Aus der aktuellen Keyboardliteratur zwei bemerkenswerte Stücke:
Henrique Vaz: Black MIDI (2013)
Duo piece for Piano + Dispositive (eccentric rotating mass vibrating motors – amplitude: from 6G to 13G} & MIDI Keyboard.Piano & MIDI Keyboard: Henrique Vaz
Anton Wassiljew – Keyboardstück III (2011-2014)
Keyboard, Sebastian Berweck
14.04.2014 Konzertsaal der Hochschule für Künste Bremen
Das nächste Re-enactment (könnte man auch ein ganzes Online-Festival draus machen):
Trevor Cox hat Alvin Lucies Klassiker I am sitting in a room in dem Raum mit dem mutmaßlich längsten Nachhall realisiert.
A rendition of Alvin Lucier’s I am Sitting in a Room played using the Inchindown Oil Tanks that hold the Guinness World Record for having the ‚longest echo‘. The text passes through the oil tanks multiple times, until all that remains are strange tones created by this long feedback loop. The immense reverberance of the oil tanks give a very different feel to the early evolving sound compared to renditions using more conventional concert halls.
Umgekehrt wär’s auch interessant, das Stück in einem maximal schallschluckenden Raum aufzuführen.
(via Disquiet)
Schönes Re-Enactment von György Ligetis „Poème Symphonique“ für 100 Metronome – so wie ich es verstehe haben Paul Hübner und Niklas Seidl YouTube-Filme mit Metronomen genommen und als Split Screen angeordnet, wobei aus den verschiedenen Dauern der vorgefundenen Filme der Ausdünnungsprozess resultiert, der bei Ligeti durch sukzessives Ausscheiden der entspannten Metronomfedern entsteht.
by David Pocknee
for Andy Ingamells
…
13718 verbs re-imagined as Fluxus one-word text scores, arranged in a random order that will change when the page is refreshed.
Some verbs appear in both English and American spellings. These small differences should indicate a subtle change in the approach to performance.
…
ANDY (leafing through Yoko Ono’s „Grapefruit“): A lot of these scores seem like you just take a random word from the dictionary, stick „PIECE“ on the end of it and then the piece is just that word with a full stop after it and the date…
DAVID AND ANDY: …wait a minute…
…
(via textscoreaday)
Wer sich für den amerikanischen Abstraktminimalisten interessiert, hier gibt’s eine hervorragende Ressource:
http://www.cnvill.net/mftexts.htm
(via Ali)
Sounds of Silence is a new compilation of silent tracks by the likes of Orbital, Crass, Andy Warhol, Sly & The Family Stone, John Denver, Afrika Bambaataa, John Lennon and Yoko Ono, and many more artists. According to the avant-garde Italian label Alga Marghen that issued the LP, limited to just 250 copies, „The carefully chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal it’s nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with „4’33“.“ Of course, the title (and sleeve) is its own musical reference. Below, enjoy Lennon and Ono’s „Two Minutes Silence“ from 1969.
(via BoingBoing)
Seit mehreren Jahren sammelt annette hollywood Vinyl-Singles aus dem gesamten Spektrum der Popmusik, in denen die Liebe besungen wird. Ein scheinbar einfacher Kunstgriff macht die Lieder zu ART SONGS: Das so inflationär verwendete Wort »Love« wird durch »Art« ersetzt. […] Die umgewidmeten Texte werfen eine neues Licht auf unser Verhältnis zur Kunst, wobei Kunst und Liebe mitunter ungewohnte Entsprechungen oder Gegensätze zu zeigen scheinen: „ART HURTS, art scars, art wounds and marks, any heart, not tough…“ (Original: Love Hurts, Nazareth, 1976).
http://www.annettehollywood.com/artwork.html
(Danke für den Tipp, Anne!)
Haha! Seth Kim-Cohen hat mal eine ulkige Aktion durchgeführt: Allen Personen, die in der Januar-2009-Ausgabe der bedeutendsten englischsprachigen Kunstzeitschrift „Artforum“ mit Adresse genannt wurden (scheint in dem Heft üblich zu sein), hat er eine Karte geschickt.
A postcards is sent to each address appearing in the January 2009 issue of Artforum.
The postcard reads:
„You have received this card
because your address appeared
in the January 2009 issue of Artforum.“
http://www.kim-cohen.com/projects/vettingthevetters_home.html
Von John Cage’s „Williams Mix“, das ich neben Stockhausens „Gesang der Jünglinge“ für das wichtiges Elektronische Musikstück überhaupt halte, gibt es auch eine Partitur – nach der sich also das Stück auch „nachspielen“ lässt. Tom Erbe hat’s getan.
John Cage composed Williams Mix in 1952 for 8 channels of magnetic tape. It was one of the first pieces for tape – an ambitious project with over 3,000 tape shapes drawn onto a 192-page score and resulting in only 4 minutes and 15 seconds of music. The original version took a group of Cage’s friends nearly one year to complete.
I started work on Williams Mix in January 2012 by carefully measuring and noting all of the events on the score – and in the process, discovered the hierarchy, internal rules and structure of the piece. I then devised a patch in the PD language to play Williams Mix and perform the scored transformations noted by arrows, underlines and dashes. Whenever the score is open to multiple choices, my performance software either gives me control, or uses a chance process to determine the outcome. Because of this, every performance is different. A group of my friends contributed the 500 – 600 sounds required to perform the piece. Other than the original, this is the first time anyone has realized Williams Mix from the score.
The sounds for my performances were generously provided by the following musicians, artists and friends:
Cooper Baker – Bobby Bray – Clay Chaplin – Kent Clelland – Greg Davis – Greg Dixon – Tom Djil – Sam Dunscombe – Tom Erbe – Jeff Kaiser – Scot Gresham Lancaster – J Lesser – Elainie Lilllios – Carl Stone – Stephan Mathieu – Rick Nance – Maggi Payne – Meg Schedel – Michael Trigilio – Doug Van Nort
(via Renewable Music)
