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Biographical Data
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Date of Birth:
8.08.1960
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Nationality
Austria
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Activities:
- 1981 Vienna University, Vienna: study assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty
- 1985 Vienna University, Vienna: scientific assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty
- 1986 Austrian Society of Philosophy of Religion, Innsbruck: member
- 1988 Vienna University, Vienna: university assistant at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty
- 1989 International Society for Contemporary Music - ISCM Austria, Vienna: member
- 1992 Project Zeit.Schnitte: literature and music in interaction together with the writer Christoph Janacs
- 1993 Franz Schubert Institute, Baden: member
- 1996 American Academy of Religion, Atlanta: member
- 1997 Center for Process Studies, Claremont: member
- 1998 Vienna University, Vienna: assistant professor at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty
- 1998 Vienna University, Vienna: post-doctoral degree of "Dozent" at the catholic theological faculty
- 1998 Vienna University, Vienna: postdoctoral lecture qualification at the Institute for Dogmatic Theology and History of the Catholic Theological Faculty
- 1999 Vienna University, Vienna: extraordinary university professor of catholic dogmatism
- 2001 Xavier University, Cincinnati: co-teaching a class on Christian Eschatology in US/European Dialogue with Prof. Joseph Bracken
- 2002 editing Whitehead's Harvard Lectures 1925/1926 from the notes of Charles Hartshorne, published in Process Studies 30/2 (2002) 301-373
- 2003 publication of his book: "Gott als Poet der Welt. Anliegen und Perspektiven der Prozesstheologie"
- 2005 Claremont School of Theology, Claremont: professor for process theology
- 2005 Claremont Graduate University, Claremont: professor for religion and philosophy
- 2006 Whitehead Research Project, Claremont: initiator and executive director
- 2006 Center for Process Studies, Claremont: co-director
- 2006 Claremount Graduate University, Claremont: Faculty at the Department of Philosophy of the School of Humanities
- 2008 Whitehead Metaphysical Society, Poland: member
- 2008 Society of Difference: member
- 2008 new book: "God as Poet of the World: Exploring Process Theologies"
- 2008 Chicago Divinity School, Chicago: class
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Education, Instrument(s) |
Education:
- 1974 - 1979 guitar
- 1978 Vienna: school leaving examination
- 1979 - 1985 Vienna University, Vienna: philosophy
- 1979 - 1985 Vienna University, Vienna: psychology
- 1979 - 1985 Vienna University, Vienna: pedagogy
- 1979 - 1985 Vienna University, Vienna: theology
- 1984 composition
- 1985 Vienna University, Vienna: master in theology
- 1992 Vienna University, Vienna: doctorate in theology
- 1997 Vienna University, Vienna: habilitation in theology
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Performances, Commissions, Awards
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Performances:
- Austrian Broadcasting Corporation
- Days of Contemporary Music Bludenz
- Contrast Trio
- Österreich heute
- Hörgänge
- Nomos Quartett
- Klangforum Wien
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Awards:
- 1989 Cologne: international composition award
- 1990 City of Vienna: work scholarship
- 1990 Office of the Government of Lower Austria: recognition award for music
- 1990 Adolf Schärf-Fonds: promotional prize for composition
- 1991 Republic of Austria: state scholarship for composition
- 1992 Office of the Government of Lower Austria: recognition award for music
- 1993 Office of the Government of Lower Austria: recognition award for music
- 1994 City of Vienna: work scholarship
- 1995 - 1996 Fonds zur Förderung der wissenschaftlichen Forschung: Erwin Schrödinger foreign exchange scholarship
- 2000 Kardinal Innitzer Fond: prize of excellence in theology
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Description of Style |
Sound studies. Intrusion into the sound of each instrument. The instrument as an orchestra.
Graphical notation. attempts of notation to the diversification of an instrument in "partial instruments."
"dimensioning" of techniques for sound initiation of a phrase. This forces on a selection of the actual sound from a potential sound space. Forced improvisation; by "dimensioning" an "underdetermination" of the factual is achieved.
"Deep structures": develop a sound field after structural criteria without regard of the actual time: this structure is like an (platonic) "idea", which can not be realized in time . "Time structures" are also made: they are time-related and show no timeless entity, they are more sound "hoses," in where a sound moves along but can not escape.
Modality by a thirteen-toned scale. Microtonality often required.
All works underlie a structure, from which both time structuring (metric, rhythm ...) as well as harmony and timbre space, the number of instruments and length of a piece can be determined. This thirteen-linked formation is purely formal in nature and can be applied on any category.
"Dark light" mystagogy: sound development between antipodean sound spaces as rough - soft, clean - very noisy liable, soft - hard, shrill - reassuring, etc.
"Disritualization": cognition is recognition: prevention of recurrence (recognition) enables (anti-) structures without evidence for the structure-spoilt ear. "Ritualization" is enabling repetition/recognition /detection of structural islands in the volatile time. These elements play a crucial role: according to their "rhythmic" or unbalanced distribution in a piece, the impression of satisfied settlement or distraught searching for a halt in the time stream. These structural "ideas" antagonistically determine a higher level of the rhythm of my music.
Roland Faber 1996
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Compositions
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- Lichtsturm. Eine dreizehnstimmige Invention - über einen denkwürdigen Klang von Beethoven für digitalisiertes Klavier
opus 25, 1993 and 1994, 10:00 min
Instrumentation: solo, electronic - Lichtsturm. Eine zweistimmige Invention - über einen denkwürdigen Klang von Beethoven für digitalisiertes Klavier
opus 24, 1992, 18:00 min
Instrumentation: , - Sternenstaub. Ein Kristall - Für Sopran, Vibraphon, Glockenspiel und Celesta
opus 23, 1991, 06:00 - 09:00 min
Instrumentation: chamber-music, trio, solo-voice - Sternenstaub. Ein Aufruhr - Für Sopran und Streichtrio
opus 22, 1991, 06:00 min
Instrumentation: chamber-music, trio, solo-voice - In mezzo a i fiori essangue - Adagietto per clarino, arco e pianoforte
opus 21, 1991, 06:00 - 28:00 min
Instrumentation: chamber-music - Into Thine Hour Of Secrecy - Ein Ritual für 13 Spieler
opus 20, 1991, 22:00 - 23:00 min
- Tropus I - Solo per arco da braccio
opus 19, 1990, 08:00 - 09:00 min
Instrumentation: solo - Crocodile Isle - Dramatisches Septett in Form von Musiktheater
opus 18, 1990, 05:00 - 06:00 min
Instrumentation: solo-voice - Les six ombres de la nuit - Quintett für Flöte, Klarinette, Violine, Violoncello und Klavier
opus 17, 1990, 10:00 - 11:00 min
Instrumentation: chamber-music, quintet - Nachteinströmen. Versuch über Vergil - Zweites Streichquartett
opus 16, 1990, 07:00 min
Instrumentation: chamber-music, quartet - Nichts als des Schrecklichen Anfang - Zweite Sonate für Violine solo und Zimbelspiel
opus 15, 1990, 12:00 min
Instrumentation: solo - Zauberhelle. Finsternisse - Zweites Streichquartett in 13 Sätzen
opus 14, 1989, 38:00 min
Instrumentation: chamber-music, quartet - Schmutzige Tränen - spurlos - Quartett für Oboe, Posaune, Violoncello und Schlagspiele
opus 13, 1989, 11:00 - 19:00 min
- Shadowy - shadowy - yet unbroken - Musik für 13 Spieler
opus 12, 1988 and 1989, 17:00 min
Instrumentation: orchestra - Ecce homo fragilis - Trio für Viola, Violoncello und Kontrabass
opus 11, 1988, 19:00 min
Instrumentation: chamber-music, trio - An den zerschlagenen Mond - Erste Sonate für Viola solo
opus 10, 1988, 26:00 min
Instrumentation: solo - Mysterium noctis - Erste Sonate für Violoncello solo
opus 9, 1988 and 1994, 11:00 - 19:00 min
Instrumentation: solo - Blick in Opal - Quintett für Flöte, Oboe, Klarinette, Horn und Fagott
opus 7, 1988, 19:00 min
Instrumentation: brass-music, quintet - Methexis - Zweite Sonate für Violine und Violoncello
opus 8, 1987 and 1988, 26:00 min
Instrumentation: chamber-music, duo - Ob es mir denn entgangen - Erste Sonate für Violine solo
opus 6, 1987, 13:00 min
Instrumentation: solo - Fragments of an Agon - Für 2 Tenöre, 2 Bässe und sechsstimmigen Frauenchor nach T. S. Eliot
opus 5, 1987, 06:00 - 07:00 min
Instrumentation: choir, quartet - Quartetto semplice al mondo agonizzante - Erstes Streichquartett
opus 4, 1986 and 1987, 01:00:00 - 01:10:00 hour
Instrumentation: chamber-music, quartet - In der Neige - Liederzyklus für Bariton und Klavier
opus 3, 1985 - 1987, 15:00 - 20:00 min
Instrumentation: solo, solo-voice - Per Sonare - Erste Sonate für Violine und Violoncello
opus 2, 1985 and 1986, 30:00 min
Instrumentation: chamber-music, duo - Kryptigma - Erste Klaviersonate
opus 1, 1985 and 1986, 15:00 - 20:00 min
Instrumentation: solo
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