Geneva

Composition

The composition class at the Haute école de musique de Genève (HEM) offers its students a performance space that is suited to their aspirations as young composers. 

The complementary nature of our professors’ academic paths and fields of expertise means enables the students to find their own personal path and start to sketch out their profiles as creative performers.

The composition class offers its students numerous experiences that will enable them to bring their projects up against the realities of putting on a performance and weaving the kind of extensive artistic web that is indispensable for the development of their future professional trajectory. The quality of the teaching and the way our professors have thrived on the international scene means that our students can throw themselves into the profession and identify fruitful collaborations that will enable their art to flourish. In the near future, a course on composition for the moving image and the cinema is also going to be offered.

The advantages of the composition class include:

  • State-of-the-art equipment:

The composition class works closely with ARTeM, which provides numerous computer workstations, a blackbox and a studio equipped with the most high-performance spatialization systems enable the students to master the most cutting-edge technological tools. These tools also allow for projection, enabling images and cinema to be incorporated into the students’ projects.

  • Unparalleled technical support:

Our students benefit from the support of a professional team of sound and video technicians who enable them to produce and record their works in the best possible conditions, by getting the best out of the state-of-the-art technological equipment made available to them. The team will be by their side to help them learn how to use all the equipment.

  • Weekly seminars and Masterclasses:

Bringing the whole class together around a composer, a topic, or a work, the weekly seminars provide a place for encounters, discussions, emulation and inspiration. Moreover, Masterclasses that are organised all year round bring us countless composers, but also important creative artists exploring the fields of multimedia or multidisciplinary creativity. These encounters enable our students to enrich their knowledge and broaden their creative horizons.

  • Numerous collaborations within the HEM:

The composition class actively collaborates with the HEM’s other departments. Close ties with the instrumentalists and singers at the school are encouraged. Through these collaborations, our students have the opportunity to make their creative works a reality in real conditions, and at public concerts, whether they involve orchestral music, multimedia performances, a ciné-concert, etc.

  • There are close and productive ties with the professional music-making scene:

The HEM collaborates actively with key players in the Swiss contemporary music scene. Every year, the Genevan contemporary creativity ensemble Contrechamps and the Archipel festival reserve a place for the young composers from the class. Forming an integral part of the programming of these two institutions, they thus have the opportunity to weave a network at the international level. Our students also benefit from the exchanges offered by Europe’s Erasmus programme.

Teachers

Nicolas Bolens

Professor of Counterpoint, 20th-Century Writing, and Practical Writing

En associant traditions et explorations nouvelles des matières sonores, les œuvres de Nicolas Bolens investissent l’espace en valorisant les éléments et les sujets qui se présentent à lui. Combining traditions and new explorations of sound materials, the works of Nicolas Bolens invest in space by enhancing the elements and subjects that present themselves to him. His music is regularly connected to other elements: texts, films, places, evocations... In each context, he seeks an authentic dramaturgy that promotes unprecedented settings. For example, with the Batida ensemble, he imagined "Welcome to the Castle" (2017), three musical acts for musicians moving through the Allymes Castle near Amberieu-en-Bugey. For the Gémeau Quartet, he wrote "La Ville Oblique" (2013), a string quartet conceived as a musical extension of the short film "Un Chien Andalou" by Dalí and Buñuel. Written words, most often poetic, permeate his entire production. He has composed on poems by Celan, Sachs, Mallarmé, Char, Blok, Khayyam, Michaux, Éluard, Basho, Neruda, Rilke, Adonis, Shakespeare... These authors, from various times and origins, have led him to integrate many languages into his works, considering their sonic as well as semantic potentials. Orchestration also holds an important place in his work, rethinking the instrumentation of certain past works. In 2018, he re-orchestrated "Lieder eines fahrenden Gesellen" and the 4th Symphony by Gustav Mahler for the Lemanic Modern Ensemble under the direction of conductor Pierre Bleuse. Commissioned by the association Ouverture Opera, his recent rewriting of Mozart's "The Magic Flute" follows the same approach. Nicolas Bolens has notably collaborated with the Batida ensemble, the Lemanic Modern Ensemble, the Swiss Chamber Soloists, the Ensemble Vocal de Lausanne, the Ensemble Vocal Polhymnia, the Ensemble Vortex, the Basler Madrigalisten, and the Ensemble Vocal Séquence... Born in Geneva, he first studied piano at the Conservatoire de musique de Genève, then completed his training in the composition class of Jean Balissat. He further honed his skills with Rudolph Kelterborn, Klaus Huber, Edison Denisov, and Eric Gaudibert. He is the recipient of numerous composition prizes, including those from the Orchestre de Chambre de Lausanne (1993) and the Banque Cantonale Neuchâteloise (2002), as well as a scholarship from the Leenaards Foundation (1998). An engaged pedagogue and artist, he teaches counterpoint, 20th-century writing, and composition at the Haute école de musique de Genève, where he has been the head of the Composition and Theory Department from 2015 to 2024. He is also involved in several institutions related to musical creation in Switzerland, including the Swiss Musicians Association, the Archipel Festival Association, the Nicati-de-Luze Foundation, and the Artistic Council of the Geneva Competition. Learn more about Nicolas Bolens  

Gilbert Nouno

Head of the CIMME - Professor of Electronic Music - Multimedia Composition - Interactive Video Design - Internet Music - Interfaces, Digital Instrument Making & Immersive Systems - Concept & Creation, Open Space

Composer, sound artist, pedagogue, and researcher, Gilbert Nouno creates music that is highly in tune with visual arts and digital technologies. Curious about all forms of expression, he effortlessly crosses the boundaries between composition and improvisation. As a visual artist under the name Til Berg, he combines the synesthesia of sound arts with other media. Using music and sounds, he generates abstract and minimalist visuals with traditional and digital media such as video and lithography. Gilbert Nouno's collaborations are marked by aesthetic plurality with many artists such as Pierre Boulez and the Berlin Philharmonic Orchestra, George Benjamin and the London Sinfonietta, Jonathan Harvey and the Arditti Quartet, saxophonist Steve Coleman, and flutist Magic Malik... A laureate of the Villa Kujoyama in Kyoto in 2007, and the Villa Medici, Académie de France in Rome in 2011-2012, Gilbert Nouno teaches composition and runs the International Center for Experimental Music and Media (CIMME) at the Haute école de musique de Genève, teaches composition at the Royal College of Music in London , and is a visiting professor invited by the DAAD in Detmold (Germany). He teaches digital sound arts at Goldsmiths, University of London, where he is also a guest researcher, and live electronics & computer music design at Ircam. Learn more about Gilbert Nouno

Katharina Rosenberger

Professor of composition

The works of composer Katharina Rosenberger take listeners to unknown places. Born in Zurich in 1971, the artist takes an interdisciplinary approach and uses unusual combinations. Her works draw on artistic fields and media such as video, visual arts and theatre. Her sound art and sound sculptures challenge our listening habits and draw attention to the way we perceive music and works of art. Katharina Rosenberger studied at the prestigious Berklee College of Music in Boston, the Royal Academy of Music in London and Columbia University in New York. Since 2018, she has been a professor at the University of California, San Diego, where she previously taught composition and sound art. In 2021, she was appointed professor of composition in Lübeck. In 2019, Katharina Rosenberger received the prestigious Guggenheim Fellowship. Katharina Rosenberger's works have received numerous awards; her project ‘VIVA VOCE’ was supported by the Federal Office of Culture and her album ‘TEXTUREN’, performed by the New York ensemble Wet Ink, received the prestigious Copland Recording Grant and the Deutsche Schallplattenkritik prize. Katharina Rosenberger's works can be discovered at international festivals. Attending a live performance is an experience that leaves a lasting impression on the senses.

Nicolas Bolens
Gilbert Nouno
Photo portrait de Katharina Rosenberger

Departments and associated courses

Events

Témoignages

I chose the HEM for the reputation of its teaching staff and the importance of the resources it makes available to its students in the field of electro-acoustic music.

Nicolas Roulive Master's student in composition