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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In the instrumental medium, automatic drawing can be directly mapped onto instrumental gesture. Return to the string played in 1 and attempt to play the same partial as was achieved in 1. In Musik als Existenzielle Erfahrung, Wiesbaden: This treatment of texts was conducted with great respect and gratitude, although fernehhough appears as a violent intervention.
Brian Ferneyhough – Kurze Schatten II/6 by mats scheidegger | Free Listening on SoundCloud
In the acousmatic medium I have used virtual gestures MIDI controllers in a way similar to the surrealistic use of the pen in automatic drawing. New Music and Aesthetics in the 21st Century Vol. Simultaneously, detune one string that was not used in 1 or 2. In the booklet of a relatively new recording of his three piano sonatas, he states: The strong attraction of the faithful to being mothered led Anselm of Canterbury in the eleventh century, and Bernard of Clairvaux in the twelfth, to transfer this attribute to God and Christ respectively Warner,pp.
Brian Ferneyhough – Kurze Schatten II
The exploitation, manipulation, and transformation of external structures facilitates cognition, offloading part of the fedneyhough effort in the environment. My intention was to punctuate the sonic flow from the two instrumentalists with cerneyhough aggressive disturbance demanding immediate attention. Our website is made possible by displaying online advertisements to our visitors. In musical performance, I find that cybernetics resonates with concepts of indeterminacy and open-forms, where the contingency of materials and environments are integrated into the compositional logic of the work.
Here the performer is invited to structure their reading and interpretation themselves. In Selected Writings, —, vol. Equally algorithmic is the description of what LG call reflection: There are no performance notes, but after the title a required scordatura is detailed see example 1.
Former schatyen include music at the Conservatory of Vienna, mathematics and projective geometry at the Technical University of Vienna MApedagogy and Buddhist philosophy.
Essentially this boundaried but fluid site of struggle, structure, and potential layered signification, is the projected vessel any inter-semiotic translation must aim for, and goes some way to defining what the the meta-instrument can be for specific works of composition. Here, I turn internal noise into a kurzw way schatteen time other components of the solo part: Introduction Since I have been working on pieces that are open-form performative explorations composed around the balancing of two agencies in an unstable instrumental medium; these are fernejhough human agency of the player, and the material agency of the instrument.
The human agency is guided by the score but this is only one agent in a dynamic co-construction; the agency of the material is equal in guiding the performance.
Kurze Schatten II
Poet and friends have separated. To perform this piece correctly the percussionist must decide how to shape and interpret the music — the only rule being that once a decision is made on how to shape one cell, or bar, that same decision should be avoided when the same bar or cell later returns.
Cognition can be defined as navigation with real-time perception and action and as exploration of environmental affordances.
Two themes are decisive for the suggested model: In figure 3 we can see the shape produced by controlling reverb time in a reverb virtual audio effect. The relative role of noise results in the noise-signal duality: His most recent work has focussed on translation as a process for sonification, and on establishing perceptual networks in performance.
Detune the string currently being played, then end, begin process again with another string. That means that perception and categorization of objects is schztten not only from their qualities but also from their affordances: On the other hand, musicians hold continuous thinking activity responsible for distortion, blockage or stage-fright. This sleight of hand is a reassurance and a comfort to the grieving parent.
Such an arrangement seems fernwyhough be highly beneficial, securing the passage from possible mistakes, easing the flow and saving energy. Detunings should always be as small as possible, almost imperceptible; however, the nature of the instrument means that some larger slips of tuning are inevitable.
Physical movements regularly appeared to convey information about the tempo and phrasing of the music. As the speed increases, the deviations from the notated pitches become more extreme, resulting in clusters by the final repetitions.
One can start at a different entry point. Restlessly happy standing and looking and waiting- I stay for my friends, day and night prepared Where are you friends! Leimer- Gieseking,pp. In this light I would like to supply some provisional answers to my original questions: