DIMPKER

Composer • Author • Lecturer

Extended Instrumental / Vocal, Electroacoustic, Light, Video, Theatre & Dance Notation

The art form I work in is notation. This means that all works are first constructed on paper and should be primarily accessed in this way. My whole œuvre is connected to the two treatises Extended notation: The depiction of the unconventional (LIT publishers, 2013) and

Kinetic notations for the visual and performing arts (due to be published in 2025 by Transcript / Columbia University Press) that develop notational methods for unconventional artistic events, including extended instrumental playing / singing techniques, electroacoustic music, light art, new media art, theatre and dance.


I have applied the developments in more than thirty scores. Since 2019, my pieces have overcome sound production, as they are fundamentally based in the visual and performing arts. All of my compositions with work numbers are connected to the two treatises.

2000-10: Works in the fields of Computer Music and Sound Art, inter alia Konstrukte. Performances and installations, inter alia at Singuhr / Hörgalerie and Tuned City Festival. First notated music without work numbers, inter alia Die Lehre des Scheins or Wiederkehr | Kyklos (earlier works lost / destroyed).

N. 1 (2010, rev. 2011-12) Tatsachen in zwei Sätzen: Für Violine solo | For violin alone [8-9’].

N. 2 (2010, rev. 2011-12) Entgleisungen: Für Flöte, Klarinette in B, Klavier, Perkussion, Violine und Violoncello | For flute, Bb clarinet, piano, percussion, violin and violoncello [10-11’].

N. 3 (2010, rev. 2011-12) Zu vier Händen – Interventionen für Konzertflügel: Für Klavier und Assistenz | For piano and assistance [10-11’].

N. 4 (2011) Ausführung über den Materialbegriff: Für Klarinette in B, Mezzosopran, Kontrabass und Elektronik | For Bb clarinet, mezzo-soprano, contrabass and electronics [~13’].

N. 5 (2011) Studien zur Notation elektroakustischer Musik | Studies on the notation of electroacoustic music: Für Festmedien | For fixed media [3’54’’].

  • 5/1 Studie I | Study I
  • 5/2 Studie II | Study II
  • 5/3 Studie III | Study III
  • 5/4 Studie IV | Study IV

N. 6 (2012) Klanggruppen: Für Violoncello und Elektronik | For violoncello and electronics [~9’].


N. 7 (2012) Filterspiel – Musik für Konferenzen | Filterspiel – Music for conferences: Für 4 Perkussionistïnnen, 4 Dolmetscherkabinen, Dirigent und Elektronik | For 4 percussionists, 4 interpreter’s booths, conductor and electronics [~12’].

  • 7/1 Performative Version | Performative version
  • 7/2 Videoversion | Video version

N. 8 (2012) Drei Lieder | Three songs: Für zwei Gitarristïnnen und Elektronik | For two guitarists and electronics [~15’].

  • 8/1 Ohne Worte
  • 8/2 Windgesang
  • 8/3 Metamelodien

N. 9 (2013) Struktur / Hinter den Kulissen: Für Ensemble | For ensemble [13-14’].

N. 10 (2013) Sýnthesis: Für ring- und amplitudenmodulierte Oszillatoren | For ring and amplitude modulated oscillators [~16’].

N. 11 (2013) Streichquartett I | String quartet I [~15’].

  • 11/1 Instrumentale Version | Instrumental version
  • 11/2 Elektronische Version | Electronic version

N. 12 (2014) Kinderstück [Meta-Physik] | Children’s piece [Meta-Physics]: Für Klavier | For piano [4’33’’].

N. 13 a) (2014) Tractatus I: Für 48-stimmigen Chor SATB und Elektronik | For SATB chorus of 48 voices and electronics [~11’].

N. 13 b) (2017) Tractatus II: Für Sprecher und Orchester | For speaker and orchestra [20/25’].

N. 14 (2014, rev. 2018) Utopia (omaggio a Luciano Berio): Für Flöte und Elektronik | For flute and electronics [~15’].

N. 15 (2015) Ossia (A → ¬B & B → ¬A): Für Klarinette in B oder Violine, Violoncello und Klavier | For Bb clarinet or violin, violoncello and piano [~10’].

  • 15/1 Version mit Klarinette in B | Version with Bb Clarinet
  • 15/2 Version mit Violine | Version with Violin

N. 16 (2015) Drei Miniaturen nach Nietzsche: Für Sopran, Klavier und Elektronik | For soprano, piano and electronics [5’].

  • 16/1 Ecce Homo
  • 16/2 Dem unbekannten Gott
  • 16/3 Über meiner Haustür

N. 17 (2016) Zum Anbeginn neuer Zeiten (Klavierstücke I-IV): Für Klavier und FM-Instrumente | For piano and FM instruments [~15’].

  • 17/1 Klavierstück I
  • 17/2 Klavierstück II
  • 17/3 Klavierstück III
  • 17/4 Klavierstück IV
  • 17/5 Klavierstück I – elektronische Version | electronic version
  • 17/6 Klavierstück II – elektronische Version | electronic version
  • 17/7 Klavierstück III – elektronische Version | electronic version
  • 17/8 Klavierstück IV – elektronische Version | electronic version

N. 18 (2016) Utopia II: Für Harfe und Elektronik | For harp and electronics [≥10’].

N. 19 (2016) Utopia III: Für Frauenstimme | For female voice [5-8’].

N. 20 (2016) Streichquartett II „MikrosKopie“ | String quartet II “MicrosCopy”[≤10’].

N. 21 (2017) Warenwirtschaft: Für 2-3 Spielerïnnen, Informations- und Kommunikationstechnologie, Unterhaltungselektronik, Haushaltsgeräte, Haushaltsgegenstände, Mikrofone, Lautsprecher, Mundharmonikas und Tamtams | For 2-3 players, information and communication technology, consumer electronics, home appliances, household items, microphones, loudspeakers, harmonicas and tam-tams [22’ + ∞].

  • 21/1 Version für 2 Spielerïnnen | Version for 2 players
  • 21/2 Version für 3 Spielerïnnen | Version for 3 players

N. 22 (2017) 4 × 2 × 8 – Sakrale Interaktionen: Für Flöte, Oboe, Klarinette in B, Fagott, 4 sakrale Räume, 2 Mikrofone, 8 Lautsprecher und Elektronik | For flute, Bb clarinet, oboe, bassoon, 4 sacred rooms, 2 microphones, 8 loudspeakers and electronics [16’].

N. 23 (2018)Utopia IV: Für 1-3 Trompeten und 0-3 Sprecherïnnen | For 1-3 trumpets and 0-3 speakers [~9’].

  • 23/1 Version für 1 Trompete und 0-1 Sprecherïnnen | Version for 1 trumpet and 0-1 speakers
  • 23/2 Version für 2 Trompeten und 0-2 Sprecherïnnen | Version for 2 trumpets and 0-2 speakers
  • 23/3 Version für 3 Trompeten und 0-3 Sprecherïnnen | Version for 3 trumpets and 0-3 speakers

N. 24 (2018) La naissance de la lumière à partir de l’esprit du feu: Für Perkussion, Aerophone und Elektronik auf Festmedien | For percussion, aerophones and electronics on fixed media [27’24”].

N. 25 (2018) Utopia V | Klavierstück V: Für präpariertes Klavier, Kontaktmikrofone, Lautsprecher und/oder (präpariertes) Klavier und Elektronik | For prepared piano, contact microphones, loudspeakers and/or (prepared) piano and electronics [6/12/18’].

  • 25/1 Utopia V
  • 25/2 Klavierstück V
  • 25/3 Utopia V | Klavierstück V

N. 26 (2019) Sphären » Schweben: Für Streichorchester, Spiegel, Transducer, Scheinwerfer, Becken, Chladni Metallplatten, Industrie-Violine/-Viola, Werkzeug, Mikrofone und Elektronik | For string orchestra, mirrors, transducers, spotlights, cymbals, Chladni metal plates, industrial violin/viola, tools, microphones and electronics [~16’ + ∞].

  • 26/1 Aufführung | Performance
  • 26/2 Installation | Installation

N. 27 (2019) Aus den Werkstätten des Lichts: Holografisches Lichtwerk für drei Spielerïnnen und Elektronik | Holographic light work for three players and electronics [10’ + ∞].

  • 27/1 Performative Version | Performative version
  • 27/2 Installative Version | Installative version

N. 28 (2019) Lichtquartett | Light quartet “Die Zusammensetzung der Welt”: Mikroskopisches Lichtwerk für vier Spielerïnnen und Elektronik | Microscopic light work for four players and electronics [≤11’ + ∞].

  • 28/1 Performative Version | Performative version
  • 28/2 Installative Version | Installative version
  • 28/3 Digitale Version | Digital version

N. 29 (2020) Feux avant, la chorégraphie: Theatrales Lichtballett für Scheinwerfer, LED-Punktmatrix, Lichtvorhang, Laser und Nebelmaschinen | Theatrical light ballet for spotlights, LED dot matrix, light curtain, lasers and fog machines [28’00”].

  • 29/1 Performative Version | Performative version
  • 29/2 Installative Version | Installative version

N. 30 (2021/22) Videoquartett | Video quartet “Manifestation des Abseitigen”: Medien- und Klanginstallation für Videokameras, Fluoreszenzmikroskop, Projektor, Bildschirme, Nebelmaschine, Ventilatoren, Mikrofone, Lautsprecher, Transducer, Synthesizer und Elektronik | Media and sound installation for video cameras, fluorescence microscope, projector, screens, fog machine, fans, microphones, loudspeakers, transducers, synthesizer and electronics [9’ + ∞].

N. 31 (2022) F.a.u.s.t. oder Märchengeschichten der Metaphysik | F.a.u.s.t. or fairy tales of metaphysics: Dreifacher Höllenzwang für drei Schauspielerïnnen, eine Dirigentïn, Kameras, Bildschirme, Mikrofone, Animationssoftware und Industriewaren | Triple hell compulsion for three actresses, one conductor, cameras, screens, microphones, animation software and industrial goods [~16’].

N. 32 (2022/23) En l’absence de choses: Choreographie für 8 Ballett-Tänzerïnnen | Choreography for 8 ballet dancers [~21 / 28’00’’].

N. 33 (2024) Holistic notation study I {Granular visions}: Stereophone Videoarbeit für Juwelierlupen, Mikrobildschirm und Kopfhörer | Stereophonic video work for jeweller’s loupes, microscreen and headphones [~9’36’’ + ∞].

  • 33/1 Rohversion | Raw version
  • 33/2 Rezept für eine Elektroakustikerïn | Recipe for an electroacoustician

N. 34 (2024/25) Holistic notation study II {Mechanical spectra}: Für (robotische) Tänzerïn, Kameras, analoge Kamera / Filmprojektor, Green-Screen, Bildschirm, Haushaltsgegenstände, Mundharmonika, Becken, Mikrofone und Lautsprecher | For (robotic) dancer, cameras, analogue camera / film projector, greenscreen, screen, household objects, harmonica, cymbal, microphones and loudspeakers [10’30’’].

  • 34/1 Videoarbeit | Video work
  • 34/2 Bühnenstück | Stage piece

N. 35 (2025) Holistic notation study III {Lucid interrogations}: Für selbstfahrende Roboter, Laser, Glas, dielektrische Beschichtungen, Spiegel, Funksender, Funkempfänger, Kameras, Mikrofone, Bildschirme und Lautsprecher | For self-driving robots, lasers, glass, dielectric coatings, mirrors, radio transmitters, radio receivers, cameras, microphones, screens and loudspeakers [27’36’’ + ∞].

  • 35/1 Multimediale Installation | Multimedia installation
  • 35/2 Quadrophonische Videoinstallation | Quadraphonic video installation

N. 36 (2025) Holistic notation study IV {What the bees see}: Für 1-6 Bildschirme | For 1-6 screens [60’00’’ + ∞].

  • 36/1 Version [1] (monophon) | Version [1] (monophonic)
  • 36/2 Version [1] + KU (stereophon) | Version [1] + RI (stereophonic)
  • 36/3 Version [2] (dreieckig) | Version [2] (triangular)
  • 36/4 Version [2] + KU (quadratisch) | Version [2] + RI (squared)
  • 36/5 Version [3] (pentagonal) | Version [3] (pentagonal)
  • 36/2 Version [3] + KU (hexagonal) | Version [3] + RI (hexagonal)

Biography

Christian Dimpker is a composer and art theorist with a background in Philosophy, History and Sound Studies, culminating in a doctorate in Musicology and Composition. Dimpker’s music includes instrumental, vocal, orchestral, choral and electroacoustic works (opera N. 1-26) with a strong theoretical basis through the treatise Extended Notation: The Depiction of the Unconventional (LIT Verlag, 2013). Currently, Dimpker is expanding this artistic research – the upcoming monograph Kinetic Notations for the Visual and Performing Arts (Transcript Publishing/Columbia University Press, 2025) develops notations for extramusical events. It enables composers to write scores for light ballets, video, performance or mediatic dances (opera N. 27-36). All pieces are published by Universal Edition Vienna. Dimpker’s artistic research has been recognised through numerous grants, inter alia awarded by the Berlin Senate, the German government, the E.ON and Lotto foundations as well as the German Artist Fund, Musikfonds and GEMA – with performances and exhibitions across Germany, Japan, France, South Korea, Portugal, Australia, Serbia, the USA, England, Sweden and Romania by ensembles such as the International Contemporary Ensemble, Contemporary Insights, Elision Ensemble, Ensemble 2e2m and Ensemble Resonanz. In addition, Dimpker’s works as a music engraver include Helmut Lachenmann’s Schreiben for Breitkopf & Härtel and numerous pieces for James Dashow.

In the current political climate, no one should remain silent: I am pro democracy, support the Black Lives Matter and LGBTQ+ movements, as well as the Ukrainian fight for freedom, and condemn autocratic, oligarchic and fascist tendencies as represented by the AfD in Germany!

25

years of practice

37

complex scores

2

treatises on notation

Curriculum vitae

SCORES
All elements of all works are written down in the form of scores and are published by Universal Edition Vienna [LA = light art, MA = media art, TH = theatre, DA = dance, CM = chamber music, EN = ensemble, OR = orchestra, VO = vocal, EA = electroacoustic, 2 = 2 scores]

2025 N. 36 Holistic notation study IV {What the bees see}: MA/EA [60’00’’ + ∞]
2025 N. 35 Holistic notation study III {Lucid interrogations}: MA/LA/EA [27’36’’ + ∞]
2025 N. 34 Holistic notation study II {Mechanical spectra}: MA/DA/EA [10’30’’]
2024 N. 33 Holistic notation study I {Granular vision}: MA/EA [9’36’’ + ∞]
2023 N. 32 En l’absence de choses: DA2 [~21’/28’00’’]
2022 N. 31 F.a.u.s.t. or fairy tales of metaphysics: TH/MA/EA [~32’]
2022 N. 30 Video quartet “Manifestation des Abseitigen”: MA/EA2 [9’ + ∞]
2020 N. 29 Feux avant, la chorégraphie: LA2 [~28’00’’]
2019 N. 28 Light quartet “Die Zusammensetzung der Welt”: LA/MA/EA [≤11’ + ∞]
2019 N. 27 Aus den Werkstätten des Lichts: LA/EA [10’ + ∞]
2019 N. 26 Sphären » Schweben: EN/EA2 [~16’ + ∞].
2018 N. 25 Utopia V | Klavierstück V: CM/EA [6/12/18’]
2018 N. 24 La naissance de la lumière à partir de l’esprit du feu: EA [27’24’’]
2018 N. 23 Utopia IV: CM [~9’]
2017 N. 22 4 × 2 × 8 – Sakrale Interaktionen: CM/EA [16’]
2017 N. 21 Warenwirtschaft: CM/MA/EA [22’ + ∞]
2017 N. 13b) Tractatus II: VO/OR [20/25’]
2016 N. 20 String quartet II “MikrosCopy”: CM/EA [≤10’]
2016 N. 19 Utopia III: VO [5-8’]
2016 N. 18 Utopia II: CM/EA [≥10’]
2016 N. 17 Zum Anbeginn neuer Zeiten (Klavierstücke I-IV): CM/EA [~15’]
2015 N. 16 Drei Miniaturen nach Nietzsche: VO/CM/EA [5’]
2015 N. 15 Ossia (A → ¬B & B → ¬A): CM [~10’]
2014 N. 14 Utopia (omaggio a Luciano Berio): CM/EA [~15’]
2014 N. 13a) Tractatus I: VO/EA [~11’]
2014 N. 12 Kinderstück [Meta-Physics]: CM/EA [4’33’’]
2013 N. 11 String quartet I: CM [~15’]
2013 N. 10 Sýnthesis: EA [~16’]
2013 N. 9 Struktur / Hinter den Kulissen: EN [13-14’]
2012 N. 8 Drei Lieder: CM/EA [~15’]
2012 N. 7 Filterspiel – Music for conferences: CM/EA/MA [~12’]
2012 N. 6 Klanggruppen: CM/EA [~9’]
2011 N. 5 Studies on the notation of electroacoustic music: EA [4’06’’]
2011 N. 4 Ausführung über den Materialbegriff: CM/EA [~13’]
2010 N. 3 Zu vier Händen – Interventionen für Konzertflügel: CM [10-11’]
2010 N. 2 Entgleisungen: CM [10-11’]
2010 N. 1 Tatsachen in zwei Sätzen: CM [8-9’]


CONCERTS / EXHIBITIONS

2024 University of Greenwich, GB: N.33, sound/video: Christian Dimpker
2023 Staffordshire University, GB: N.28, player: Sayaka Nojiri, sound/video: Dimpker; Royal College of Music Stockholm, SWE: N.28, player: Sayaka Nojiri, sound/video: Dimpker; Sheen Center, USA: N.6+19, soprano: Mariana Flores Bucio, violoncello: Rocio Diaz de Cassio
2022 Asia Culture Center, KOR: N.28, player: Sayaka Nojiri, sound/video: Dimpker; National Sawdust, USA: N.11, International Contemporary Ensemble; BeSos at ACUD, DE: N.3/12/17/24/25, piano: Michiko Saiki and Alexander Waite, sound direction: Francisca Rocha Gonçalves, sound: Dimpker; Le Corbusier Church, FR: N.24, percussion: Magdalena Meitzner, aerophones: Paul Pignon, sound: Dimpker; Schwartzsche Villa, DE: N.1/6/15/24/25, violin: Biliana Voutchkova, piano, Michiko Saiki, violoncello: Tilman Kanitz, percussion: Magdalena Meitzner, aerophones: Paul Pignon, sound: Dimpker
2021 Students’ Cultural Centre, SRB: N.6, violoncello: Srđan Sretenović, group
2020 Schwartzsche Villa, DE: N.6/16/19/24/25, percussion: Magdalena Meitzner, aerophones: Paul Pignon, soprano: Phoebe Pimlott, piano: Alexander Waite, violoncello: Tilman Kanitz, sound: Christian Dimpker
2019 Monash University Melbourne, AUS: N.25, piano: Alexander Waite Kunsthaus KuLe, DE: N.5/19/21, percussion: Sayaka Nojiri and Sabrina Ma, soprano: Phoebe Pim-lott, sound direction: Robert Schwarz, sound: Dimpker; Tonali Saal, DE: N.21, percussion: Sayaka Nojiri and Sabrina Ma, sound direction: Robert Schwarz, sound: Dimpker
2018 Fàbrica de Creació, ESP: N.23 (presentation), trumpet: Laurent Bômont; Studio Z, USA: N.14, flute: James DeVoll, sound: Dimpker
2017 Tokyo Arts and Space, JPN: N.11/21, percussion: Sayaka Nojiri, sound direction: Robert Schwarz, sound: Dimpker; Câmara Municipal de Matosinhos, PRT: N.20, Quarteto de Matosinhos, sound direction: Rui Penha and Marco Conceição; Luther Church Cologne, DE: N.10, sound: Dimpker; Seminarturnhalle Stade, DE: N.3/10, piano: Hanni Liang, assistance: Tae-Min Hyun, sound: Dimpker
2015 State Philharmonic Sibiu, ROU: N.11, ConTempo String Quartet
2012 Laeiszhalle, DE: N.6, violoncello: Saerom Park Foucher
2010 DESY institute, DE: N.1, violin: Eugene Nakamura


PUBLICATIONS

2023 Kinetic notations for the visual and performing arts; treatise on the notation of light art, new media art, theatre and dance [417 pp.] (expected publication 2025 via Transcript/Columbia University Press)
2013 Extended notation: The depiction of the unconventional; treatise on the notation of extended instrumental/vocal techniques and electroacoustic music [346 pp.], LIT Verlag publishers, ISBN 978-3-643-90302-0


GRANTS / RESIDENCIES

2023 Goethe Institute (Culture Moves Europe): travel costs, 1,225 €
2022 Asia Culture Center, KOR: exhibition and residency, 25,000,000 ₩; concert funding of the Berlin Senate: concert, 9,180 €; Musikfonds (Neustart Kultur): composition of N.31, 7,500 €; Goethe Institute: travel costs, 195 €; GEMA (Neustart Kultur): composition of N.30, 5,000 €
2021 Concert funding of the Berlin Senate: concert, 8,000 €; Musikfonds (Neustart Kultur): transcription of Kinetic notations, 6,000 €
2020 Concert funding of the Berlin Senate: concert, 11,370 €; cultural exchange GLOBAL (Stockholm): 7,500 €, Elektronmusikstudion Stockholm, SWE: residency, Cité Internationale des Arts Paris, FR: residency, 15,000 €
2019 Tonali: concert, 4,000 €; Lotto Foundation Berlin: concert, 12,500 €
2018 Festival Dias de Música Electroacústica Lisbon, PRT: residency
2017 Cultural exchange GLOBAL (Tokyo): 7,500 €; E.ON Foundation: concert, 5,000 €; German Artist Fund: 2,200 €; JaDe Foundation: concert, 1,260 €; University Porto: concert, 500 €; Tokyo Arts and Space, JPN: residency and composition of N.21, 200,000 ¥; Cultural Foundation Stade, DE: residency, 3,000 €
2015 St John’s Smith Square, GB: residency; SWR Experimentalstudio Academy matrix15, DE: residency, 200 €; Icon Arts Academy, ROU: residency
2013 Artist Village Foundation Schöppingen, DE: residency, 2,050 €
2010 University of Plymouth: PhD studentship, 40,770 £


HONORS

2025 Radiophrenia at the Centre for Contemporary Arts Glasgow: N.24
2024 SOUND/IMAGE24 conference: N.33; ArtCabbage Animated Digital Art Prize 2024: N.33
2023 113 Composers Collective composition competition: N.2; SOUND/IMAGE23 conference Greenwich: N.28; Computer Music Multidisciplinary Research (CMMR) conference Tokyo: N.17; 21st Carl von Ossietzky composition competition: N.25; Sound and Music Computing (SMC) conference Stockholm: N.28; VU Symposium for Experimental, Electronic and Improvised Music: N.28; New York City Electroacoustic Music Festival (NYCEMF): N.6+19; NoiseFloor Festival: N.28
2022 Sound and Music Computing (SMC) conference Saint-Étienne: N.24; Music at the Anthology (MATA) Festival New York City: N.11
2021 30th International Review of Composers Belgrade: N. 6; Sound > Walk > Berlin: N.25; International Computer Music Conference (ICMC) Santiago: N.24; New York City Electroacoustic Music Festival (NYCEMF): N.24; Hot Air Music Festival: N.24; cover of the Field Note Magazine: N.21
2020 The 21st Century Guitar conference Lisbon: N.8; Musinfo Sampo: N.14
2019 Diffrazioni Festival Florence: N.25; Tenor conference Melbourne: N.25; International Computer Music Conference and New York City Electroacoustic Music Festival (ICMC-NYCEMF): reviewer
2018 113 Composers Collective composition competition: N.14; Festival Mixtur Barcelona: N.23
2017 Computer Music Multidisciplinary Research (CMMR) conference Porto: N.20
2016 Falling Walls Lab at the Academy of Arts Berlin: Extended notation; Animated Notation Symposium Tallinn: reviewer; Sound and Music Computing (SMC) conference Hamburg: N.5
2015 14th Carl von Ossietzky composition competition: N.3
2012 Special price Klangradar 3000 of the Tonali composition competition: N.6
2010 Tonali composition competition: N.1


EDUCATION / LANGUAGES

2025-2026 Training programme as a Full-Stack Software Developer: IBM/Microsoft
2019-2020 Training programme in HTML, CSS and JavaScript: Ubiqum Code Academy Berlin
2010-2013 Doctorate in Musicology/Composition: University of Plymouth, supervised by Prof. Eduardo Miranda; topic: extended instrumental playing techniques and their notation
2008-2010 Master of Arts in Sound Studies: University of Arts Berlin, supervised by Prof. Dr Martin Supper; final thesis: two works for string instruments and electronics, examination topic: the aesthetics of Schönberg and Wittgenstein, grade: 1.7
2003-2007 Bachelor of Arts in History and Philosophy: Humboldt University Berlin; topic: Nietzsche’s influence on Mahler and Strauss, grade: 2.3
Languages English C2, French B2, Portuguese A2


PROFESSIONAL EXPERIENCE

2024-2025 Teaching position with 21 teaching units per week: Max-Delbrück-Gymnasium Berlin; subject areas: Music and Computer Science
2015-2024 Work as a music engraver for Helmut Lachenmann: Schreiben, music for orchestra, Breitkopf & Härtel; James Dashow: Soundings in pure duration N.5, N.7, N.8, N.9 and iPiece; Hannes Raffaseder: Wendepunkte; Bohne & Schulz music publishers
2015-2019 Work as an academic author/lecturer in Musicology, Art History, Philosophy and History for agencies (ACAD WRITE/acadoo/GWriters) and universities (KMH Stockholm/HfM Detmold/Univ. Hildesheim/Bard Berlin), e.g. on notation, Franz Schubert, Karlheinz Stockhausen, Francis Alÿs, Claude Cahun, Otto Piene, Ulrich Rückriem, Nicolas Schöffer, Ernst Bloch, Pierre Bourdieu and Henry Sidgwick
2001-2019 Work in exhibition services, sales, distribution, bartending, education and logistics
2013-2014 Full-time lecturer position: Education University of Hong Kong; subject areas: Music Theory and History (Baroque to 20th century)
2000-2010 Work as a composer in Computer Music and Sound Art, including Konstrukte: For fixed media; performances and installations, e.g. in the Singuhr/Hörgalerie and at the Tuned City Festival; first works of notated music without work numbers, e.g. Die Lehre des Scheins and Wiederkehr | Kyklos (previous works lost/destroyed)

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