In addition to these three-hour excursions, Œuvres électroniques offers a number of earlier experiments, including the full version of 1983’s narrative-driven Les Chants De Milarepa, featuring the voices of Lama Kunga Rinpoche and Robert Ashley atop Radigue’s austere synthesizers. The boxed set closes with “L’île re-sonate,” a 3-part wash of sound that distills Radigue’s greatness into a neat hour. Both are warm and sugary enough to count as a treat, though not so much that they lose their fiery, bewildering edge. It is difficult to provide a clear-cut distinction between these two modes, but, as Bacon phrases it, the first “comes across directly onto the nervous system” while the second “tells you the story in a long diatribe through the brain” (ibid.). Flatus Vocis Trio is especially noteworthy among these groups as it is probably the most important group in the area of spoken music in Spain. ? On the one hand, identity emerges through a fundamental alterity—the image in the mirror corresponds to how the child sees the others. Alongside the overt, cooked-sugar flavor, there’s an almost fruity lightness to the Double Rye! . Whether your preference is for sweeter whiskeys or flavor-explosive gins, AACM-indebted improvised music or room-filling drone works, hopefully you’ll find some worthy combinations that celebrate the arts of spirit creation and boundary-pushing music making in equal measures. 39, Musik und Sprache: Music/Language/Speech, pp. It involved live piano playing, visual elements, projection, the reading of texts, playback, and live electronics. He has studied classical guitar, renaissance lute, voice and choir conducting at different conservatories in Madrid and Oviedo University, Spain. However, it also occupies a parallel dimension, which does not correspond with, though is inseparable from, the shape it doubles. And with 14 hours of music to work through, Œuvres électroniques is a perfect partner for downing a whole bottle of Fives Wives (though hopefully not in one sitting). Distilled with juniper, sage and rose petals, this fruity and earthy blend masks any bitter bite from the alcoholic content contained within. In particular, compositional activities that expose the autonomous power of a highly parameterised musical language (such as in the various forms of serialism, specifically, integral or total serialism) lay bare the autonomy of theautomaton(see “Derivative VI”), the operative dimension of language that... For the last example of my musical practice, I decided to make a return to my instrument, the classical guitar. Such constructed reality is projected onto the real, substituting itself for it, engendering an “identity of thought” (Hurst 2008, 215)—the delusion in which the subject mistakenly believes his or her own thought to be identical to that which is real. It is thus possible to break with a notion of presence as otherworldly, transcendental, and immaterial. This mix of approachability and vibrancy finds its analog through Hear in Now’s excellent 2017 record, Not Living in Fear. "Experimental music" was a phrase used in the mid-twentieth-century to describe a range of ultramodernist compositional techniques as being a form of quasi-scientific research. Like the delicate dance between the three star botanicals of Beehive’s Jack Rabbit, the trio of Mazz Swift (violin/voice), Tomeka Reid (cello) and Silvia Bolognesi (double bass) blend their woodsy string tones into a singing mass of interweaving lines, tumbling over and between each other in a brilliant dance. “I wanted to fill you up with my exhalations / And drink out all your flesh / But keep your bones and skin still flawless,” she intones on opening track “Edge,” immediately throwing listeners into a vat of hot skin and overworked organs. The crucial point of the theory has two implications. After all these experiences with the creation of sonic images and their various forms of interaction with live performance, I wanted to again address instrumental interfaces, how they impose their own physical and semiotic organisation on sound, and how the techniques developed so far would relate to this issue. Through and in these materials the artist... As part of the research team MusicExperiment21 I worked on the artistic projectRaschx, a series of performances and lectures based on two main materials: Robert Schumann’sKreisleriana, op. Linear perspective is only possible if the function of sight is assimilated to a spatial mapping, channelling the perceptual visual information into a grid of signifying relations. Derivative definition, derived. Just like Beehive’s Jack Rabbit Gin has an honest sippability missing from more biting gins, Not Living in Fear excels in its blend of elegance A worthy pairing for this stoically simple spirit is the GRM’s essential box set collecting the French composer Éliane Radigue’s electronic works from 1971 to 2000. JSTOR®, the JSTOR logo, JPASS®, Artstor®, Reveal Digital™ and ITHAKA® are registered trademarks of ITHAKA. In traditional interpretation, performance is moulded by the internal proportions of a score, which mediate between the imaginary “original” sound and the material, actual one. By closing this message, you are consenting to our use of cookies. Neither image calls upon our own time and place, but in this pairing, we can temporarily live in these Some tracks cut down on this directional approach and layer these potentially contradicting emotions on top of each other, as on the touching “gender dysphoria trauma bonding (ft. amulets).” The track mostly floats along a midtempo loop, but blends Mari’s vocals into a stately percussion thrum and a balladic synth riff, funneling all of Mari’s contrasts into a single second. Second, improvisation displaced my practice too much in the direction of “performance,” to the detriment of the “of”: it is difficult, if not impossible, to improvise a “performance of” (a musical work). Alongside this strange, feverish music, I’d reach for a darker, warmer spirit along the likes of the Brigham Spiced Rum. However, the structure of the songAmarilli mia bella, and the work previously done on it, still suggested some potential for improvisational practices.... What does it mean to producepure appearance, or as Buci-Glucksmann calls it (2013, 2), a phantasm? About the project Exploring adventurous music-making in the non-Democratic Europe of the 20th Century. By placing the mirror of representation in front of itself (see “Derivative II”), the sign is emancipated from the role of degradedphonètraditionally allotted to it by the “metaphysics of presence” (Derrida 1997, 22).
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