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.
The mind unfolds from internal sparks into the surrounding space of the concert hall, and reaches out to communicate with an audience.
Help Center Find new research papers in: I experimented with adding weights to the strings to alter the spectra, verneyhough was successful in harmonic terms3 by skewing the harmonic series into more interesting bell-like shapes. In fact, a composer could benefit from context and balance inasmuch as these terms helped provide both a level of discursive consistency to the music from the compositional perspective and tools to perceive that the music is taking place in a constant present.
If the same partial is achieved then goto 2else goto 4. On string instruments, especially lower pitched instruments like the cello, sustained tones allow a large range of spectral subsets with extremely subtle gradation of weighting between partials. My questionnaire is going to be mostly relevant to guitarists who have learnt ‘Kurze Schatten II’ with the intention of performing it, BUT so far testing the waters there seem to be so few guitarists who have done so that someone who has even learnt just sections of the piece would be an invaluable resource!
Equally algorithmic is the description of what LG call reflection: Such enshrining of hyper virtuosity underscores the dissimilarity between the bodies of audience and performer, invoking a Romantic fascination with and glorification of superhuman mastery. Every piece of knowledge, he said, contains a dash of nonsense, just as in ancient carpet patterns or ornamental friezes it was always possible to find somewhere or feerneyhough a minute deviation from the regular pattern.
When the tortured body is presented publicly, the spectator of course sympathizes by mapping the traces of torture onto their own bodies, and with the gesture they pass through a space of universalized bodies — the idea of the body that allows them kurxe see kudze bodies of others, allegories of their own bodies. 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”.
Cognition can be defined as navigation with real-time perception and action and as exploration of environmental affordances. Ordinary awareness is simple in its own mode.
Finally, the sounds were spatialized among six precisely positioned speakers and two subwoofers. A brief aside on detuning: This external information processing may be energy-saving when compared to a purely internalist, mind-based process Rowlands,p. Due to their density and brisk tempo, near-unison duo passages such as this are almost impossible to play as notated.
We have heard it already and we know it: Pretending to trip, for comic effect, is error-making; creating a situation in which you cannot help but trip running barefoot over rocks, binding the feet, blindfolding is error-enabling.
The historic context of the big drum evokes and symbolizes proclamation: Expression here remains somewhat diffuse, therefore, like a primordial breath out. For my own creative process, I find the noisy areas of mind particularly interesting.
An ecological approach to the perception of musical meaning.
Interpreting Kurze Schatten II – Classical Guitar
Despite those perspectives, traditional aporias still appear predominant in actual performance practice. In this light I would like to supply some provisional answers to my original questions: Motion, Schattem and Expression, New York: It is, in a sense, a doomed hope, an impossible hope, that persists, ardent and sincere, not in the face of failure as when struggling to realize impossibly dense notation but solely through failure.
In the second part, I return to piano performance through the comparison of two traditional piano methods in the light of EEC. The notation of pitch in Kurze Schatten II obeys the tablature principle, that is, the notated pitches are not the real sounds but are notated as if the guitar were tuned normally.
His artistic and research practice are focused on the performance of contemporary music of radical scharten, exploring performer’s agency from the learning and interpretive processes to the performance situation. The string player uses the right-hand alone to reveal partials through continuous bowing, a drone-like state where attention — in performing and listening — becomes focused on the weighting of the pitches in the spectrum.
In this sense, cybernetics can be seen as being parallel to chaos theory and non-linear dynamics as a way of viewing complex schagten.
Kurze Schatten II
In his turn, Alistair Zaldua’s article interrogates the concept of translation as a source of compositional procedures, informed by linguistics and post-structuralism. It is the shame. As described in section 1. This allows for an open-form composition, because the possible pitch outcomes of each iteration of the process are bounded and weighted but not predictable: Some of the electronic sounds used in this part pre- recorded bass drum sounds and synthesized noise sounds were also transformed by similar visual shapes or virtual MIDI gestures, which controlled software parameters.
The choice made here colors in the most fundamental manner the rehearsal hierarchy of which, in performance, the composition itself is a token. Music and Gesture, — The mental processes are partly enactive, embedded, embodied, and extended what Rowlands refers to as 4E Cognition, after Shaun Gallagher7.
Corporeal Navigation The notion of a score-space as a kind of multi-layered state-space 14 of the system embodied mind-instrument-score allows for the emergence of the notion of corporeal navigation as a metaphor for the hybrid process of learning as performance and of performing itself, which stems from the physical, gestural, sound-producing movement. Awards include the Gaudeamus Prize for composition.
In an interview with Richard Toopp. Due to their dimensions, the way their sound is propagated, their main mode of playing i. In the inner monologue. Although multiphonics are highly variable in pitch content even from player to player and instrument to instrument most tend to have only one or two dominant pitches which can be isolated by the player, and a host of subsidiary pitches that are more difficult to isolate; most cannot be isolated. They constitute the foundations upon which we have to rely in order to progress in the acquisition of knowledge and the development of specific skills, both of which will ultimately contribute to forge an independent voice and artistic personality.
If the nature of a piece would consist in a juxtaposed series of aphorisms, it would suggest that, in order to stress the singularity of the latter, some kind of disconnection would be necessary. Dimensions 2 to 4 of the score-space thus become palpable. In her PhD research at the University of Huddersfield under Liza Lim she weaves the strands of her artistic activities and experiences into a contemplative investigation of the ‘noise of mind’.
Interpretation is then this diachronic movement, instead of the repetition of a frozen sound-image. He also studied composition with Iannis Ioannidis and is a graduate of the National University of Athens.
The main visual reference is the Chilean painter Roberto Matta, who employed most Surrealistic techniques in his work. In my view, the listeners, being denied a clear perception of layers because of the extreme fragmentation of textureattempt to perceive the nature of the various sound objects unfolding in time.
Biomorphism has to ferneyhougy with transformation and hybridization and is a concept explored by many surrealist artists before and after Matta.