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Techno Rebelde Un Siglo De Músicas Electrónicas

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Techno Rebelde Un Siglo De Músicas Electrónicas Colabora con la cultura libre Desde sus inicios Traficantes de Sueños ha apostado por licencias de publicación que permiten compartir, como las Creative Commons, por eso sus libros se pueden copiar, distribuir, comunicar pública- mente y descargar desde su web. Entendemos que el conocimiento y las expresiones artísticas se producen a partir de elementos previos y contemporáneos, gracias a las redes difusas en las que participamos. Están hechas de retazos, de mezclas, de experiencias colectivas; cada persona las recompone de una forma original, pero no se puede atribuir su propiedad total y excluir a otros de su uso o replicación. Sin embargo, «cultura libre» no es sinónimo de «cultura gratis». Producir un libro conlleva costes de derechos de autor, traducción, edición, corrección, maquetación, diseño e impresión. Tú puedes colaborar haciendo una donación al proyecto editorial; con ello estarás contribuyendo a la liberación de contenidos. Puedes hacer una donación (si estás fuera de España a través de PayPal ), suscribirte a la editorial o escribirnos un mail Techno Rebelde Un siglo de músicas electrónicas Ariel Kyrou traficantes de sueños Traficantes de Sueños no es una casa editorial, ni siquiera una editorial independiente que contempla la publicación de una colección variable de textos críticos. Es, por el contrario, un proyecto, en el sentido estricto de «apuesta», que se dirige a cartografiar las líneas constituyentes de otras formas de vida. La construcción teórica y práctica de la caja de herra- mientas que, con palabras propias, puede componer el ciclo de luchas de las próximas décadas Sin complacencias con la arcaica sacralidad del libro, sin concesiones con el narcisismo literario, sin lealtad alguna a los usurpadores del saber, TdS adopta sin ambages la libertad de acceso al conocimiento. Queda, por tanto, permitida y abierta la reproducción total o parcial de los textos publicados, en cualquier formato imaginable, salvo por explícita voluntad del autor o de la autora y sólo en el caso de las ediciones con ánimo de lucro. Omnia sunt communia! historia Omnia sunt communia! o “Todo es común” fue el grito colectivista de los campesinos anabaptistas, alzados de igual modo contra los príncipes protestantes y el emperador católico. Barridos de la faz de la tierra por sus enemigos, su historia fue la de un posible truncado, la de una alter- nativa a su tiempo que quedó encallada en la guerra y la derrota, pero que sin embargo en el principio de su exigencias permanece profunda- mente actual. En esta colección, que recoge tanto novelas históricas como rigurosos estudios científicos, se pretende reconstruir un mapa mínimo de estas alternativas imposibles: los rastros de viejas batallas que sin llegar a defi- nir completamente nuestro tiempo, nos han dejado la vitalidad de un anhelo tan actual como el del grito anabaptista. Omnia sunt communia! creative CC commons LICENCIA CREATIVE COMMONS Reconocimiento-NoComercial-SinObraDerivada 2.5 España Usted es libre de: * copiar, distribuir y comunicar públicamente la obra Reconocimiento. Debe reconocer los créditos de la obra de la manera especificada por el autor o el licenciador. € No comercial. No puede utilizar esta obra para fines comerciales. = Sin obras derivadas. No se puede alterar, transformar o generar una obra derivada a partir de esta obra. * Al reutilizar o distribuir la obra, tiene que dejar bien claro los términos de la licencia de esta obra. * Alguna de estas condiciones puede no aplicarse si se obtiene el permiso del titular de los derechos de autor Los derechos derivados de usos legítimos u otras limitaciones reconocidas por ley no se ven afectados por lo anterior. © 2002, Ariel Kyrou y Éditions DeNoël © 2006, de la edición Traficantes de Sueños Edición original: Techno Rebelle. Un siecle de musiques electroniques. Publicado por DeNoël, X-Trême, Paris, 2002. 1ª edición: 1000 ejemplares Mayo de 2006 Título: Techno Rebelde. Un siglo de músicas electrónicas Autor: Ariel Kyrou Traducción: Manuel Martínez Forega Introducción: Léonidas Martín Sala Maquetación y diseño de cubierta: Traficantes de Sueños. Edición: Traficantes de Sueños C/ Embajadores 35. 28012 Madrid. Tlf: 915320928 e-mail:[email protected] http://traficantes.net Impresión: Queimada Gráficas. C/ Salitre, 15 28012, Madrid tlf: 915305211 ISBN-10: 84-96453-10-3 ISBN-13: 978-84-96453-10-3 Depósito legal: M-21793-2006 Techno Rebelde Un siglo de músicas electrónicas Ariel Kyrou Traducción Manuel Martinez Forega Introducción a la edición en castellano Léonidas Martín Sala historia traficantes de sueños ÍNDICE Introducción a la edición española: ----------------------------------------------- 13 Prólogo. Plataformas por Jean-Yves Leloup: -------------------------------------------- 19 Pista de introducción. Para entender mis preferencias ------------------------------- 23 - Prólogo 1909-2009. Aperitivo. «Cip-cip zzip-zzip rebaños pastando dong-dang-dong-ding-beee Orquesta» ------------------------------------------------- 25 - 1913. El arte de los ruidos. Sucedáneo futurista de un manifiesto que hace pum. ---- 31 - 1970-1978. Blues del robot. Kraftwerkimaginario de la techno ---------------------- 35 Pista uno. Las vanguardias del siglo XX -------------------------------------------- 39 - 1896-1993. Visión de merdre. Dadá y futurismo italiano: primera traición sin la cual las músicas electrónicas jamás habrían aparecido --------------------------------- 41 - 1897-1954. Historias de huesos. Del Telharmonium a las Ondas Martenot: las máquinas que Varèse quiso trascender --------------------------------------------- 44 - 1939-1967. Arqueología concreta. Cage y Schaeffer hacen música con ruido y abren el camino -------------------------------------------------------------------- 54 - 1945-1996. Intermedio concreto. El amor al vinilo según Pierre Henry ------------- 61 Pista dos. Al ritmo de la vanguardia y del mundo pop ------------------------- 63 - 1952-1976. Historias de marcianos. De Jean-Jacques Perrey a Jean-Michel Jarre, los hijos de Schaeffer y de Stockhausen o la segunda traición al arte instituido --------- 65 - 1913-1988. Pirueta psicodélica. Performances y festivales pre-multimedia: Sueños de «avant-rave». --------------------------------------------------------------- 73 - 1960-1971. Historia de Globbots. Joe Meek, Brian Wilson, Frank Zappa, Silver Apple: el pop se vuelve loco y enloquece los estudios ---------------------------- 76 - 1970-1997. Diálogo en sampler. Cómo Can hacía sampling antes incluso de que el sampler existiera-------------------------------------------------------------- 81 - 1958. Cita dadá zen. Cuchillos, tenedores y ruidos de la calle. ------------------------ 82 - 1937-1998. Manifiesto mundialista. Escuchad el silencio; después, haced repeticiones, repeticiones, repeticiones, repeticiones.... ------------------------- 83 Pista tres. En las raíces de la música dance ----------------------------------------- 93 - Años cincuenta. Historia paralela. Bajo las chozas de Jamaica es donde crecen las raíces de la cultura dance -------------------------------------------------------------------- 95 - 1967-1972. Incidente técnico. De un error nació el remix. Después King Tubby creó el dub ----------------------------------------------------- 98 - 1971-1972. Manipulación pre-disco. La primera herejía del DJ Francis Grosso ---- 101 - Mitad de los años setenta. Error de interrupción. Cómo la madre del pequeño Theodore le hizo inventar el scratch y le permitió convertirse en Grand Wizard ------ 102 - 1973-1977 Arqueología hip-hop. Kool DJ Herc inventa el breakbeat, después Grandmaster Flash se mezcla con él ----------------------------------------- 103 - 1972-1978. Parte almibarada. De las Temptations al Philly Sound, el soul cambia entre esplendor de arreglos y anhelos acústicos ---------------------------------------- 106 Pista cuatro. A la gloria de los primeros juglares del artesanado electrónico. ---- 109 - 1972. Anécdota Krautrock. Cómo Neu! crea el drum’n bass del pobre para terminar la grabación de Neu! 2 ------------------------------------------------------------------ 111 - 1947-2001. Subjetividad a metro. ¿Quiénes son los fundadores? Elogio de los electrones libres-------------------------------------------------------- 112 - 1953-2001. Miles y la electrónica van en un barco; la electrónica cae al agua; ¿qué queda? ------------------------------------------------- 121 - 1997. Punto de desacuerdo. ¿Jazz y música black como fuentes de las músicas electrónicas actuales?----------------------------------------------------------------- 128 - 1978. Intermedio obsesional. Las máquinas producen un éxtasis perfecto--------- 130 - 1978. Anécdota zippie. Cómo el fashion Steve Hillage se convierte al techno gracias a Kraftwerk en plena explosión punk --------------------------------------------------- 131 Pista cinco. Hacia las fuentes directas de la cultura de club y de la hidrotechno -------------------------------------------------------------- 133 - 1976-1997. Testimonio en cuerpo y alma. La definición de un verdadero club según François Kervorkian ----------------------------------------------------- 135 - 1970-1981. Historia simple. Cómo el disco de Tom Moulton, David Mancuso, Giorgio Moroder y Larry Levan transformó el dance music ------------------------- 137 - 1975-1985. Debate público. En diez años, disco y hip-hop fabricaron la cuna de los hermanos techno y house ------------------------------------------------------ 150 - 1971-1997. Paralelo estético. La extraña semejanza
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