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Steim(9014).Pdf INHOUD CONTENTS Vijfentwintig jaar STEIM, een ouverture, 2 Twenty-five years of STEIM, an overture door Michel Waisvisz b7 Michel Waisvisz Exploded View, het muziekinstrument 5 Exploded View, the Musical Instrument at Twilight, in het schemerlicht, door Nicolas Collins by Nicolas Collins Biografieen artiesten Artist biographies Impossible Music 16 STEIM Achtergracht 19 Jon Rose 1017 WL AMSTERDAM Tel. 020 - 622 86 90 - Fax 626 42 62 Ray Edgar 1 8 1 9 Joel Ryan and Paul Koek Ben Neill en David Wojnarowicz 20 2 1 Sonia Mutsaerts Luc Houtkamp en Robert Dick 22 23 Marie Goyette and Laetitia Sonami The Ex en Tom Corm 24 25 Nicolas Collins Ground Zero 26 27 Michel Waisvisz, Moniek Toebosch, Marie Goyette and John Cameron Installaties Installations Ron Kuivila 28 29 Bob van Baarda Het WEB, Michel Waisvisz 30 Colofon 3 l Colophon vijfentwintig jaar geleden, sterk gemaakt voor een instru- mentale benadering van de elektronische uitvoeringsprak- STEIM VIJFEIVTWIIVTIG JAAR, een ouverture tijk. Dat instrumentale houdt in dat de elektronische muziek Een nieuwe muziektak in ontwikkeling ontmoet op haar pad bliek vaak vanzelfsprekender tot deze inspanning bereid is in STEIM's opvatting pas op het podium haar definitieve heftige opinies, varierend van megalomane toekomstver- dan de beroepsmatige, cultureel overvoede beschouwers vorm moet krijgen; dat de uitvoerende muziekmaker uitein- wachtingen tot regelmatig opduikende doodsverklaringen en beleidsmakers. delijk degene is die via directe en fysieke acties ten over- van het nieuwe genre. Liasons met de duivel worden niet Terugkijkend op de eerste bewegingen in de geschiedenis staan van het publiek de klanken creeert. In feite een meer zo letterlijk aan het nieuwe toegedicht, maar bepalen van de elektronische muziek mogen we vaststellen dat de uiterst traditionele opvatting, maar in de elektronische mu- vaak onbewust nog steeds de toonzetting van de commen- vroege uitingen weliswaar grote klankrijkdom en soms ge- ziek tot dan toe nog weinig vertoond. Eindelijk extase en taren. niale compositorische kwaliteiten bezaten, maar dat de pu- tweet op het elektronische concertpodium! Wat STEIM ech- Met de elektronische muziek is het niet anders. blieke presentatie vaak steriel bleef door het ontbreken ter hieraan toevoegt, is dat de componist ook de uitvoer- Ruim honderd jaar na het rijden van de eerste, toen nog tot van een levend, muzikaal wezen op het podium. De latere dersrol op zich neemt; dat er een instrumentarium wordt de ondergang gedoemde, trein en de uitvinding van de tussenvormen, waarbij musici op het podium een bijsturen- ontwikkeld dat de componist in staat stelt op het podium to 'belachelijke' saxofoon hebben veel professionele buiten- de rol gingen spelen in wederom voor de toehoorder on- componeren en het werk tegelijkertijd to laten klinken. Dus staanders nog steeds de neiging hun onwennigheid bij het zichtbare elektronische uitvoeringsprocessen, hebben de niet de praktijk van computers als veredelde componeer- beoordelen van elektronische muziek to camoufleren ach- klok eigenlijk nog verder teruggezet doordat deze musici automaten, maar computers als vertalers van componeer- ter bespiegelingen over het 'onistreden' bestaansrecht van op verwarrende wijze als acteurs worden gehicorporeerd handelingen van de componist. Eenbeweging vax de de nieuwe muzikale tak; een tak die ondertussen ook al in nog steeds hetzelfde onzichtbare formalistisch opgezette componist kan bijvoorbeeld de tonaliteit of het timbre-ka- zo'n vijfenzeventig jaar welig bloeit . uitvoeringssysteem . rakter van een muzikale tin, in een handomdraai, wijzigen. STEIM ontstond in de zestiger jaren vanuit een onvrede on- STEIM's ideeen konden worden gerealiseerd met een relatief De noodzakelijke groeistuipen van een kunstvorm veroor- der componisten en orkestmusici over het felt dat de pro- laag budget doordat de stichting actief werd in een periode zaken onmiskenbaar misverstanden. Het voorstellingsver- dukten van de 'geisoleerde' studio voor elektronische waarin alle technische ontwikkelingen (ruimtevaart-, mili- mogen van de pioniers is soms groter dan de muziek slechts in de concertzaal ten gehore konden wor- taire-, medische- en consumenten-industrie) groeiden in zeggingskracht van hun nog niet uitgekristalliseerde pro- den gebracht via de statische magnetische band en luid= de richting van miniaturisering, mobiliteit en popularise- dukten. Culturele ontwikkelingen vergen veel tijd. Van be- sprekercombinatie. ring. Zonder dat STEIM de filosofie van de High Tech onder- schouwers en belangstellenden wordt geduid, liefde en STEIM werd gecreeerd als onderzoekslaboratorium en ont- schreef, kon STEIM dankbaar gebruik maken van de inlevingsvermogen verwacht. wikkelingswerkplaats voor een levende elektronische mu- componenten van deze technologie om haar eigen 'ap- Een bijzonder fenomeen is dat het niet-professionele pu- ziekpraktijk. STEIM heeft zich vanaf haar geboorte, bijna propriate-tech'-instrumenten vorm to geven. Michel Waisvisz: The Hands Foto:Andre Hoekzema TWENTYFIVE YEARS OF STEIM, an overture Every new branch ofmusic is bound to encounter strong reac- public, rather than from professional and culturally-sated ob- platform and that, via direct, physical action, the performing tions varying from megalomaniacal predictions of great things servers and policy makers. music-maker must create sound in the public's presence . to come to regular announcements of its final demise. If we look back to the early developments in the history of Although this approach is an extremely traditional one, it has The innovative is no longer viewed as being automatically he- electronic music, we find that these initial works involved a rarely been applied to the field of electronic music. But it does retical although this attitude still unconsciously prevails in the wealth of sound and possessed compositional qualities of oc- mean that finally we get to see some real sweat and rapture on criticism it provokes. casional genius. But the absence of a live performer made the electronic stage! Electronic music is no exception to this rule. their public presentation somewhat sterile. In the later, inter- STEIM also requires its composers to perform their own music More than a century after the advent of the first train (which no mediary forms, musicians activated electronic processes on and so consequently it is committed to developing a range of one ever thought would catch on) and the invention of the 'ludi- stage that remained invisible to the listener Hence the confu- instruments enabling them to compose on stagewhile simulta- crous' saxophone, many professional outsiders still camouflage sion created by the musicians' transformation into actors in this neously peg forming the work itself. Here, computers are no their fear of the unknown with pronouncements on the 'contro- invisible and formal performance system succeeded in turning longer used as sophisticated composing automata but have versy' surrounding electronic music's right to exist. Yet this is the clock back still further. Then STEIM was founded in the six- been transformed into the interpreters of the acts of composi- despite the fact that this branch of music has been blossoming ties. Its task was to remedy the discontent prevalent amongst tion. For instance, with a single gesture a composer abundantly for the last sevent-five years. composers and orchestral musicians that electronic music was can instantly alter the tonality or timbre of a particular musical produced in 'isolated' studios and could only be heard in con- phrase. Fortunately, it was initially possible to realize these ide- An art form's necessary growing pains lead to inevitable mis- cert halls via a combination of static magnetic tape and loud- as on a relatively low budget because STEIM was founded when understandings. The pioneers' imaginative powers sometimes speakers. the technologies of space, the military and the consumer were outstripped the eloquence oftheir rather half-baked products . STEM was created as a laboratory for the research and devel- concentrating on miniaturization, mobility and popularization . But cultural developments do take time. opment of the modern practice of electronic music. Without necessarily subscribing to the Hi-Tech philosophy, Observers and other interested parties must be patient and Right from its inception some twenty-five years ago, STEIM has STEIM was nonetheless able to exploit its component parts in must also be prepared to invest both their love and theirsym- supported an 'instrumental' approach to the performing of order to create its own 'appropriate-tech' instruments. pathy. electronic music. It means that in sTEM's view, this kind of mu- Yet curiously support often comes from the non-professional sic only attains its definitive form once it reaches the concert It is extraordinary how quickly the ideas of electronic music Een bijzonder fenomeen is het feit dot het gedachtengoed van de elektronische muziek - aanvankelijk een kleine ex- perimenterende mini-cultuur - ongelofelijk snel geinte- tuositeit en gevoeligheid van het lichaam van de bespeler EXPLODED VIEW greerd is geraakt in de brede en 'grote' cultuur. optimaal worden vertaald in elektronische muzikale klank. Elektronische muziekopvattingen en -technieken zijn door- Gebruikmakend van universele besturingssystemen voor De recente geschiedenis van het mUzieklnstrument gedrongen tot in de fijnste details van bijna alle muziek- de huidige muzieksynthese-instrumenten kan op deze wij- In de twintigste
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