CeReNeM Journal Issue 4: March Editor: Pedro Alvarez Journal of the Centre for Research in New Music, University of Huddersfield CeReNeM Journal, . Tel: Fax: e-mail: [email protected] internet: Brian Ferneyhough. Kurze Schatten II () . Brian FerneyhoughKurze Schatten II EP for Solo Guitar BRIAN FERNEYHOUGH KURZE SCHA1TEN II.
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I can now deliberately shift it to increase a flow of mind activity as material for composing. Klaus Huber states that he writes scuatten because he looks to communicate through music as a medium: In figure 3 we can see the shape produced by controlling reverb time in a reverb virtual audio effect.
We subsist in perpetual failure, in distortion, elision, and approximation. Put simply, a performing body that fails in ways a perceiving body fails, or could easily imagine itself failing, unifies those bodies in and through the act of failure. Has anyone seen a live performance?
I ask myself what the meaning of narrative is in the context of a piece of music and I question whether it contains any value when applied to sound: Why is it that a musical piece should be faithful to the initial ideas that created it? The example clearly shows sections with prominently sounding isolated subsets of partials.
Brian Ferneyhough – Kurze Schatten II
Furthermore, I tend to categorize human-made sounds in mechanical, electronic-digital, and instrumental sounds. However, the spectator, by being given the power to create the spectacle of condemnation, also possesses the power to reverse perceived guilt — if not necessarily to commute sentences — and to turn the condemned into a hero or martyr cf.
Besides, there is a diminuendo, which somehow contradicts the physical nature of the shift itself. Expression here remains somewhat diffuse, therefore, like a primordial breath out.
Because a clear ground against which mistakes can be heard is nearly always present again, in stark contrast to the aesthetics of failure outlined abovethis work plainly exposes performer vulnerability. Oh noon of life!
Interpreting Kurze Schatten II – Classical Guitar
Flutist Alice Teyssier also is an excellently trained vocalist soprano. It is important to understand here that the player, in seeking or aiming for a pitch, is only given one attempt. Music and Musicians 20, pp. This directly schayten with contemporary philosophical concepts inspired by modern ferneyhouth, especially radical constructivism: Due to their dimensions, the way their sound is propagated, their main mode of playing i.
Here, I turn internal noise into a constructive way to time other components of the solo part: The mix defines the fictitious extent of exchange and communication between inner and outer aspects of re-composed mind activity. As the score in Example 7 indicates: His forthcoming research at IRCAM aims at the development of an interface for real-time gestural processing of complex piano notation.
This technique is most effective in the male falsetto range and untrained voices are preferred due to the considerable, possibly damaging, strain on the vocal cords.
Thus, it seems clear that the tendency to increase the density of material at the rhythmic level dominates toward the end of the movement. Derneyhough example, in the second part of Electric Serpent for piano and electronics, or in the second part of Liquid Glass for two percussionists and electronics, I have dispersed one sound layer into different tracks, armed with different types of reverb.
Leimer- Gieseking,pp. This then leads to additional relevant information, data, or energy, and can result in new findings. Actor Network Theory and After. It illustrates the raw and immediate emotional quality of vocal exchange.
Text is always spoken with the PTT button pushed to transmit sound via radio; the flute is usually held at a distance from the mouth. The necessity of a narrative that spans over a piece of music seems to be, at first glance, a residue of a tonality-imbued thought where material and form intersect in order to orient the musical discourse towards the resolution of some tension created at a specific point of the piece.
Nevertheless, the spacing of the musical material over time needs to be facilitated. Two forms of failure operate here. Questioning of this model privileges physical gesture as an indispensable part of the cognitive processes in learning, and substitutes the notion of “reading a text” with that of “navigating a space”.
Derrida’s compound term, disschemination, goes some way to explaining these distances; the strange spelling reveals four meanings: Filled with shame, he seeks a hiding place and finds one in the most hidden places of all: On the other hand, however, such a realization does not ensure the perception of the decreasing of performance tempo by itself. Perceive everything to be nonbeing. The role of this process of translation in pre-composition is the act of establishing a network traversed during composition.
The simplest alternative is silence, hence the following question: Nevertheless, what I find most interesting is the plasticity of the notion of music: However, it was not very practical because the materials used to weight the strings were not reliable: Pronunciation should nevertheless be clear and distinct. Echoes and counter-echoes of thoughts.
My initial pre-compositional work included making a network of a cymbal.
Kurze Schatten II
All sounds and words that are notated here are to be performed with a closed mouth. A comment by Pierre Boulez is indicative of this persistence. Despite its apparent mutilation through kurzs, addition and subtraction, it remains the body of a cello, and the viewer is able to sense the tension introduced by the metaphorical torture that the instrument body has undergone.
Losing all control risks injury, as the hands could land at an awkward, painful angle.