Shut up and Listen! 2013
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Wandelweiser Michael Pisaro Wandelweiser Ist Ein Wort Wandelweiser Ist Ein Wort Für Eine Bestimmte Gruppe Von Menschen, Die Se
Wandelweiser Michael Pisaro Erstveröffentlichung in englischer Sprache: http://erstwords.blogspot.com/ Mittwoch, 23. September 23, 2009 Wandelweiser ist ein Wort Wandelweiser ist ein Wort für eine bestimmte Gruppe von Menschen, die seit Jahren intensiv zusammen arbeiten und sich gegenseitig in ihrer Arbeit unterstützen wollen. Für mich ist es noch immer ein kleines Wunder, dass wir einander gefunden haben und dass es nach über 17 Jahren immer noch funktioniert: wir haben unterschiedliche musikalische Hintergründe, leben in unterschiedlichen Teilen der Welt und fühlen uns frei, wenn nötig, getrennte Wege zu gehen. Die „Gruppe“ kommt eigentlich so gut wie nie in ihrer Ganzheit zusammen und sie umfasst außer Komponisten auch ausführende Musiker, bildende Künstler und Schriftsteller: Freunde eben. In Haan (bei Düsseldorf) gibt es ein Büro. Dort werden die Partituren gesammelt, die Website gepflegt und die CD’s herausgebracht. Dieser Ort, liebevoll betreut von Antoine Beuger, ist von wesentlicher Bedeutung für die Kontinuität der Organisation, aber nicht für die tiefen Verbindungen, die zwischen uns existieren. Das Gefühl, dass wir ein gemeinsames Ziel verfolgen, ist, denke ich, der zahllosen schönen musikalischen und künstlerischen Momenten zu verdanken, die wir miteinander erlebt haben. (Antoine Beuger) (Burkhard Schlothauer) Edition Wandelweiser war der Name, den Burkhard Schlothauer dem frischgebackenen Noten- und Tonträgerverlag gab, den er 1992 mit Antoine Beuger gründete. Es könnte etwa „Wegweiser des Wandels“ bedeuten, wenn man es als eine Kombination aus den Worten Wandel und Wegweiser auffasst; oder vielleicht wörtlicher: „wandle weise“ – (oder, wenn man den zweiten Teil als „der Weise“ versteht: weiser Mann des Wandels?) Was immer es bedeuten mag, ich war bei dem Namen immer etwas skeptisch und habe ihn eher humorvoll verstanden – einfach als ein Produkt von Burkhard’s sprachlicher Kreativität und nicht etwa als ein ästhetisches Programm. -
Universidade De São Paulo Escola De Comunicação E Artes
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÃO E ARTES CARLOS ARTHUR AVEZUM PEREIRA O silêncio como afeto ou a escuta corporal na recente música experimental SÃO PAULO 2017 UNIVERSIDADE DE SÃO PAULO CARLOS ARTHUR AVEZUM PEREIRA O silêncio como afeto ou a escuta corporal na recente música experimental Versão Corrigida Tese apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicação e Artes da Universidade de São Paulo, como requisito parcial para a obtenção do título de doutor em Música. Área de Concentração: Processos de Criação Musical. Linha de Pesquisa: Sonologia (Criação e Produção Sonora). Orientador: Fernando Henrique de Oliveira Iazzetta. SÃO PAULO 2017 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Pereira, Carlos Arthur Avezum O silêncio como afeto ou a escuta corporal na recente música experimental / Carlos Arthur Avezum Pereira. -- São Paulo: C. A. A. Pereira, 2017. 205 p.: il. + DVD. Tese (Doutorado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Fernando Henrique de Oliveira Iazzetta Bibliografia 1. música experimental 2. Teoria do Afeto 3. escuta 4. silêncio 5. corpo I. Iazzetta, Fernando Henrique de Oliveira II. Título. CDD 21.ed. - 780 Nome: PEREIRA, Carlos Arthur Avezum Título: O silêncio como afeto ou a escuta corporal na recente música experimental Tese apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicação e Artes da Universidade de São Paulo, como requisito parcial para a obtenção do título de doutor em Música. -
Into Silence - the Poetics of Hearing in Experimental Music Since Cage
Into Silence - The Poetics of Hearing in Experimental Music since Cage Mark So Foreword This writing is not any kind of historical survey, musicological analysis, theory, or even appreciation of the ongoing experimental music tradition after John Cage, nor could any such enterprise be undertaken in full (let alone begun) across the few pages that follow. Rather, the present concern is how that field of practice has heard: how it has oriented itself sensibly in the real situation of musical experience, and how that sensibility has developed amid continually changing circumstances of hearing. We will thus try to explore precisely that which evades analytic comprehension: the continuing phenomenological legacy of the experimental music tradition taken as a kind of loose whole, grasped not in the artificial division of individual composers and works but beheld in its fluid continuity, perception on the move, which has left its arcing impression indelibly across the considerable accounts that remain. We will proceed twice around this question of evolving hearing: the first time, compositionally, through Henri Bergson; the second time, more circumspect, through Martin Heidegger. Part I gathers a loose fabric of passages—reports, statements, observations, conversations, notes, etc.—from experimental music's half-century history1, woven across the propositional outline of the last major chapter from Henri Bergson's Matter and Memory. This collected material, spoken or written largely by composers (but also by a handful of other artists: several poets, a philosopher, a filmmaker), is of a sort that typically invites intensive readings, geared to explaining a specific work or elaborating the aesthetics and method of a particular artist. -
Unheard Music
craig dworkin unheard music information as material Unheard booklet.indd 1 31/8/09 22:57:30 Published in 2009 by information as material to accompany a film by Simon Morris pavel büchler making nothing happen © 2009 Craig Dworkin www.informationasmaterial.com Front cover: Pavel Büchler, 3'34" installation version Kunsthalle Bern, 2006 Back cover: Pavel Büchler, LIVE installation view Ateliergemeinschaft Gramophon Hannover, 999 Unheard booklet.indd 2 31/8/09 22:57:30 Heard melodies are sweet, but those unheard are sweeter. John Keats JOHN CagE: 4'33" (952). The classic. In three movements. Premiered by David Tudor on piano, although it sounds pretty good even in transcriptions. Not to be confused with either the showier 0'00" (962), “to be performed in any way by anyone” “in a situa tion provided with maximum amplification,” or the watered-down Tacet (960), which “may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time.” Recommended recordings: Frank Zappa’s acoustic rendition on A Chance Operation [Koch 7238], or Lassigue Bendthaus’ electronic version on Render [KK Records 115]; the definitive recording of 0'00" is by Peter Pfister [hat ART CD 2-6070]. For real range and lots of artistic license (well, lots of license at least), check out Roel Meelkop’s compilation of nine different performances on 45:18 [Korm Plastics 3005]. PAVEL BÜchlER: 3'34" (2006). Shrewdly collected silences from the leadin tracks on ten John Cage albums from Büchler’s record collection. These grooves are like -
The John Cage Festival
Special Thanks The John Cage The Florida State University College of Music Don Gibson, Dean Leo Welch, Associate Dean Festival Clifton Callender, Associate Professor of Composition Richard Clary, Professor & Director of Advanced Wind Ensembles who have helped to make this event possible. And all of the festival participants and attendees Mary Luisi, Nowell Gatica, and student volunteers Kristen Klehr, Jeff Miller, Matthew Martin, Elizabeth Tilley Anne Garree, Bruce Hargabus, and the FSU Piano Technology program Anthony Morgan and the FSU School of Dance Laura Gayle Green, Sara Nodine, and the Warren D. Allen Music Library Nicholas Smith and the College of Music Recital Hall Staff Kim Shively and the University Musical Associates Wendy Smith and Karey Fowler Richard Clary, Professor & Director of Advanced Wind Ensembles Clifton Callender, Associate Professor of Composition Leo Welch, Associate Dean Don Gibson, Dean The Florida State University College of Music Special Thanks Wendy Smith and Karey Fowler Kim Shively and the University Musical Associates The Florida State University Nicholas Smith and the College of Music Recital Hall Staff College of Music Laura Gayle Green, Sara Nodine, and the Warren D. Allen Music Library Anthony Morgan and the FSU School of Dance October 25 - 27, 2012 Anne Garree, Bruce Hargabus, and the FSU Piano Technology program Kristen Klehr, Jeff Miller, Matthew Martin, Elizabeth Tilley Mary Luisi, Nowell Gatica, and student volunteers And all of the festival participants and attendees Works of who have helped to make this event possible. John Cage/Morton Feldman Christian Wolff/Petr Kotik/James Tenney Antoine Beuger/Manfred Werder Michael Pisaro/Nomi Epstein/Mark So Jennie Gottschalk/Anthony Morgan With a long-standing reputation as one of the premiere music institutions in the nation, the College of Music is a vital component of The Florida State University community, off ering a comprehensive program of instruction and serving as a center of excellence for the cultural development of the state. -
The Jazz and Improvised Music Scene in Vienna After Ossiach (1971-2011)
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) Thomas Albert Zlabinger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1684 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FREE FROM JAZZ: THE JAZZ AND IMPROVISED MUSIC SCENE IN VIENNA AFTER OSSIACH (1971-2011) by THOMAS ALBERT ZLABINGER A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 ii 2013 THOMAS ALBERT ZLABINGER All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Jeffrey Taylor Date Chair of Examining Committee Prof. David Olan Date Executive Officer Prof. Peter Manuel Prof. Stephen Blum Prof. Reinhold Wagnleitner (Universität Salzburg) Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) by Thomas Albert Zlabinger Advisor: Prof. Peter Manuel Focusing on a diverse and eclectic scene that is under-documented, this dissertation investigates the historical, social, and cultural aspects of jazz and improvised music in Vienna over the last four decades. -
Jürg Frey: (Per)Forming Sound and Silence
Jürg Frey: (per)forming sound and silence Jürg Frey the performer is inseparable from Jürg Frey, composer. To understand his music is to know that underlying each event, each phrase, each rest, each relationship, is the beating heart of a performing musician. Frey's sense of pitch is that of someone who knows pitch. That is, someone who knows what it is to make pitch sound, and to make sounds live and breathe, who knows how it feels for two sounds to collide in space and time, and who knows what it is for sounds to appear and then disappear, to be articulated in time. And to hear Frey make those sounds - to hear the clarinet both as an instrument communicating across centuries (how I would love to hear him perform Mozart's clarinet quintet) and as an entirely fresh sound, emerging from nothing, barely present yet imbued with a radiance that makes a nonsense of the reductionist label at times assigned to his music - is to recognise that his composed music is abundantly affirmative. Like the music of his older friend, American composer Christian Wolff, his music is to be played and to be understood through playing. It is discovered only through the act of performance and through experiencing the sounds made alive. Unlike Wolff, however, whose unique performance strategies result in a strange, at times fragmented music, Frey's flexible treatment of older models, such as canons and chorales, is easily perceptible yet entirely fresh. To those readers and listeners who know of Frey (born Switzerland, 1953) as part of the 'Wandelweiser' group of composers, and who consequently characterise his music as reductionist, concerned only with silence and minimal sounding events (possibly somewhat austere), the description of Frey's music above may come as something of a surprise. -
Unheard Music
craig dworkin unheard music information as material Unheard booklet.indd 1 31/8/09 22:57:30 Published in 2009 by information as material to accompany a film by Simon Morris pavel büchler making nothing happen © 2009 Craig Dworkin www.informationasmaterial.com Front cover: Pavel Büchler, 3'34" installation version Kunsthalle Bern, 2006 Back cover: Pavel Büchler, LIVE installation view Ateliergemeinschaft Gramophon Hannover, 999 Unheard booklet.indd 2 31/8/09 22:57:30 Heard melodies are sweet, but those unheard are sweeter. John Keats JOHN CagE: 4'33" (952). The classic. In three movements. Premiered by David Tudor on piano, although it sounds pretty good even in transcriptions. Not to be confused with either the showier 0'00" (962), “to be performed in any way by anyone” “in a situa tion provided with maximum amplification,” or the watered-down Tacet (960), which “may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time.” Recommended recordings: Frank Zappa’s acoustic rendition on A Chance Operation [Koch 7238], or Lassigue Bendthaus’ electronic version on Render [KK Records 115]; the definitive recording of 0'00" is by Peter Pfister [hat ART CD 2-6070]. For real range and lots of artistic license (well, lots of license at least), check out Roel Meelkop’s compilation of nine different performances on 45:18 [Korm Plastics 3005]. PAVEL BÜchlER: 3'34" (2006). Shrewdly collected silences from the leadin tracks on ten John Cage albums from Büchler’s record collection. These grooves are like -
Silêncios E Durações Estendidas No Wandelweiser - Três Análises
GERMANO, Gustavo Branco; IAZZETTA, Fernando. Silêncios e Durações Estendidas no Wandelweiser - Três Análises. Revista Vórtex, Curitiba, v.6, n.2, 2018, p.1-26 Silêncios e Durações Estendidas no Wandelweiser Três Análises1 Gustavo Branco Germano2 Fernando Iazzetta3 Universidade de São Paulo | Brasil Resumo: Este artigo propõe uma discussão sobre os usos de silêncios e durações estendidas na obra de compositores vinculados à editora alemã Edition Wandelweiser. Para isso, apresentamos análises de três peças publicadas pela editora entre 1994 e 2001: Klavierstück 2, de Jürg Frey; First Music for Marcia Hafif, de Antoine Beuger; e Space, de Michael Pisaro. Com as análises, buscamos revelar as diversas formas pelas quais os compositores estabelecem conexões entre esses dois conceitos, centrais nas peças selecionadas, através de formas de notação e estruturação altamente contrastantes. Buscamos também introduzir uma reflexão sobre a experiência do tempo e do silêncio na interação do ouvinte com as peças apresentadas. Assim, o trabalho visa uma contribuição ao campo da música experimental através da divulgação e discussão de uma produção musical que, ao longo dos últimos 26 anos, tem se debruçado extensivamente sobre a exploração artística de conceitos fundamentais para a área. Palavras-chave: Silêncio. Tempo. Música experimental. Wandelweiser. 1 Silences and Extended Durations in Wandelweiser: three analysis. Submetido em: 01/07/2018. Aprovado em: 01/10/2018. 2 Gustavo Germano é licenciado em Música pela Universidade de São Paulo (2017), onde atualmente é aluno de Mestrado. Foi bolsista de Iniciação Científica da FAPESP sob orientação do professor Dr. Fernando H. O. Iazzetta com o projeto Silêncio e Durações Estendidas no Wandelweiser (2016-2017). -
Konzert Minimal (Berlin) Konzert Minimal Focuses on the Music of the Wandelweiser Collective and Composers Who Share Similar
Phill Niblock “Two Blooms” @ Kindl Zentrum für zeitgenössische Kunst Photography: Nicloas Wiese Konzert Minimal (Berlin) Konzert Minimal focuses on the music of the Wandelweiser collective and composers who share similar aesthetics and interests in the organisation of sound and silence as well as extending beyond conventional confinements and traditional hierarchy. As an ensemble of Berlin-based musicians, Konzert Minimal draws upon diverse yet focused collective experiences of its members, who come from various backgrounds of music; modern classical music, experimental and improvised music, sound art, conceptual performance and composition. Konzert Minimal was initiated by Johnny Chang and Koen Nutters in November 2010, since then the ensemble has appeared in the following venues and festivals: Labor Sonor, N.K., ausland, Studio 8, Relevant Musik festival (Berlin), Sonic Acts festival (Amsterdam), Cafe OTO (London). A key aspect of Konzert Minimal is ongoing co-operation and research with composers, with ongoing collaborations alongside composers such as Peter Ablinger, Antoine Beuger, Catherine Lamb, Radu Malfatti, Michael Pisaro , Taku Sugimoto and Manfred Werder. Current Series in progress Antoine Beuger Open instrumentation/Tunings Series (November 2010 - ) Complete series of open instrumentation compositions for 1 to 20 instrumentalists. Michael Pisaro Harmony Series 1-20 (November 2011 - ) 34 pieces for a varying number of performers. Upcoming 2017 Concert Dates 11.02.2017 Konzert Minimal @ Amsterdam Wandelweiser Festival -
Wandelweiser Festival Mijderwijk, Van Geel & Haanstra Onderhorst- Kabinetorgel 'Episch Geluidsverhaal' Kate Moore 20
21 voorjaar 17 Alle kleuren van het Orgelpark 11 februari Wandelweiser Festival 25 maart Timbres • Alle kleuren van het Orgelpark voorjaar 2017 Mijderwijk, Van Geel & Haanstra Jazz 6 mei Onderhorst- Kabinetorgel Ingebruikneming ‘Episch geluidsverhaal’ Kate Moore 20 mei 2 nummer 21 • voorjaar 2017 Timbres Timbres nummer 21 • voorjaar 2017 3 Inhoud Agenda Kennisprogramma 42 Concerten, festivals, symposia... Wetenschap in het Orgelpark 4 Alles op een rij 46 Het orgel: een muzikale tijdmachine Wat is er wanneer te doen in het Orgelpark? Cursus Orgelkunde 48 ‘Glorious and Shocking Sounds’: Mixtuur colloquia en symposium Nieuws en achtergronden bij de concerten 12 Muziek van zwijgen en luisteren Palet Wandelweiser in het Orgelpark Gemengde berichten van het Orgelpark 16 Pianist Matteo Mijderwijk slaat nieuwe wegen in 50 Dethleff, Deetlef, Didelof? 16 24 ‘Ik zocht klanken op m’n keyboard die er niet inzaten’ Het Orgelpark neemt kabinetorgel over 20 'C'est le son qui fait la musique’ 52 Hoe werkt dat? Klaas Hoek en de klank van de Johannes Passie Registreren (deel 2) 20 24 Blij dat ze geen wonderkind was 54 Componistenportret Componist Kate Moore over muziek, componeren Sofia Gubaidulina en luisteren 32 56 Nieuwe voorstelling Lichtbende 28 ‘De Bermudadriehoek van de podiumkunsten’ Zeven Nachten 7090 combineert muziek, theater, kunst en poëzie 32 Dvořák in het Orgelpark Lezersservice ‘Een perfecte mengeling van verstand en emotie’ Informatie voor Gasten en (Gast)Vrienden 38 Symfonie van stedelijke moderniteit 58 Het Orgelpark Flaneren in Berlijn -
Solo Double Bass Compositions by Eva-Maria Houben, Jürg Frey, and Antoine Beuger
UNIVERSITY OF CALIFORNIA SAN DIEGO Silence as a Personal Practice - Solo Double Bass Compositions by Eva-Maria Houben, Jürg Frey, and Antoine Beuger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Matthew Kline Committee in charge: Professor Mark Dresser, Chair Professor Erik Carlson Professor Diana Deutsche Professor Steven Schick Professor Rand Steiger 2021 The Dissertation of Matthew Kline is approved, and it is acceptable in quality and form for publication on microfilm and electronically: University of California San Diego 2021 iii TABLE OF CONTENTS Dissertation Approval Page ………………………………………………………. iii Table of Contents ……………………………………………………………….... iv List of Figures ……………………………………………………………............. v Vita ……………………………………………………………………………….. vi Abstract of the Dissertation ……………………………………………………..... vii Introduction ………………………………………………………………………. 1 Chapter 1 Analytical Perspective ……………………………………………. 4 Chapter 2 Wandelweiser ……………………………………………………... 10 Chapter 3 Personal Reflection ……………………………………………….. 16 Chapter 4 the double bass by Eva-Maria Houben ………………………….... 22 Chapter 5 accurate placement by Jürg Frey ………………………………..... 43 Chapter 6 calme étendue by Antoine Beuger ………………………………... 57 Epilogue …………………………………………………………………………... 78 Bibliography ………………………………………………………………………. 79 iv LIST OF FIGURES Figure 1: Instructions for the double bass by Eva-maria Houben …………………. 24 Figure 2: Opening of Descriptions Automatiques by Erik Satie