In der Tanzavantgarde bekannt, aber als eisern befolgtes Publikumskonzept: herrlich.
https://www.facebook.com/noisekick.page/videos/944296525620619/
Und a propos Konzert im Sitzen:
(via Schlecky)
Das Rhytmikon, die erste Drummaschine (1931)
Meine Filterbubble quillt regelmäßig über vor Berichten von alten Synthesizern; bin eh nicht so der Fan von altem Elektro-Zeug, ich habe was elektronische Musik fast nie mit was anderem als mit Nullen und Einsen gearbeitet, und damit bin ich ziemlich glücklich.
Das hier ist dann aber doch so ulkig, dass ich mir’s nicht verkneifen kann, zu verbloggen: Das Rhythmikon von Leon Theremin, das verblüffend heutiger Handhabe ähnelt.
The Rhythmicon relied on photoelectric technology to get the job done. The keys were each connected to a light that turned on when you pressed them. The lights then shined through a sequence of holes punched into two discs that rotated via a motor. On the other side of the discs was a photoelectric sensor that, when activated by the patterns of light, sent the Rhythmicon’s unique signals to a tube amp and thus to a speaker and out to dazzled audiences….
Maybe the biggest setback was that it just didn’t sound that good. One reviewer, after seeing the Rhythmicon demonstrated with violin accompaniment at a 1932 concert in San Francisco, likened its lower tones to “a cross between a grunt and a snort” and higher notes to “an Indian war whoop.”
(via BoingBoing)
Sex mit einer Leiche als Musikstück
Ich kannte bislang Bob Ostertags „Sooner or later„, eine Komposition, der ein Sample aus dem Nicaraguanischen Bürgerkrieg zugrunde liegt, das einen moralisch sehr aufwühlt. Musik mit einem Sample bzw. ein Sample als Musik, dessen Herstellung nicht nur moralisch fragwürdig, sondern in den meisten Ländern der Erde illegal ist, kannte ich bislang nicht. John Duncan hat, angeblich, 1985 in Mexiko einen Frauenleichnam erworben und, siehe Überschrift.
Siehe auch einen Essay von Kristine Stiles.
Danke für den Tipp, Jake!
black box music: flugschreiber-aufzeichnungen eines abgestürzten flugzeugs als tape-stück.
— anton wassiljew (@antonwassiljew) 27. März 2015
Why improvised music is so boring
by Diego Chamy (concept, performance), with Jean-Luc-Guionnet (alto saxophone) and Seijiro Murayama (percussion). Previously performed with Mathias Pontévia (percussion) and Nusch Werchowska (objects) at alberto ukebana, Berlin, November 18, 2008, and with Christof Kurzmann (laptop) and Seijiro Murayama (percussion) during the „Nine Lives“ concert series at Ausland, Berlin, July 10, 2009.
Description of the action:
The program indicates an improvisation by three musicians/performers, but I do not appear on stage until after the others have played for some time. I tell the audience that before coming to the theater I had received an unusual email from a friend I had invited to the performance. In this email, which I read out loud, my friend says that he’s fed up with improvised music and asks me to give him a good reason to come to the concert. He also proposes that I ask the audience why improvised music is so boring. I tell the audience I have accepted my friend’s proposal and have prepared a list of questions to ask them. As I present these questions, it becomes clear that they are all rhetorical in nature. The two musicians continue playing throughout. After my last question, a member of the audience suggests that I sing a song, which I proceed to do. (In fact, I had planned to sing a song after asking these questions, and it is purely coincidental that an audience member makes this request.)
Some ideas:
A rhetorical question is not so much a question as a device used to assert or deny something. In this performance I don’t look for interesting answers from the audience. If this were my intention I would have chosen other types of questions (or I would have let the audience ask their own questions). The point here is not whether „improvised music“ is boring or not. The point is the mixture of confusion and disappointment generated by someone making this statement and „hiding“ it in the form of a question. Another interesting aspect to these questions is the stupidity carried within their generalizations. One can speak about John’s music, Peter’s music, and so on, but „improvised music,“ insofar as it is a generalization, doesn’t help us think creatively. Nonetheless, in their stupidity, I find the raw use of generalizations and the flagrant use of rhetorical questions somehow interesting. The same goes for the „comparison“ I make between the music being performed on stage and the song I sing at the end of the video.
Extra information:
I performed this action three times. The first two times, the musicians I worked with didn’t know what I was going to do. (I only asked them if I could speak while they played, and they agreed.) The third time (presented here) was a reenactment of the first two actions: the musicians (Jean-Luc and Seijiro Murayama) understood my concept and kindly agreed to play the role of „musicians,“ trying genuinely to play their own music and see if it was possible to achieve the tension that was present during the first two performances. To reinforce this act, I asked Seijiro to throw a chair at me immediately after the performance while the audience was clapping. Seijiro did not (or could not) perform this action, but in the video it’s possible to see the tension generated after the audience claps: Seijiro remains seated on stage, looking troubled, knowing that he has to throw his chair at me. For some reason he doesn’t do it.
In the video:
Diego Chamy (concept)
Jean Luc Guionnet (alto saxophone)
Seijiro Murayama (percussion)Performed at the INSTAL Festival, Tramway, Glasgow, U.K. November 12, 2010.
(via mediateletipos)
Mein Text „Gegen Applaus“ erschienen
Mein Text „Gegen Applaus – schafft das Klatschen ab!“ ist jetzt in der Neuen Zeitschrift für Musik erschienen.
Snip:
Als der Schönbergkreis 1918 den Verein für musikalische Privataufführungen gründete, verfügte man in den Statuten, dass dem Publikum Mißfallenskundgebungen während oder nach den Darbietungen untersagt seien; doch nicht nur das, auch jedweder Beifall wurde dem Auditorium verboten. Die Maßnahme mag eine verbitterte Reaktion auf die Skandalkonzerte der frühen Atonalität gewesen sein, hatte aber Gültiges darüber hinaus. Applaus ist eine Unsitte, aus zwei Gründen:
http://www.musikderzeit.de/de_DE/journal/current/content,2135.html
Tragödie Mathematik
…hat tatsächlich was mit meinem Orchesterstück für die diesjährigen Donaueschinger Musiktage zu tun.
(via Neatorama)
Vortrag über Klangillusionen
Man lernt nicht aus. Was ich auch noch nicht wusste: Es gibt klangliche Situationen, die die Menschen unterschiedlichen hören, je nachdem, ob sie Links- oder Rechtshänder sind.
Mozart und Beethoven waren Linkshänder.
Diana Deutsch of UC San Diego Dept. of Psychology: Illusions in Music and Speech as part of the Sound + Science Symposium at UCLA, March 6th, 2009.
(via Mediateletipos)