WTF muziek!

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Op zaterdag 13 maart 2010 11:55 schreef sinterklaaskapoentje het volgende:

MASONNA -- Inner Mind Mistique (WARNING: LOUD, HARSH, EARSPLITTING NOISE)

Masonna. Jardste muziek die ik ken Ja dit is echt muziek

Disintegration Loop 1.1 - William Basinski

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Loops is based on Basinski's attempts to salvage earlier recordings made on magnetic tape, by transferring them into digital format; however, the tape had physically deteriorated to the point that, as it passed by the read/write head, the ferrite detached from the plastic backing and fell off. Basinki has alleged that he finished the project the morning of the September 11 attacks on the World Trade Center in New York City, and sat on the roof of his apartment building in Brooklyn with friends listening to the project as the WTC towers collapsed.[2]

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Op zaterdag 13 maart 2010 17:06 schreef Gehenna het volgende:
Pendulum Music (For Microphones, Amplifiers Speakers and Performers) van Steve Reich

Pendulum Music Pomfret School 2008

ik vind het trouwens serieus erg mooi ook nog, hoe de muziek steeds intenser wordt, terwijl mechanisch gezien alles juist steeds rustiger wordt. Plus is dit natuurlijk ook gewoon (door Steve Reich's uitgevonden) Phasing techniek in z'n puurste vorm.

György Ligeti - Poème Symphonique For 100 Metronomes

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Op zaterdag 13 maart 2010 12:40 schreef Grimmson het volgende:

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Pfff, ik houd het geen 5 seconden uit om aan te horen, maar WTF...

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Op donderdag 18 september 2008 18:59 schreef Gehenna het volgende:

en dit soort muziek begrijp ik zelf ook niet helemaal:

Ligeti - Artikulation

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Op zondag 14 maart 2010 20:15 schreef sinterklaaskapoentje het volgende:
Hoe willen ze ervoor zorgen dat dat project tot 2999 doorgaat

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About Longplayer's Survival

From its initial conception, a central part of the Longplayer project has been about considering strategies for the future. How does one keep a piece of music playing across generations? How does one prepare for its technological adaptability, knowing how few technologies have remained viable over the last millenium? How does one legislate for its upkeep? And how can one communicate that responsibility to those who might be looking after it some 950 years after its original custodians have perished?
Technological Survival and Possible Solutions

The first question about Longplayer's survival is technological – by what methods will its music be produced, how will it be heard, and how will those technologies have to change in the face of the next thousand years of environmental challenges and unforeseeable circumstances? There are several different alternatives being pursued at the moment, among them:

1. A dedicated global radio frequency, the original and abiding ambition for Longplayer. At present Longplayer is being streamed live on the internet (see here) – a medium which, while at present truly global and virtually instantaneous, depends on both a vast, complex, and somewhat unstable technological network for it broadcast and a high technological “overhead” for its reception. Radio, on the other hand, depends on a relatively simple and stable technology for both broadcasting and receiving, to the extent that it can even be heard on a homemade wind-up device.


2. A mechanical device. At present, the mechanical model being pursued is based on the “record player” analogy for Longplayer. Research is ongoing into the design of a Longplayer device consisting of six two-armed turntables, each of a sufficient size to incorporate controlling mechanisms capable of raising, lowering and advancing the arms with adequate precision. This will probably mean building turntables much bigger than the conventional 12 inch – maybe 6 to 12 feet in diameter. This then begs the question as to how records of that size are to be cut, and from what material.

3. A small computational device that is built to last for a very long time – thinking along the lines of technology used in deep space missions. This device would have one function only, and that would be to play Longplayer. Each could potentially have a small radio transmitter built in, and could be designed to set its time to the international shortwave clock in the same way that self-setting clock-radios do. Small and cheap enough to be made by the thousands, these devices would be scattered far and wide, adopting the biological strategy of survival by excessive multiplication and reproduction.

4. Human performance. If Longplayer is to survive at all, then people will have to want it to. So, ultimately, the best strategy might be for it to be played by humans – as long as they are around. This may mean that an idea of Longplayer as an “intermittent continuum” might, in time, have to be adopted – something like thinking of a partially submerged landscape that is only ever visible as a string of islands. In 2002, Jem Finer developed a graphical score for Longplayer, arranged for 234 Tibetan singing bowls and six players (see here). The score calls for the construction of a vast orchestral installation comprising six concentric rings of bowls, together representing the six simultaneous and differently pitched iterations of the original Longplayer source music from which all versions of the piece are constructed. The first performance of a 1000 minute section of this score took place in London on 12 September 2009. For more information, or to find out how to get involved in future performances, please see the Live Performance page.
Social Survival and the Longplayer Trust

The second and more abstract question about Longplayer's future is social – who will look after Longplayer as its technological, cultural and social environments change? How does one generation of custodians go about establishing a durable chain of succession, down which the responsibility for Longplayer's survival can realistically be expected to pass, even over hundreds of years? How many institutions have survived, with their initial objective intact, over the last thousand years?

It was clear from early in the project's development that for its survival it would be necessary to give the work over to a group of individuals, other than the composer, who would be able to oversee Longplayer's operation as a public artwork, and could be seen to have a collective, non-selfish investment in the project's future.

The establishment of the Longplayer Trust, while not a complete answer to all these questions, begins by placing responsibility in the hands of a group of invested individuals. While members of the trust will change over the years, their work will always have a simple objective: to make the music available to as wide an audience as possible and to research and implement sustainable platforms for Longplayer's future. The Trust includes individuals from the various technical and cultural fields to which Longplayer speaks and from which it has required support – experimental music, engineering, law, fine art, urban planning and regeneration, etc.

The Trust also operates as a non-profit charity on behalf of the project, and this has made it possible for the existing form of Longplayer and the research into possible future forms to be funded through charitable donations. If you are interested in helping Longplayer survive, please consider making a donation on our Support page.

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Op maandag 15 maart 2010 11:09 schreef Bosbeetle het volgende:

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Wat een geweldige TVP

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Op maandag 15 maart 2010 12:40 schreef xpompompomx het volgende:

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tof he?! In het tijdschrijf 'The Wire' (trouwens een aanrader voor iedereen in dit topique) van vorige maand stond nog een interview met de beste man.

Replay Marclay - Crossfire

CHRISTIAN MARCLAY "Record Players"

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Sanders and Ali's contributions come into stronger focus as well on this date, recorded in sometimes uneven, but mostly professional, sound. With his ceaseless motion and ability to never let the tempo flag, plus his ingenuity in marshalling the other percussionists who clustered around the saxophonist -- there's at least one, possibly two more on this date -- Ali may really have been Trane's perfect percussion partner. Elvin Jones, famous for defining the sound of the so-called classic Coltrane quartet, subsequently rigidly stuck to that, for him, comfortable format. Compare his subsequent recordings and bands to Ali's and you'll hear a masterful percussionist content to build variations on the Coltrane sound on one hand, as opposed to someone unafraid of different partners or contexts on the other. That's why Ali's in-your face press rolls and constant thrashing is so necessary here; rather than seeking to nudge the saxophonist back into a comfortable position, he's ready to follow him no matter where the spirit leads.

Sanders, admitted Coltrane in interviews, was there to spell him, during the course of the wrenching performances of music like the compositions on this disc, which clock in at either side of half an hour each. Certainly the second saxophonist's ability to seemingly blow his horn apart while producing what could be cries of a wounded predator every time he set out to make a statement made him one of the most exciting performers of the time.