About

Chaya Czernowin is a composer whose work is featured on her professional page, which includes sections about her biography, her compositions, and her teaching activities. The page indicates her involvement in creating various works and her engagement with performances and residencies. Her biography is presented as part of her professional profile, emphasizing her role as a composer and her contributions to contemporary music. Specific details about her research focus, background, or key contributions are not explicitly provided in the text from the page.

Research topics

• Art
• Fishery
• Geography
• Psychology
• Communication

Selected publications

• The Art of Risk Taking:

  Leuven University Press eBooks · 2017-12-04

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• The Primal, the Abstracted and the Foreign: Composing for the Voice

  Contemporary Music Review · 2015-11-02 · 2 citations

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  While I love the voice and have used it often in my work, it has always been very difficult for me to write for it. In this essay, I try to work through some of the reasons for this difficulty. Some of the main characteristics of the voice—its fixed identity, the fact that it communicates on an instinctive level, the urgency of speech's semantic level, and the primal function of song as a collective place for the sharing of emotions—give the voice it is very special identity, importance, and urgency. We listen from inside our body. This makes the voice and ‘instrument' that is much more powerful than any other. While it contains an endless range of expressions, the voice is so strongly contextualized that it is difficult to transform, abstract, or radically individualize. It is hard to escape the immediate signature of its unique identity. In six ‘interventions,' I present six attempts at rethinking my automatic impulses with regard to the voice, addressing a different fixated area in each instance. The paper closes with a perspective on my work with the voice today, in which the development of earlier approaches crystallizes into a poetic proposition where the sound of the breath is an equal partner to that of the voice. This encourages the release of the nodes of our vocal fixation, and might uncover the possibility of an even stronger mutation.

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• Teaching that which is Not Yet There (Stanford Version)

  Contemporary Music Review · 2012-08-01 · 4 citations

  article1st authorCorresponding

  Abstract This paper focuses on the composition individual lesson. It is an attempt to figure out a personal philosophy of teaching which is specific to our time and its special characteristics and demands. The paper highlights the need for creative independence, unity of means, and vision/sonic impulse; and it talks about direct and indirect ways to foster them in the individual lesson. However, this is NOT, in any way, a prescriptive paper, but rather a deliberation on the why and how of this approach. Keywords: AuthenticityCommon PracticeWhat Is At StakeContext From Within A Piece

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• Algae : monodrama for bass and piano (2009)

  2011-01-01

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• Musica Viva Festival 2008

  2009-01-01

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• Pnima-- : ins Innere : 7. Münchener Biennale 2000

  Mode eBooks · 2006-01-01

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• Winter songs : version II: stones : for amplified bass flute, bass clarinet, bass trombone, tuba, viola, violoncello, double bass, sampler player and three amplified percussionists (2002/2003)

  Schott eBooks · 2004-01-01

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• Dam sheon hachol : 1992 (rev. 1999) = The hour glass bleeds still : version for string sextet = Das Stundenglas blutet noch : Fassung für Streichsextett = Le sablier n'a pas encore fini de couler : version pour sextuor à cordes

  Schott eBooks · 2004-01-01

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• Winter songs : version I: pending light : for amplified bass flute, bass clarinet, bass trombone, tuba, viola, violoncello, double bass, sampler player and IRCAM electronics (2002/2003)

  Schott eBooks · 2003-01-01

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• Living in fire

  Medical Entomology and Zoology · 2000-01-01

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Frequent coauthors

• Bayerischer Rundfunk. Chor

  1 shared

• Aribert Reimann

  1 shared

• David Dramm

  1 shared

• Stefan Schilli

  1 shared

• Rand Steiger

  1 shared

• Iannis Xenakis

  1 shared

• David D. Shively

  1 shared

• John Fonville

  1 shared

Awards & honors

• Uncesco composer’s Rostrum 1980
• DAAD scholarship (1983–85)
• Stipendiumpreis (1988)
• Kranichsteiner Musikpreis (1992)
• IRCAM (Paris) reading panel commission (1998)