„Musik machen“ – 33 composers write about how they work. Very nice new book publication @Vexer.
Edited by Désirée Meiser, Matthias Schmidt and Anja Wernicke. With my contribution „Arbeiten an der Minimierung“.
"Musik machen" – 33 composers write about how they work. Very nice new book publication @Vexer. Edited by Désirée Meiser, Matthias Schmidt and Anja Wernicke. With my contribution "Arbeiten an der Minimierung".https://t.co/7iVWt6zfcqpic.twitter.com/nXFXRGlJ7e
„Sound waves pressing into the air“
(ongoing series)
Bürgermeisterhaus Essen
Part of the concert-exhibition „vvvwwvwvwvvvvwwvvvwwwvvvwwww“ with E-MEX Ensemble December 2022
"Sound waves pressing into the air" (ongoing series) Bürgermeisterhaus Essen Part of the concert-exhibition "vvvwwvwvwvvvvwwvvvwwwvvvwwww" with E-MEX Ensemble December 2022 pic.twitter.com/S4dfo61Qly
Snadris Murin hat mit mir zusammen eine YouTube-Playlist konzeptueller Musik kuratiert.
It was my pleasure to work with Johannes Kreidler to create a Youtube playlist of 10 concept music pieces. We defined concept music as music where the idea produces the pieces itself and composer intervention is the least possible. You can find the link to this Youtube playlist in the first comment.
Here is our list:
– 4’33 composed by John Cage
– MINUSBOLERO composed by Johannes Kreidler
– Sol Lewitt performed by John Baldessari
– Crypto Silence created by Dmitri Kourliandski
– Arnold Schoenberg, op. 11 – I – Cute Kittens created by CoryArcangel
– Die Geburt des Künstlers aus dem Geiste der Musik created by Trond Reinholdtsen
– Guitar Drag created by Christian Marclay
– Up next composed by Dylan Richards
– The Chord Catalogue composed by Tom Johnson
– Inverted Piano created by Tomomi Adachi
„Pond“
lasercut sound waves, mirror (2022)
Bürgermeisterhaus Essen
Part of the concert-exhibition „vvvwwvwvwvvvvwwvvvwwwvvvwwww“ with E-MEX Ensemble December 2022
"Pond" lasercut sound waves, mirror (2022) Bürgermeisterhaus Essen Part of the concert-exhibition "vvvwwvwvwvvvvwwvvvwwwvvvwwww" with E-MEX Ensemble December 2022 pic.twitter.com/1LfynG3hms
„Musik gilt generell als relativ abstrakt, die Töne und Klänge stehen für keinen Inhalt. Doch wie weit kann man das treiben? Diese Stücke sind Extremfälle der musikalischen Abstraktion.“
1st release of the new Label „Ghost Notes Records“ of Kunststiftung
Baden-Württemberg as a follow-up of the exhibition „Ghost Notes“ 2022.
Composers, young or advanced, come to Basel to study composition! We have an enthusiastic team of composers as well as instrumentalists, improvisers, audio designers, music theorists, musicologists and a philosopher who are dedicated to new music, guest teachers/lecturers, many cooperation projects e.g. with Basel Sinfonietta, Theater Basel, Zeiträume Festival, Art Basel, Tinguely Museum and exchange programs with other schools (for example 2024 with Harvard University). The beautiful town at the border to Germany and France is a cultural center of middle Europe, located close to Zürich and Freiburg, with lots of music, art and theater around.
Application deadline is 15th February. You can contact me for further information.
https://www.sonicspacebasel.ch
topics of my composition class courses until now: http://www.kulturtechno.de/?tag=profkreidler
//
an essay of mine on teaching composition: https://www.nmz.de/artikel/the-composition-class-as-an-aesthetic-think-tank?fbclid=IwAR2LeBbiKq2PLC3LkcBzv18MKKRK0YtTga2E6gK6f2vxrcGijlgNmN6NQ4s
* Bereits 2019 veröffentlicht, aber mir erst jetzt bekannt: Max Erwins Text „Cyberbored/Culture-Jammed: The Short-Circuit of Musical Progress “
The following investigation identifies two potential departure points for scholarship on the work of Johannes Kreidler and – the following scare quotes should be read very emphatically indeed – technologically “engaged” art in general. In both cases, I demonstrate how Kreidler’s technological practice undermines two ideological traditions – and their respective foundational myths – of techno-musical progress. The first tradition, characterised by an immanent universalism and a concomitantly utopian teleology, is manifested in a number of hierarchical, “establishment” institutions: New Music in the upper case. The second, predicated on relativistic epistemology and focused on subject-centred musical practice with emphasis on the performance of marginalised social identities, has lately emerged, largely in response to upper-case New Music, as a non-hierarchical, emancipatory narrative – a sort of counterutopia – and is perhaps best exemplified by the individual “composerperformer” and their close collaborators: lower-case “new music”, as it were. This tradition’s critical position towards upper-case New Music (sometimes, not particularly helpfully, conflated with Modernism) is probably quite familiar by now, in Anglo-American scholarship, for example, from the works of Georgina Born and Lydia Goehr, among many others. However, I argue that Kreidler’s work – in addition to that of a few of his younger contemporaries – not only attacks hierarchical-institutionalb New Music in the upper case but also demonstrates the ethical and aesthetic limitations of lower-case new music practice, problematizes its emancipatory claims, and ultimately exposes its utopian project as an impotent, aporetic offshoot of the tradition it purportedly rejects. Despite this, Kreidler’s work can nevertheless be understood, via Virilio, as fundamentally humanistic in its performance of artistic futility, deploying pitiless technological processes to reveal a pitiful human subject.
Die Dialektik vom Subjektiven und Objektiven des Künstlers ist legendär und wird in einschlägigen
Sentenzen überliefert. Einerseits ist der Künstler das schiere Objekt der ›Welt‹, wenn Beethoven bei
als unspielbar geltenden Noten grimmig zu verstehen gibt, ihm käme eben »der Geist«, wenn
Schönberg postuliert, im historischen Auftrag zu handeln, denn Kunst komme »nicht von Können,
sondern von Müssen« und Jonathan Meese folgerichtig die »Diktatur der Kunst« ausruft, die
tatsächlich zu befehlen gebe, dass die rechte obere Ecke gelb zu malen sei. »Die Freiheit des Künstlers
ist, dass er keine hat. Versteh’s wer kann«, so Ernst Barlach in einem Anflug von Komik. Für Martin
Walser ist das Schreiben »die passivste Tätigkeit«, die er sich nur vorstellen könne, und Elfriede Jelinek
hält die Totenrede auf den Dichter: Er wäre notwendig »abgelebt, der immer nur anderes beleben
kann«. Das komponierende Ich ist nicht nur nicht Herr im eigenen Haus, es will diese Rolle tunlichst gar
nicht einnehmen, will das musengeküsste Sprachrohr höherer Mächte verkörpern. Das Verdienst des
Künstlers ist, eigentlich keines zu haben.
Kommentare deaktiviert für Mein Text „Zum komponierenden Subjekt“ jetzt online| Kategorie: ID
Das Opera Lab hat vom 1.-24. Dezember 2021 einen Adventskalender performt. Jeden Tag ein Musiktheater-Piece an ihrem Schaufenster in Berlin-Schöneberg, inspiriert aus Material des Kreidler-Werkfundus, jeden Tag eine andere Verschwörungstheorie. Es ist alles anders als ihr denkt, wacht auf!
Hier der Zusammenschnitt.
The Kreidler Conspiracy Christmas Advent Calendar
Supported by Initiativ Neue Musik Berlin
Performers: Anna Weber, Georg Bochow, Günter Wolf-Lemke, Gina May Walter, Nolundi Tschudi, Sophie Cathrin and David Eggert
Directors and Dramaturgy: Anna Weber, Georg Bochow, Günter Wolf-Lemke, Gina May Walter, Nolundi Tschudi, Sophie Cathrin and Evan Gardner
Stage & Costume Design: Günter Wolf-Lemke
Production Management: Julie Kurzke
Light Design: Santiago Dolijan
Live Video: Marta Maluva
Sound Engineering: Simon Walker
Social Media: Louise Knauer, Will Roseliep
Artistic Director: Evan Gardner
01 -24 Dec 2021 17:00, 17:30, 18:00 & 1830
DAS LABOR MONUMENTENSTR 5 10829 BERLIN
STREAMING ON YOUTUBE/ OPERALABBERLIN
Opera Lab Berlin presents the Kreidler Conspiracy – the world’s first live music theatre advent calendar! At long last The Lab at Monumentenstraße 5 is letting the public have a sneak peak and unveils its Popup Store for Truth. From December 1st right through 24th the collective for contemporary music theatre will perform a shrewd and musically virtuoso showdown of conspiracy theories using compositions by the concept music artist Johannes Kreidler.
Every day a new formation of performers from the ensemble will expose a new conspiracy with and around Kreidler’s music. How does rope jumping explain the secret intrigues behind 9/11? What’s the connection between shoes falling on guitars and the Illuminati? And did you know, that Prince Charles is a vampire – and that opera lab holds him prison? Come to the fireplace, where Opera Lab Berlin will retell the 21st century’s most popular tales. Untruths, which manipulate our Zeitgeist’s narratives from the depth of the web of social media, proclaiming the new salvation or catastrophe. Or becoming reality.
Witness how festively the velvet curtain will swing open daily at 5 pm and open a new door to an alternative truth. Walkers-by can then partake in the inner workings of the laboratory by gazing through the shop window wearing disinfected bluetooth headphones. Short performances as well as social distancing and obligatory medical masks will ensure a safe art degustation in fresh air. Come and enjoy links and connections, where there are none; tasty concept music Christmas recipes; Elvis and Big Foot; glitter and chocolate.
Forget love, Christmas 2021 will become a feast of truth!
Kommentare deaktiviert für The Kreidler Conspiracy| Kategorie: ID
