Mind. Your own business.

(2019, Joni Österlund)

Man is a continuous play of balance between conscious and unconscious. The reaction we have to the other is actually hinting what we are ourselves. Part of you is reacting while behind the scenes you have placed all the moving particles ready for the show that takes place in you conscious mind. The pieces of inner „ monologue meld with the outer dialogue in our everyday lives.

The situation: Two men with an amorphous dialogue, a microphone and an instrument. The hollow dialogue conflict is let loose to be interpreted by the movement artist while the musician diverts the course with aural impulses embedded in an improvised soundscape.

Dancer: Joni Österlund https://www.joniosterlund.com/

Guzheng, Live Electronics, Vocoder: Christoph Punzmann


Tarot butoh oracle

(2019, will lopes)

Three dancers on the stage.
A tarologist opens the Tarot for the audience.
"Do you have some question?"

One person cuts the deck, chooses a card, chooses one of the dancers to dance this card, their costume and the energy in it will dance. Male? Feminine? Neutral?
Thus occurs the choice of the three cards and dancers.
According to the letters drawn a musician will compose live, their proper ambiences, soundscapes and dramaturgy in electroacoustic constructions. Parallel to these performances a plastic artist will synthesize all the composition of the letters, dance and electrocentric sounds in paintings of this oracle.

"Decipher me or I devour you"

Dancers: Will Lopes, Lucía Sombras, Miriam Strasser

Guzheng & Electronics Live Improvisation: Christoph Punzmann


. . . for violoncello & Taperecorder (2019)

Violoncello: Arnold 'Noid' Haberl

Studer PR99 Taperecorder: Christoph Punzmann


Have a place in my heart (2018)


Sound Performance - any desired number of channels - performer with diagnosed musical performance anxiety

The Piece is separated into three main parts.

Part 1: anxiety

Part 2: creativity

Part 3: relief/ reduction of distress

The negative outcome of one or all of those parts still end in a functioning performance.

Musical performance anxiety in its worst form leads to a panic attack and is thus clearly distinguishable from stage fright. In contrast to this, it also leads to the loss of quality up to complete blockage during the performance. In other words, despite optimal preparation, the performanc is clearly below the level of real ability in concerts and auditions. Of people who do not suffer from this form of anxiety, it is usually not recognized and hardly can be comprehended. Therefore, it is often interpreted as a weakness of character, lack of self-discipline or as signs of inadequate preparation.

The desire to avoid the anxiety situation causes many affected to cancel concerts after a while. In the worst case they do not accept assignments anymore and in the end even give up on music or performing in front of an audience completely.

For whatever reason, an occurrence causes anxiety, the from the body as correctly expected answer (namely, to avoid the danger) is not given. A conflict between "stomach" and "brain" arises: the body wants to flee, the brain prevents this response. An escape does not take place (usually) and the fight is fought, in the absence of real danger, between human and instrument. The affected person responds next to loss of motor skills and restriction of concentration, with dry mouth, sweating, shortness of breath, nausea, and an increasing heart rate.


Auftrittsangst führt in ihrer schlimmsten Ausführung zu einer Panikattacke und ist somit vom Lampenfieber deutlich zu unterscheiden. Im Gegensatz zu diesem, führt sie zudem zur Qualitätseinbuße bis hin zur völligen Blockade während des Auftritts. Das heißt, dass man trotz optimaler Vorbereitung ausgerechnet in Konzerten und Probespielen deutlich unter dem Niveau des realen Könnens vorträgt. Von Menschen, die nicht unter dieser Angstform leiden wird sie meistens nicht erkannt und kann auch nur schwer nachvollzogen werden. Deshalb wird sie oft als Charakterschwäche, Mangel an Selbstdisziplin oder Zeichen mangelhafter Vorbereitung gedeutet.

Der Wunsch die Angstsituation zu vermeiden bringt viele Betroffene mit der Zeit dazu, Konzerte abzusagen, im schlimmsten Fall dazu, keinerlei Engagements mehr anzunehmen und sogar dazu, das Musizieren bzw. Auftreten vor Publikum vollkommen aufzugeben.

Aus welchen Gründen auch immer ein Auftreten Angst hervorruft, die vom Körper als richtig erwartete Antwort (nämlich die Gefahr zu meiden) wird nicht gegeben. Ein Konflikt zwischen "Bauch" und "Gehirn" entsteht: der Körper will fliehen, das Gehirn verhindert diese Antwort. Eine Flucht findet also (meistens) nicht statt und der Kampf wird, mangels realer Gefahr, zwischen Mensch und Instrument ausgefochten. Der Betroffene reagiert neben Einbußen der motorischen Fähigkeiten und Einschränkung der Konzentration mit Mundtrockenheit, Schweißausbrüchen, Atemnot, Übelkeit, und einer steigenden Herzfrequenz.



Live Electronic, 4-16 Channels

The basic sound material of the composition consists of the first 19 Notes of the Alpha-Scale, introduced by Wendy Carlos. In comparison to the equal tempered tuning, very unfamiliar intervals appear. This is a result of the far smaller note steps (78 Cent instead of 100 Cent). The scale includes many dissonances but also a handful of consonances that, if we assume the „just intonation“ as ideal, are more exact than the ones of our accustomed equal tempered tuning (minor third, major third, perfect fifth). This comes for sure with the loss of the ability to modulate, which is one of the reasons we don’t leave „C-Alpha“ in this Composition. A MAX/MSP Patch enables the automatic playback of the single voices, consisting of overtone- and throat-singing samples.Every voice follows a given set of rules related to the compositional method. The development of all voices of the overtone-choir are conducted live via a control element, utilized by the performer.