Es sind in letzter Zeit ein paar Texte in anderen Sprachen erschienen, in denen auch meine Arbeit besprochen wird:<\/p>\n
Florian Cramers Essay „Crapularity Aesthetics<\/a>“ nimmt Bezug auf die Auseinandersetzung zwischen meiner konzeptuellen \u00c4sthetik und Helmut Lachenmann<\/p>\n In Neue Musik, an institutional critique has manifested only recently with such younger composers as Johannes Kreidler who, among others, outsourced a commissioned piece to a Chinese and to an Indian composer.20 In a recent, angry op-ed piece against Kreidler\u2019s \u201cconceptualism\u201d (here we see the generational difference of Neue Musik at work), composer Helmut Lachenmann insists that \u201cautonomous music\u201d answers \u201cin timeless innocence and intensity to a reality that is foreign to this music, thus reminding it of the utopia of our humanity\u201d.<\/p><\/blockquote>\n Haize Lizarazu Gonz\u00e1lez befasst <\/a>sich in „EXTENDED PERFORMER: EVOLUTION AND CHANGE OF THE MUSICAL PERFORMER\u2019S ROLE: TOWARDS AN EXPANDED MUSIC“ (original auf spanisch) mit meinem Minusbolero<\/a>.<\/p>\n Kreidler se ha dado a conocer en el mundo de la m\u00fasica contempor\u00e1nea a trav\u00e9s de ciertas obras pol\u00e9micas, muchas veces criticadas por los \u201cgrandes\u201d del sector, como Helmut Lachenmann, quien se\u00f1al\u00f3 que la obra minusBolero, de Kreidler, no pod\u00eda considerarse m\u00fasica y que no era m\u00e1s que una burla al oficio. Esta obra de Kreidler explora el concepto de memoria auditiva del p\u00fablico. Es una copia literal del Bolero de Ravel, pero sin la l\u00ednea mel\u00f3dica. Ebenfalls auf spanisch: In Alberto Bernals Essay „TUTTI! Sobre el paradigma del archivo en las nuevas m\u00fasicas y pr\u00e1cticas de lo sonoro (y II)<\/a>“ geht es u.a. auch um meine „Einleitung in die Musiksoziologie<\/a>“<\/p>\n La letan\u00eda final de El Aleph que reproduc\u00edamos al principio es un buen ejemplo de ello, as\u00ed como las r\u00e1pidas sucesiones de versiones (Beil, Bernal, Carlson\u2026). Pero como ejemplo paradigm\u00e1tico valga la obra (en un terreno indefinido entre la m\u00fasica y la conferencia performativa) Introducci\u00f3n a la sociolog\u00eda de la m\u00fasica, de Johannes Kreidler, en la que el autor procede a una mec\u00e1nica enumeraci\u00f3n de diferentes subg\u00e9neros de m\u00fasica metal, seguidos por una brev\u00edsima audici\u00f3n de un fragmento correspondiente.<\/p><\/blockquote>\n Andy Ingamells spricht in „Grandchildren of Experimental Music \u2013 performing the compositional act by creating intriguing situations in which musical sound may occur<\/a>“ auch \u00fcber mein Musiktheater Audioguide<\/a>.<\/p>\n A contemporary proponent of Fluxus-like methods is German composer Johannes Kreidler, whose large-scale piece Audioguide (2014a) displays traits that I observe as being an embodiment of the J\u00f6rn Peter Hiekel hat \u00fcber „New philosophic interpretations of the music from today<\/a>“ gesprochen und darin auch mein Shutter Piece<\/a> betrachtet.<\/p>\n The situation is very simple [\u2026] there\u2019s an ensemble, a really well known, Ensemble Recherche from Freiburg. In the concerto there\u2019s a video with elements in some section of a football match during the, not the recent championship but the last or so, and of course it will concentrate on the question of intensity of music in conflict to the other elements so reflection of the possibility to concentrate on music and something more [\u2026] for Johannes Kreidler is very normal and he feels the need to give to all his new pieces [\u2026] the possibility to be heard all over the world (youtube). For Johannes Kriedler is unbeilable and unthinkable to present a string quartet without video, without media elements. It\u2019s old-fashioned [\u2026] for a part of the younger generations. They said, as we could hear in Darmstadt last spring, one month ago : \u201cOk, we don\u2019t only have string quartets, we have the opportunity of the internet why shouldn\u2019t we use it\u201d.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":" Es sind in letzter Zeit ein paar Texte in anderen Sprachen erschienen, in denen auch meine Arbeit besprochen wird: Florian Cramers Essay „Crapularity Aesthetics“ nimmt Bezug auf die Auseinandersetzung zwischen meiner konzeptuellen \u00c4sthetik und Helmut Lachenmann In Neue Musik, an institutional critique has manifested only recently with such younger composers as Johannes Kreidler who, among […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-21199","post","type-post","status-publish","format-standard","hentry","category-id"],"_links":{"self":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/21199"}],"collection":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=21199"}],"version-history":[{"count":4,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/21199\/revisions"}],"predecessor-version":[{"id":21201,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=\/wp\/v2\/posts\/21199\/revisions\/21201"}],"wp:attachment":[{"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21199"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=21199"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.kulturtechno.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=21199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSeg\u00fan el autor, es una obra que tard\u00f3 cinco a\u00f1os en pensar, y solo una hora en realizar (\u201cminusBolero\u201d 2015). La realizaci\u00f3n de la idea es muy simple, y plantea muchos debates posibles sobre el concepto de autor\u00eda y originalidad. Pero lo cierto es que, cuando uno escucha el minusBolero, la melod\u00eda del Bolero de Ravel aparece instant\u00e1neamente en la mente de cada persona del p\u00fablico, y es imposible de sacar hasta que no termina.\n<\/p><\/blockquote>\n
\ncomposer-performer identity. This 7-hour piece features Kreidler performing Fluxus-like actions on video (1:27:00), in addition to appearing onstage for discussions about the process of composition
\nitself, which is framed as music (5:55:00). Rather than performing music on an instrument he films himself in his work-space performing seemingly non-musical actions such as falling or twirling his
\narms in order to generate sounds. In an earlier manifestation of the work (Feeds. H\u00f6ren TV, 2010), Kreidler states onstage: \u201cIch bin kein Schauspieler, sondern H\u00f6rarbeiter\u201d (I am not an actor but a sound-worker) (0:30).\n<\/p><\/blockquote>\n