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Bill Dietz

 
 

Bill Dietz, nato a Bisbee, Arizona, ha studiato composizione al New England Conservatory of Music a Boston e Cultural Studies alla University of Minnesota. Dal 2003, ha vissuto e lavorato a Berlino, inizialmente come studente e assistente di Peter Ablinger. Dal 2007 è direttore artistico dell'Ensemble Zwischentöne e, dal 2012, co-chair di Musica/Suono al Bard College's Milton Avery Graduate School of the Arts ad Annandale-on-Hudson, New York. La sua ricerca indaga la socialità del suono e, in particolare, la genealogia del concerto e la performance dell'ascolto attraversando strategie e formati diversi: dal far suonare la facciata dell'Unità di abitazione di Le Corbusier a Marsiglia, all'orchestrazione di echi fra gli isolati di Manhattan, fino alla proiezione sull'audience di modelli architettonici sonificati. Il suo lavoro, che si dirama fra pratica artistica, teorica e curatoriale, è stato presentato in festival come MaerzMusik a Berlino o Happy Days Sound a Oslo, musei come l'Hamburger Bahnhof a Berlino o la Tate Modern a Londra, simposi accademici come l'International Congress for Music Research, nelle pagine di riviste come Performance Research Journal o Positionen e nel catalogo della Whitney Biennial del 2014. Nel 2011 ha ottenuto una fellowship alla Künstlerhaus Lukas a Ahrenshoop e una residenza al Goethe Institute a New York; dal 2012 al 2013 è stato resident fellow all'Akademie Schloss Solitude, a Stoccarda; nel 2013 artist-in-residence alla Cité radieuse e al gmemcentre national de la création musicale a Marsiglia.

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Bill Dietz, born in Bisbee, Arizona, studied composition at the New England Conservatory of Music and Cultural Studies at the University of Minnesota. He has lived and worked in Berlin since 2003, initially as a student and assistant of Peter Ablinger. Since 2007 he is the artistic director of Ensemble Zwischentöne, and is currently the Co-Chair of Music/Sound in Bard College's Milton Avery Graduate School of the Arts. From sounding the facade of Le Corbusier's Unité d'habitation in Marseille to orchestrating echoes across city blocks in Manhattan to projecting sonified architectural models onto audiences, Dietz’s work examines the genealogy of the concert and the performance of listening. Extending through his artistic, curatorial, and theoretical work, his broad engagement with sound’s sociality has brought him to festivals such as MaerzMusik, through museums such as the Hamburger Bahnhof, to podiums at academic symposia such as the International Congress for Music Research, and into the pages of magazines such as Performance Research Journal and the catalogue of the 2014 Whitney Biennial. In 2011 he was the recipient of a working fellowship at the Künstlerhaus Lukas in Ahrenshoop and a residency fellowship from the Goethe Institute in New York, from 2012 to 2013 he was a resident fellow of the Akademie Schloss Solitude in Stuttgart, and in 2013 he was artist-in-residence of the Cité radieuse in Marseille, as well as gmem - centre national de la création musicale. A monograph on his work will appear in 2015 from Edition Solitude.