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  • Affairs The City of Ingolstadt Lorenz Gadient Tomma Galonska Eiko Hayashi Michael Kleinherne Dr Klaus Walter Littger Director Dept of Old Manuscripts Cath Univ of Eichstaett Ingolstadt CUE I Prof Dr Richard Nate Dept of English Literature CUE I Masako Ohta Aiko Okamoto Prof Dr Peter Poertner Japan Center Ludwig Maximilian University Munich Dr Angela Reich Director University Library CUE I Cami Tokujiro Sayuri Tronsberg The Location Eichstaett Bavaria an

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  • H8X12 Space for Contemporary Art, Tielt-Winge nr. Leuven / Louvain - ------------------------------------------------------

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  • Andreas Weiland's poetry reading in the Cathedral of Eichstaett, Germany, June 26, 2010 - --------------------------------------------
    auch der Titel der handgedruckten Mappe mit eben diesen Texten welche begleitend zum Projekt erschienen ist Außerdem trug Weiland weitere lyrische Texte vor die er in engem Bezug zu Ort und Thema des Kunstprojekts geschrieben hat In filigran formulierten Gedichten umkreist Weiland die Begriffe welche das Kunstprojekt betiteln und auf den ersten Blick teils mystisch oder irrational erscheinen wie er selbst kritisch anmerkte mittels eines assoziativen Verfahrens Er überblendet Historisches mit Politischem synthetisiert örtlich und zeitlich Gegebenes mit subjektiv Erfahrenem Er erzählt vom Schneckenhaus der Kindheit geißelt die Kloake Hollywood und lässt Engel überwintern in U Bahn Schächten New Yorks Weiland der viele Jahre als Universitätsdozent für Literatur gearbeitet hat versucht in seiner Lyrik die Widersprüchlichkeit dieser Begriffe auszuloten ihnen etwas entgegenzusetzen Wobei er bei allem persönlichen Widerstand gegen das vorgegebene Thema und dessen vorgebliche Irrationalität auf ähnlich irrationale und emotionale Weise dagegenhält Denn da ähnelt das Vorgehen des Dichters dem des Mystikers Ich wollte polemisch dagegen halten doch es kam anders berichtete Weiland dann auch beim Abschlussgespräch des Projektes am folgenden Abend im Garten hinter dem Chor der Schutzengelkirche Dort hatten sich noch einmal Beteiligte und Kunstinteressierte zusammengefunden um in entspannter Runde Bilanz zu ziehen Neben Gesprächsrunden Lesungen Ausstellungen

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  • info - -------------------------------------------------------------------------------------------------------
    Kleinherne Donaukurier In the context of the art project ZEIT WEGE HIMMEL PFADE a slim volume of poems appeared Andreas Weiland höhle haus pfad himmel fluß wald 7 Gedichte Eichstaett Meran 2010 Limited edition for book lovers The book was printed by Siegfried Höllrigl The title page is an original lithography by the artist Li Portenlänger based on a digitally edited photo of Gagarin The poems are in German the

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  • DYLAN
    the deputy sheriffs the soldiers the governors the marshalls and cops who functioned so well preserving the status quo and earning their secure salaries while doing so But the poor white man s used in the hands of them all like a tool He s taught in his school From the start by the rule That the laws are with him To protect his white skin To keep up his hate So he never thinks straight Bout the shape that he s in But it ain t him to blame He s only a pawn in their game The concern with racism and lynchings haunted this American poet and singer songwriter in more than one song It is starkly present in a song called The Death of Emmett Till Dylan sings Some men they dragged him to a barn and there they beat him up They said they had a reason but I can t remember what They tortured him and did some thing too evil to repeat There were screaming sounds inside the barn there was laughing sounds out on the street Then they rolled his body down amidst a bloody red rain And they threw him in the waters wide to cease his screaming pain The reason that they killed him there and I m sure it ain t no lie Was just for the fun of killing him and to watch him slowly die The intensity of the pain and the outrage felt by the writer of the lines just quoted as the murder of a young Chicago boy visiting relatives down South became known is very present in the lyrics and in the way Dylan sings these lines Emmett Till not aware of social conventions in the Southern community he was visiting in the 60s had dared to look at a White woman rather than bowing his head down low Perhaps he had even whistled seeing her pass by It cost his life white guys had been determined to teach him a lesson and by implication all the other Blacks in the community Perhaps it was to some extent that note of commitment which echoed in songs like Only a Pawn in Their Game and The Death of Emmett Till that attracted me to the music of Bob Dylan when I discovered it Living it Europe it was thanks to the New York Times and TIME magazine since 1961 that I had followed the news concerning the civil rights movement the war in Vietnam the free speech movement in Berkeley Having been attuned to pop music then Jazz then briefly to country music Flatt and Scruggs Hank Williams etc played on AFN I discovered folk music since about 1963 64 It was at that time that I started to listen to and care for Mississippi John Hurt Cisco Houston Rambling Jack Elliott Sonny Terry and Brownie McGhee I bought a song book done by Alan Lomax and I came across Woody Guthrie singing Grand Coulee Dam

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  • Baudouin Oosterlynck: A Sound Artist Who Is Setting People Free to Discover Sounds - -------------------------------------------
    tiny sounds rubbing sounds sounds like rain strong drum sounds And I noticed that the sound travels and reverberates and that the tent is like a huge drum It became obvious that a variety of sounds are possible when this instrument is played a great richness of almost silent of soft sounds and of strong even violent sounds as well as quite mysterious sounds Perhaps it is appropriate to speak here of the mystery of sounds Of the mystery of sound and of its interrelationship with matter as well as empty space and the air that moves within empty space In fact the existence and specific quality of the sounds I perceived was the result of an interaction the interaction between players matter air and listeners The players were moving about outside the tent while touching its skin here and there The matter they played on was resounding it was giving forth sounds that were revealing a specific timbre of the material and in fact a specific response of the material to the way it was touched The air that was reaching my ears was traveling a shorter or wider distance it was transporting waves emitted from the contact between the hand of a player and the skin or the bones of the tent the cloth being likened here to the skin the wooden frame of the jurt to the bones And needless to say the traveling air that was thus coming from one side of the tent the point of contact between player and object played was thrown back by the other side when hitting upon it just like waves of the ocean are thrown back by the coast I the listener who was moving about inside the tent with open listening attentive ears was somewhat like a boat in the ocean another resistant object the sound waves chanced upon And these waves chanced upon me from all sides traveling both directly from the original source of emission and from all the points of the tent that were directing them back to me A fact that created a superimposition of sounds constantly changing And this even more so because I the listener in the tent was even if not constantly then at least again and again changing my position It is remarkable how you may feel when for a certain length of time somebody is drumming or creating other sounds by other movements of the hand of fingers or of a baton OUT THERE or in fact we think up there on top of the tent Stationary sounds in other words is what we perceive now Nonetheless it is of course quite clear that the perception real as it is entails a phenomenon of displacement Verschiebung in other words we encounter a phenomenon that the sound artist has been interested in again and again For instance when an instrument d écoute lets us hear a sound in the back of us while in reality it is produced in front of us A perception that lets us locate the source of such sound or sounds up there on top of the tent is of course contradicted by the rational knowledge that no one can be up there drumming or making other noises While the example just referred to illustrates the possibility of perceiving stationary sounds that seem to come from a location in which they obviously could not be produced a sound may just as well appear to our sense of hearing as a moving sound as we sense how it reverberates or travels in the skin of the tent giving us exactly a dynamic impression In all the examples encountered by us as listeners inside the tent the matter that was a hand the fingers of a player or a percussionist s tool as well as the matter which was the substance of the tent its textile its wooden frame and finally the matter which was my body my ear s were in contact They were in contact thanks to the invisible air enclosed inside the tent the air traveling inside it that was transporting sound waves carrying with it the specific sounds emitted by their material source In fact PRODUCED by the collision of two materials let s say hand and tent And these sounds were of course transformed by their voyage by the substances they chanced upon Which threw them back at me just like the waves of the sea I ve said using that metaphor The waves thrown back by a rocky coast Or by a sandy beach or a muddy delta full of reeds or of trees accustomed to the ebb and tide Again it was the specificity of the material the world that would condition what I might hear Of course the title of the work Pour A pro peau no 2 incorporates a play with words A propos A pro peau à pro peau for skin As Baudouin Oosterlinck remarks the tent is an installation waiting to be played And at the same time an installation waiting to be entered The players outside listen to the sounds But inside the listeners listen to different sounds I think this interaction that gives birth to sounds in a way approaches a dialectics founded in a relationship between player and listener between outside and inside 12 But even more so founded in a complex and reciprocal relationship of matter and space A sound in its rapport to matter within space and to the empty space it is traversing is revealed as absolutely not a thing in itself It isn t a thing or acoustical reality as such unchanged well defined But a changing metamorphosing phenomenon as it travels What we perceive as sound depends on the specific Gestalt of space the quality and distribution of matter within space and on our position in it Also in the set up provided by Baudouin Oosterlynk s installation it appears as a result of creative spontaneous action práxis Referring to the signification Jean Paul Sartre gave to this term práxis Praxis in his Critique de la raison dialectique I take it of course to imply a creative act transcending routine and thus something that is opposed to pratique Praktik The production of sounds their evocation or Hervorrufung Hervorbringung in the context of such an installation is nothing less than a transcending act overcoming all routine It is conducive to the production of new sounds and simultaneously brings forth new experiences of listening insofar as it does not fall into the realm of the practico inert as a product of the activities of the series but springs from a creative intervention of man when he is not part of an organized series asserting himself instead as an individual in a relationship of two one active player listener outside one active listener inside the jurt or else in a creative spontaneous group The work called Just time and silence is part of the Etant donné series referred to as opus 148 it is also known as Etant donné no 4 July 2002 As Baudouin Oosterlynck notes the work attempted to give an answer to the question How can you reveal in silence the acoustic particularities which you don t expect The work presents a score that is indicating only the partition of time la partition du temps It is clear that a musician who would see in front of him a score by Bach or Beethoven would immediatetely hear this music although everything is silent When he is given a score however that is presenting only information as to how time is partitioned while other parameters are not given he has this partitioned time in his mind This is what Etant donné no 4 is about Whereas normally each note and each group of notes has a time value while the score provides further information as well here you have only time values you play without sound just respecting the time alloted to each note What is achieved is silence partitioned into time segments Another work Opus 16 also referred to as Etant donné no 14 and known as Couronne pour la reine Crown for the queen was done in July 2003 Looking at this instrument of listening as it is depicted in the accompanying drawing you see an object made of glass worn on the head by a person Inside it is a small ball bille a small metall sphere When you walk with the object on your head the small ball rotates inside it and you hear it When the ball is moving in the center of the object you hear it in stereophonic fashion that is to say with both ears Depending on how you move abruptly or gently the ball either moves in a way that lets its sound travel from one ear to the other and back to the ear that heard it first and so on and so forth producing a harsh and not very pleasant acoustical impression Or else it rotates circularly in the object resulting in a gentle sound Thus the effect and task given by the object called A Crown for the Queen is To hear where the ball goes Écouter où va la bille Clearly the intention of the walker who aims to avoid the unpleasant sound s will be to remain close to stereophonic listening while walking A variation of this Etant donné just referred to is provided by the Couronne pour le roi Crown for the King From the glass object worn by a person on his head a stethoscope sticks out to which a spiraling wire or thin band made of metal is attached When the king makes abrupt movements he though not the people around him will hear extremely abrupt and strong sounds So he has to walk carefully if he is determined to avoid this experience Still another series of instruments d écoute is called Aquaphones It is a series realized in 2001 13 These special instruments invented by the sound artist that Osterlynck refers to in a telling way as water phones for aqua means water in Latin constitute the closed circuit of an object which is encompassing as a minimum a stethoscope and a vessel or hollow half filled with water or more correctly partly filled with water for water doesn t have to fill exactly half of its space One of the first instruments belonging to this series incorporated a device from the 17th century that was at the time used to catch milk from the breast of women who had just given birth to a child and who were therefore able to breastfeed children This device was called a tire lait in French Baudouin Osterlynck s work that makes use of the old tire lait is called Prelude aux aquaphones d un tympan à l autre It is this work also referred to as Opus 135 Var 2 Febr March 2001 that we see in the exhibition Different variations of such an aquaphonic object were produced by the sound artist By and large they make use of existent objects used by chemicists in the course of their experiments usually spherical or cylindrical glass vessels Here these vessels are put to a different use Filled partly with water and partly with air air that is of course necessary because it transmits sounds each of these differently formed vessels incorporated in one way or another into the instrument d écoute gives birth to specific sounds Two years ago in 2008 the artist used a hollow tube a tube that was shaped a bit like the baton of a conductor It connected two spherical vessels and held in a slanted direction this hollow baton served to slow the trickle of water in the instrument from the upper to the lower glass sphere This work was called Postlude aux Aquaphones It is Opus193 Sept 2008 Commenting on it Baudouin Oosterlinck remarks I found it good to set a limit to time adding that the baton beats the measure of the flow la baguette bat la mesure de l écoulement The baguette is of course the baton of the chef d orchestre Les Prothèses are of course the most telling and perhaps the most surrealist of Baudouin Oosterlynck s instruments d écoute They are works done in 1994 2004 numbering 14 in all 14 A very typical work from this series is Opus 121 done in 1994 1995 The drawing accompanying the exhibited prothèse shows a man with two relatively large musical instruments two horns in fact attached to and crossing above his head Of course he cannot blow these horns as their mouthpieces are propped into the person s ears The wide opening of the first horn that has its mouthpiece attached to the left ear is pointing to the right And the opening of other horn the mouthpiece of which is propped into the right ear is directed to the left of the person When you use these horns in the described way the effect is obvious with your right ear you will listen to sounds coming from the left And with your left ear to sounds coming from the right The new and if you will puzzling effect is intended It all amounts to a Verfremdung if I may use here Brecht s term for making something appear strange of our perception of everyday acoustical reality 15 Another very typical work from this series Opus 127 also done in 1994 1995 is similar to an object already alluded to briefly further above The work previously mentioned contributed to the impression that the words spoken in front of you were spoken in the back of you In this case the prothèse simply allows you to listen to what is in the back of you Yet another very typical work from this series is Opus 121 again done in 1994 1995 Here a cylindrical object is put on the head of a person People wearing this prothèse think that the sound they hear comes from very far away Having already discovered opus 177 called ad libitum no 4 pour Ocarina et stéthoscope July 2005 as I entered the exhibition and later on also opus 187 ad libitum no 6 Oct 2007 I now come back to the Ad Libitum series looking at Ad libitum No 1 pour autoharp deux pinceaux un diapason 2005 The autoharp here is the corpus that will issue sounds and very special sounds at that because of the way it is to be played Following the description of this instrument d écoute i e instrument of hearing the player will be touching stroking hitting drumming caressing and so on and so forth the autoharp It is to be played however not by using the fingers but by relying on three other objects two pencils pinceaux and a tuning fork diapason The player will listen to the sounds he produces by way of a stethocpope John Cage introduced the prepared piano many years ago The autoharp that is turned into part of an ad libitum constellation encompassing the pencils and tuning fork as well is of course not prepared But like the prepared piano it is used contrary to what we normally expect In both cases an unusual approach to playing a well known musical instrument results in a Verfremdung in new and strange sounds not usually associated with the instrument The next object is a perhaps even more perplexing instrument d écoute and it belongs likewise to the Ad libitum series Known as Ad libitum No 3 it is also referred to as Opus 176 pour clavier et fenêtre It dates back to June 2005 In French the keys or buttons as I prefer to say of the accordéon Engl accordion that are pressed by the accordion player are known in their entirety as the clavier The buttons are part of a set a unit they are one by one connected to an elongated but narrow piece that is functioning in a way as a support the buttonboard It is this entire set that Baudouin Oosterlynck has made use of by disconnecting it from the accordion and putting it in a new context the context of a listening instrument his Opus 176 How did he do it The entire object with is buttons made of mother of pearl below each of which you will find a soft layer were put on a hard surface a window pane A very special window pane with ten tiny round holes in it to be sure The holes are lined up in a straight line so that the accordion buttons fit on them If you press a key or button the hole that is right below it in the window pane will open and you will hear the sound from outside If you press several buttons you will hear more sounds from outside As the artist notes You are inside but you are playing what comes from outside Of course intermittently you can also press no button at all Then you play silence Inside outside everyday sounds from outside and possible silence inside yes it s oppositions that obviously matter here When we note how the key oppositions of this experimental situation listening and playing inside and outside relate to each other we understand that the contradictions are also bridged or transcended As with all or nearly all of Baudouin Oosterlynk s instruments of hearing the active player is also and foremost an active listener Playing this instrument Opus 176 pour clavier et fenêtre he is a listener inside a room as most players of music are in most cases But music or sound and it s sounds that are taken to be as aesthetically significant as music in the most elevated sense of the word is not to remain caged in a CHAMBER inside a bourgeois house or mansion nor inside a CONCERT HALL Just

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  • A Brief Look at Belgian Experimental Composers and Sound Artists - ------------------------------------------------------------------------------------------
    or more to perform does exist Perhaps the whole idea of writing the ultimate piece that says it all is a little odd the idea of young people perhaps who have as yet little to say in a concrete way but fantastic ideas about creating great works and becoming famous I add a few more quotes that I think are meaningful enough to warrant inclusion I sometimes think that everything which does not meet with your appreciation is something you miss some how p 15 This is obviously directed to the reader to the public A very clear formulation of an important insight it should in a way arouse our suspicion if works offer no resistance if it is too easy to appreciate them And the reverse conclusion seems to be as valid in many cases What you fail to see to recognize what you don t notice but miss is perhaps at the root of that other irritation which lets many of us conclude frequently that we don t particulary appreciate a work The following quote is also thought provoking I refuse to think of myself as someone with original ideas also in musical terms To all supposedly original thinkers composers in particular there is a high probability that someone somewhere had the same thought surely within the limits of their specific hardware p 15 The first sentence of the paragraph quoted comes close to the position of Bertolt Brecht It is a materialistic proposition which critiques and thus reduces the almost exclusive importance attributed by idealistic thinkers to a certain type the so called genius Creative people do not start from nil they inherit what is available to them and directly or indirectly active reception processes link every composer dramatist writer visual artist and so on to the cultural history and cultural knowledge of his society if not of other societies as well The hypothesis that someone somewhere another genius had the same idea is of course a bit naïve it is again reducing the conditions from which the creative act springs to something highly individual if not individualistic turning a blind eye to everything the creative individual draws on I ll wrap up this part on Adriaessens by including one more quote a reflection of medieval music This contemporary composer writes I have just done wrong to the Middle Ages In order to make music of such simplicity straightforwardness and yet soothing subtlety these people cannot have been the semi ogres we are constantly made to believe them to have been Less so after the First Islamic Cultural Injection p 15 I wouldn t like this observation so much if it was just something about a so called prejudice in us concerning the Dark Ages and semi ogres It s not a prejudice anymore that a lot of people would take serious It is of course nice that Adriaensssens reminds us of Ibn Sina Ibn Rushd and others that medieval Christian culture owed so much to But the main thing is of course that he recognizes both the specificity of medieval music its beautiful simplicity its soothing subtlety and its straightforwardness The latter of course had a lot to do with the fact that it was also functional whether in praise of God in the case of Gregorian chorals etc or in praise of noble women the troubadours the Minnesänger I am taken in by what Adriaenssens writes because between the lines I sense his longing to capture or rather create in a contemporary way with contemporary musical means a simplicity of similar intensity if not beauty while perhaps also accomplishing a subtlety that does not exclude purpose engagement or other types of functionality II The text A Short Walk with Paul J includes a passage in which Adriaenssens refers to a composition entitled A Short Walk with Karl F It deserves to be quoted in full Paul Adriaenssens A SHORT WALK WITH KARL F for six electronic sources 1979 A study for five volume controllable tone generators or synthesizers and one noise generator with filter or a sixth synthesizer The music is marked by the extreme austerity of the sound material which is consequently arranged by a sole principle for every single parameter time frequency volume timbre density a central norm is postulated from which there can be a deviation with a precise tolerance As the piece proceeds the tolerance narrows per unit of sixty seconds Thus all parameters zero in around the central norm during the last minute Continuously filtered noise one five minute high pass envelope contrasts with the discontinuous evolution of the tone material The entire arranging principle is derived from the statistical particularities of the widely applicable bell shaped Gauss function named after its discoverer the 19th century German mathematician Karl F Gauss The piece should become the central fragment of a seven part composition called Requiem for an Achondroplastic Dwarf seven five minute pieces on similar rigorous bases p 20 III Another composition referred to by the composer in text A Short Walk with Paul J is entitled Steps It also deserves to be quoted in full Paul Adriaenssens STEPS 1981 A four part study in audiovisual analogies for flute sequencer controlled synthesizer and slides Sixteen minutes of slowly evolving very limited musical material with matching electronics and puctures of geometric bodies On each level acoustic electronic visual a number of parameters 1 stay constant throughout all four parts 2 stay constant only within each part creating a discontinuous evolution with four minute steps 3 vary within each part 4 vary throughout all four parts There are nowhere any deliberately synchronic events or interactions only parallel simultaneous evolutions p 20 Paul Adriaennssens A Short Walk with Paul J in Documenta Belgicae vol II Music Archennes PMA Co editions 1985 pp 4 31 links http www flandersmusic be identity php ID 135591 http sites google com site pauladriaenssensbio bio backup copy Adriaenssens pdf 2 Boudewijn Buckinx Thanks to Boudewijn Buckinx contribution to Vol II Music we learn that his Symphonic Poem consists of seven nearly identical pictures wonderfully realized by Jan Hoet with sound making objects p 45 Today Jan Hoet is of course known above all as the person responsible for a Documenta exhibition in Kassel Germany that took place a couple of years ago Boudewijn Buckinx interest in cooperating with people involved in visual arts either as curators or visual or else performance artists is not untypical of contemporary composers Bernd Franke for instance has sought inspiration through confrontation with modern visual art works As for his Buckinx his conceptional closeness to or inspitration by modern visual art also shows in the title of a work like Sinfonia a quattro velocipedi Buckins notes that it was written for four bicycles They were bisected and used as music instruments p 45 The hilarious and often tongue in cheek way dadaists and pop artists appropriated every day objects comes to mind To use parts of a bike as musical instruments or rather sources of sound s is of course both one of the characteristics of arte povera and in line with contemporary avant gardism in the field of music Atypical sources of sound have the effect that such musical compositions are close to sound art Klangkunst Satie Cage and others paved the way or opened the gates to such experimentation and a readiness of certain composers to discover sound material previously shunned or despised as non musical soon ensued Of course dodecaphonic music and the integration of dissonance were important stepping stones on the way to the prepared piano plucking the strings of the piano and later on using metal pipes of a bicycle frame and similar objects for sound discovery From 1977 to 1979 Buckinx set to music the complete travel sketches of Basho p 46 It is perhaps indicative of a symptomatic interest in East Asian culture Zen philosophy Taoism Classical Chinese and Japanese poetry etc that is widespread among artists John Cage is a relatively early example The tendency to seek inspiration in ancient mythical texts like the Tibetan Book of the Death or the Egyptian Book of the Death is very much in line with a certain modernist longing for the dark and distant in fact mirroring a penchant for the irrational perhaps as an anti dote to modern instrumental reason Max Weber and thus as a reaction to that mentality which at present is still structurally anchored in the socio psychological and socio economic relations typical of a profit oriented market driven economy The composer Boudewijn Buckinx considers his composition entitled RA based on the Egyptian Book of the Dead as one of his more important works p 46 B Buckinx in Documenta Belgicae vol II Music Archennes PMA Co editions 1985 pp 32 50 links http users telenet be guidodeleeuw bb http users telenet be guidodeleeuw bb proj htm http en wikipedia org wiki Boudewijn Buckinx backup copy Buckinx pdf 3 George de Decker In a Foreword to his text George de Decker takes a Cartesian stance Almost like Descartes he says I write music therefore I am The writing of music the impulse to do it comes from somewhere I think of it every day as a sort og daily hygiene of the consciousness why do I write music for whom One of de Decker s first compositions maybe the first done in 1974 was for alto and piano It was entitled Aufklaerung and the text was by Karel Jonckheere From here on we discover two philosophical trends in his uvre At least judgin by the titles he chooses something of the sort seems to be virulent in his mind There are titles that remain though not exactly faithful to the heritage alluded to by a work like Aufklaerung at least rather modern and in an ostentative way Western if not American I ll come to them later And there are the darker strange and foreign sounding titles perhaps indicative of the turn to Buddhism etc already witnessed with Cage then with poets like Gary Snyder Alan Ginsberg Anne Waldman etc and underpinned by Suzuki A Watts etc in a theoretical way It is a turn quite frequently observed with composers and visual artists in the second half of the 20th and in the early 21st century But in many respects it is the same modern subjectivism and idealism if not in a certain sense and in some respects irrationalism that was already alive in German expressionism in Artaud perhaps generally in Surrealism which also looked longingly to exotic places and cultures far away geographically and mentally thus eager to challenge reason because it was Western reason and the reason at the root of the absurdly irrational First World War In 1975 de Decker did Khanda for piano 4 hands in 1979 Feng for flute feng is also the Chinese character for wind in 1981 La vision du vide for guitar and in 1983 Hakanai for tape pp 80f While the titles of these last four compositions point to an interest in Far Eastern philosophy and perhaps music other works by George de Decker reveal an affinity to dada and pop art Take for instance the title of the following work Live like pigs theatre music Or another composition C est ainsi que l on meurt now a days à Hollywood for piano and text 1980 The text in this case was by Paul Pourveur Rest in piece sic for soprano piano reciter tape guitar bassclarinet and double bass text again by Paul Pourveur was done in the following year 1981 The tongue in cheek way the composer plays with words replacing peace by piece may seem merely amusing But there is a serious note present in the title RIP rest in piece is written in grave sites The piece is the musical piece the composition and to be able to rest in it presupposes serenity confidence a certain stability But to fall to pieces also means to fall apart to break and to rest in a piece can mean to rest in a fragment a part rather than the whole It would be interesting to see whether the ambiguity and polysemie inscribed in the title reflects a musical reality that is in a similar way dense and multifaceted Turn me inside down if you wish to cry for my mamma for vocalist dancer alto saxophone double windquintet tape and video was done in 1983 The title is late dadaist if not imbued with the spirit of a mocking and sarcastic more high brow variety of American pop culture And inside down of course mutilates a common phrase in purpose Text and scenario were by Guido de Bruyn who also cooperated when de Decker wrote the music for White Suited Men in a Park a piece for piano 4 hands seen by the composer as a tribute to Méliès This piece White Suited Men in a Park was done in 1984 a year before de Deckers text appeared in DOCUMENTA BELGICAE vol II MUSIC Seeing the need of documenting the exchange of ideas with De Bruyn de Decker includes a letter written to him by De Bruyn at the time Guido De Bruyn wrote 2 I suggest that we use that tape as the basis for the composition which we will then name after Lumière s film White suited Men in a Park O K I also fell in love with it straight away because it is literally a unique sound produced by a unique machine a punch printer designed by a certain Mr Brown of the British Film Institute We ll mention his name in big letters if it s alright with you 3 However it is true that this choice sets us in a certain direction and imposes a number of restrictions a It is the sound of a machine mechanical with a distinct rattle and squeak Therefore we will have to choose from the mechanical sound jargon unless you think we could improvise on it with a soprano b Choosing this sound as a basis not only determines the choice but also the rhythm of other sounds There are two possibilities either we use the basis sound in a continuous rhythm in which case it will become just another repetitive composition even though it uses real sounds or we cut the basic tape in a mathematical structure with pauses in between pauses which can sometimes be filled with other sounds or sometimes be left in silence I choose the latter option because repetitive music is beginning to exhaust its own repetitiveness What do you think 4 Fine I suggest that we first look for a schedule a rhythmic pattern and then in function of that pattern look for sounds of different timbre record assemble filter and mix them and then use these sounds as harmonics on top of the basic tone What do you think of this first group Qua mixing balance the basic sound dominates at least in this first group Afterwards it can serve as pulsing background on which legato sounds can grow in contrast to the staccato basic tape Am I rushing things 5 And now for something completely different p 64f George de Decker then wrote the following text regarding White Suited Men in A Park White Suited Men in a Park when the sun sets when the wind caresses me I think of the dead Then I see them Those I see All those White Suited men In a park Annabel Nonsuch This name was suggested jokingly by him as his pseudonym George de Decker added Isn t the punch printer made of metal and wood This can provide a few basic things for the basis of the composition The sound of metal objects and mechanical The sound of wood rhythmic sound metre p 66 I think the quoted texts give a pretty good first impression of the kind of considerations that influenced the composer and the writer of the scenario who obviously was in on certain strategies of the composer in the initial stage of their collaboration regarding White Suited Men in a Park George de Decker To write is to rewrite in Documenta Belgicae vol II Music Archennes PMA Co editions 1985 pp 52 81 links http www georgededecker be http users skynet be fa841487 files recordingsframe htm http users skynet be fa841487 files cvmusicframe htm backup copy G deDecker pdf 4 Joris de Laet My notes regarding Joris de Laet are missing have been lost it seems I apologize to Joris de Laet for this involuntary omission AW links http www flandersmusic be identity php ID 134293 http www flandersmusic be search index php Search Joris de Laet submit x 22 submit y 3 http jorisdelaet magix net http jorisdelaet magix net website music 1970 1980 1 1 html http jorisdelaet magix net website music 1970 1980 1 1 html 3 backup copy Joris de Laet pdf 5 Yves Knockaert Among his early compositions Yves Knockaert mentions Afraid of silence for flutes 2 guitar and piano 1983 Groepcompositie met toevalselementen for a free number of musicians 1983 the series Reductions I IV for different groups of instruments 1984 and Saxteen for saxophone and tape 1984 In 1983 he wrote a text entitled 1983 Everybody Can Compose In this text he stated that Everybody can compose starting from verbally formulated rules of the game He discussed here his Group Composition with Chance Elements written for one of the workshops of the 3rd Week of New Music in Bruges in Oct 1983 For the performance of this composition Knockaert gave the following instructions a group of persons musicians or non musicians comes together to produce and to perform a piece of music Nothing has been determined in advance Nobody is going to press his personal taste or his esthetic preference upon the composition By way of a series of manipulations led by chance the composition will

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  • Die METAMORPHOSEN FUER MEZZOSOPRAN UND KLEINES ORCHESTER - ----------------------------------------------------------------------
    das Stück sich und uns mit diesem musikalischen Material und dem Zugriff darauf eine andere fast schon körperlich nähere Klangwelt die so selten erfahren so unsagbar schön erscheint Francis Ponge hatte gewusst wie sehr der Dichter die WORTE ihren Klang wie Dinge betrachtet jedes davon geliebt und keines nur Werkzeug zum Transport des Stroms der Ideen und Gefühle So auch hier Diese Erfahrung klingt nach verdoppelt sich im Hereinbrechen der Stille die plötzlich einsetzt sich offenbart in ihrem präzisen Akutwerden als der Raum in dem Klang wird nachklingt und vergeht Diese Stille jedes Mal den abbrechenden Stücken folgend ist zweifellos ein wesentlicher Bestandteil des Werks etwas das ihm Weite gibt wie mir scheint Mit dem dritten Teil das Zitat der Schlager Was beim flüchtigen Hinhören lebhaft beschwingt wirkt offenbart sich letztlich als mechanische Parodie oder Parodie des Mechanischen Folie letztlich sich selbst enthüllend vor deren Hintergrund was der Spießer Katzenmusik nennt in seiner präzisen unaufdringlichen Schönheit hervortritt Als es abbricht plötzlich angespieltes Zitat das den oder jenen mitreißen mag damit er dann um so sicherer herausgerissen wird aus diesem Mitschwimmen in der Welt der Alltagsklänge Musik zur Unterhaltung integriert und zwar brüchig in das Stück setzt nach der Stille eine ganz anders geartete Musik ein so viel lebendiger in ihrer scheinbar größeren Gleichförmigkeit will sagen dem Verzicht auf die eingängige Melodie das Gefällige Glatte Aber dabei vielfältig in dem Rückgriff auf ungewohntes Material Zugleich wie erfüllt von Trauer Antipode und wohl auch zugleich Kommentar zu dem vorhergehenden Schlager Zitat Nachdem zunächst der Kontrast zu dem Schlager gesucht war ist im nächsten Teil jenes Schlager Zitat wieder präsent Aber wie Transformiert Spröd Reduziert auf ein verfremdetes Anklingen Lassen wie bei Rzewski ein wenig wenn er El pueblo unido jamas sera vencido aber immer wieder anders verfremdet Die Schlager Melodie ein Fetzen

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