MUSIK FÜR ENSEMBLES L'intervalle est un accessoire originaire et un accident essentiel [du chant]. Jacques Derrida, De la grammatologie. I call my piece an Einspielung ('recording in the public domain'). It is concerned with intellectual play: the establishment of a language of tones, born of the childlike anticipation of a sensuous-to-sonorous transformation together with a futile temptation to adequately comprehend this latter. To be sure, any such conceptualization of play which this word implies must be understood as a discrepancy, as, for example, in the way that a recorded interpretation of a piece is never capable of capturing sonic events situated outside the time frame of the recording. Nevertheless, it is still a question of organising the documentation of an imaginary Instrumentalspiel (instrumental performance) which arises from my piano playing (Spielen) during the compositional process into a reading reflection (which can be revisited). My music does not aim to conform to the customary seating plans of concert podia. It is neither for orchestra nor for ensemble groups, even if it moves between the poles of these instrumental formats. Rather, it treads the paths of instrumental encounter and probes instrumental connections, conjunctions of substance and accident, in order to invite solos intensified through self-referential heightening, duplicated duos, indiscreet chamber music, and impossible unisons to extreme (de)dimensioning in a domain whose scope is itself constantly modified by the discourse it contains. In this work the instrumentation does not define the genre, while the reading of a book initially unknown (by avoiding to disclose it, let us say: perhaps Derrida's De la grammatologie, whose second part, along with the subject matter of Rousseau's Essai sur l'origine des langues, according to Friedrich Kittler, could be read as a philosophy of partial tones) directs the act of composition, without being the programme of the resultant music. This composing strives towards bringing a text to the surface that, at the point of its emergence, re-enlivens abandoned pleasure of anticipation in order that concentrated energy might resonate as 'linguistic timbre'. Accordingly, this music also possesses no global formal organisation, only attempts at enclosure in various states. May 2010, Sebastian Semper.
Special Collections
Music score
1 online resource.
This dissertation is a musical composition entitled 'the end is no process'. The work is scored for oboe, bass clarinet, contrabass clarinet, flugelhorn, trombone, percussion, cello, and bass.
Special Collections
Music score
1 online resource.
This dissertation consists of two musical compositions that systematically explore the idea of collecting, organizing, recycling, concatenating, and transforming large pools of fragments borrowed from other composers. At the core of this research is an investigation the malleability of borrowed musical materials. The pieces are Drei, Dai, Dry (viola, violoncello, and percussion) and Intellectual Improperty 0.6 (laptop orchestra). A brief analysis of each piece is provided in the appendix. In the acoustic piece, algorithmic processes--computer-assisted or not--developed in previous works were reformulated and reutilized with a significantly increased number of score fragments. The granular technique called concatenative synthesis became a useful metaphor for the symbolic manipulation of the fragments. This process can be referred to as a kind of algorithmic score sampling. In the electroacoustic piece, concatenative synthesis--in its MaxMSP implementation called cataRT, by Diemo Schwarz--is used for the sound generation and manipulation of audio samples extracted from several recordings of piano pieces. The approach to musical borrowing differs according to the medium of composition. These differences originate in the very nature of the borrowed fragments in each case; audio samples in the electroacoustic domain, and notated samples in the acoustic domain. Drei, Dai, Dry and Intellectual Property 0.6 demonstrate these differences, particularly in regard to the degree of formalization of musical material. The composition of the two pieces was accompanied by considerations on the political and socio-economic dimension associated with musical borrowing today. The practice of musical borrowing can extrapolate and engender a discussion of the very notion of ownership of ideas. In fact, music, as well as open source computer software, has had a leading role in the process of questioning the concept of intellectual property. This dissertation attempts to provoke that debate.
Special Collections
Music score
1 online resource.
The Nominal (2006-2007) and Noumenal (2007-2009) cycles, scored for fourteen performers, electronics, and video projection constitute my DMA Final Project. Each cycle consists of five pieces of varying instrumentation and duration. The total duration of the two cycles when presented continuously is ca. 80 minutes. Nominal and Noumenal may be performed separately, or as a single conjoined "meta-work." Alternatively, each of the contained pieces may be performed autonomously. To date, 9 of the 10 works have been performed and/or recorded individually.
Special Collections
Music score
1 ms. score (vi, 48 leaves) + 6 parts ; 22 x 28 cm. + 1 CD-ROM
  • réplica: for viola and percussion
  • contra-réplica: for viola, snare drums and electronics
  • parte: for two pianos tuned with a difference of a quarter tone.
Music Library, Special Collections
Music score
1 ms. score (vi, 92 p.) ; 44 cm.
Music Library, Special Collections

10. The Stillaset cycle [2009]

Music score
1 ms. score (vi, 70 leaves) ; 44 cm.
  • Stillas : for brass quintet and percussion
  • FeXIV (Iron fourteen) : for alto saxophone with live electronics and video
  • Stillaset Brandt : for chamber orchestra and electronics.
Music Library, Special Collections

11. The cleansing storm [2008]

Music score
1 ms. score (106 leaves) ; 43 cm.
  • Part I, Scorched earth
  • Part II, Praya dubia
  • Part III, Tentacles and knot formation.
Music Library, Special Collections
Music score
1 ms. score (v, 20 p.) ; 28 cm. + 1 CD-ROM.
Music Library, Special Collections
Music score
1 ms. score (xv, 15 p.) ; 28 cm. + 1 DVD-ROM (digital, AIF files)
Music Library, Special Collections
Music score
1 ms. score (vi, 36 leaves) ; 29 cm.
Music Library, Special Collections
Music score
1 ms. score (xv, 95 leaves) ; 28 cm.
Music Library, Special Collections
Music score
1 ms. score (vi, 36 p.) ; 44 cm.
Music Library, Special Collections
Music score
1 leaf of ms. music ; 30 x 42 cm.
Special Collections
Music score
1 ms. score (vi, 125 p.) ; 28 cm.
Music Library, Special Collections
Music score
1 sound disc. 13 cm.
Special Collections
Music score
1 ms. score (v, 95 p.) ; 22 x 28 cm.
  • Tesserae : for violin solo
  • mirroR facing Blankness : for voice and CD
  • vanissense : for soprano, violin and ensemble.
Music Library, Special Collections