Studies in the Arts (SINTA)

Marc Kilchenmann

Postal Address
Universität Bern
Graduate School of the Arts
Marc Kilchenmann
Muesmattstr. 45
CH - 3012 Bern

Marc Kilchenmann

Marc Kilchenmann was born in Bern in 1970. He studied the bassoon under Ingo Becker and Prof. Eckart Hübner and composition under Prof. Urs Peter Schneider. He also completed a degree program in "Elementary Music Pedagogy". He completed his bassoon studies in 1998 with a soloist's diploma. His current areas of activity are every bit as diverse as his studies. Specifically, he works as a composer, university lecturer, publisher, bassoonist, music teacher, and program organizer. In 2010 Marc Kilchenmann was appointed to the jury for the 5th composition competition organized by the Christoph Delz Foundation. Marc Kilchenmann is a lecturer in the academic field of Music at Bern University of the Arts and has been concentrating in recent years and at different levels on the work of Hermann Meier. As a publisher, he has been looking after the entire output of the two radical composers Hermann Meier and Urs Peter Schneider at the publishing house aart verlag. By virtue of their diversity, the two could be seen as models for his own composition. At the moment Kilchenmann is working on a cycle incorporating eight compositions and eight conceptual pieces inspired by eight pre-Socratic philosophers.


Prof. Dr. Anselm Gerhard, Universität Bern, Institut für Musikwissenschaft
Dr. Roman Brotbeck, Hochschule der Künste HKB, Organisationseinheit: Forschung, Musik

Doctoral project

But - there are some People who Hate To Feel Confined

In actual music different microtonal tuning systems exist parallely. In particular, two main currents can be observed: 1) the spectralism: the french phenomenon with the most important representatives of Gérard Grisey (1946-1998) and Tristan Murail (born 1947). 2) The Just Intonation, mainly influenced by Harry Partch (1901-1974) and his student Ben Johnston (born 1926). The doctoral project of Marc Kilchenmann focuses on the work of Johnston, who repeatedly works with traditional forms. In what ways are these compositions intended as an organic development and how do they break with tradition? What similarities resp. dividing lines can be described between the Just Intonation and other microtonal pitch systems, in particular the spectralism?

Research priorities

Musicology, music of the 20th and 21st Century, microtonality, polymetrics