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Reductionism (music)
Reductionism is a form of improvised music that developed towards the end of the 20th century, centered in Berlin, London, Tokyo, and Vienna. The key characteristics of the music include microtonality, extended techniques, very soft and quiet dynamics, silence, and unconventional sounds and timbres. Some of the names associated with reductionism are Radu Malfatti, Toshimaru Nakamura, Axel Dörner and Rhodri Davies. The London-based movement has been described as New London Silence. See also *Electroacoustic improvisation *Onkyokei The Onkyo music movement or (translation: "reverberation of sound"Cox, Christoph and Warner, Daniel, eds. (2004). ''Audio Culture: Readings in Modern Music'', p.413. .) is a form of free improvisation, emerging from Japan in the late 1990s. Onky� ... References {{Reflist Experimental music genres ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Reductionism
Reductionism is any of several related philosophical ideas regarding the associations between phenomena which can be described in terms of other simpler or more fundamental phenomena. It is also described as an intellectual and philosophical position that interprets a complex system as the sum of its parts. Definitions '' The Oxford Companion to Philosophy'' suggests that reductionism is "one of the most used and abused terms in the philosophical lexicon" and suggests a three-part division: # Ontological reductionism: a belief that the whole of reality consists of a minimal number of parts. # Methodological reductionism: the scientific attempt to provide an explanation in terms of ever-smaller entities. # Theory reductionism: the suggestion that a newer theory does not replace or absorb an older one, but reduces it to more basic terms. Theory reduction itself is divisible into three parts: translation, derivation, and explanation. Reductionism can be applied to any phenomenon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Improvisation
Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right. Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. Exponents of free improvised music include saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann, and John Zorn, composer Pauline Oliveros, drummer Christian Lillinger, trombonist George E. Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups Spontaneous Music Ensemble, The Music Improvisation Company, Iskra 1903, The Art Ensemble of Chicago and AMM. Characteristics In an atonal context, free improvisation refers to where the focus shifts from harmony to other dimensions of music: timbre, melodic intervals, rhy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stylus Magazine
''Stylus Magazine'' was an American online music and film magazine, launched in 2002 and co-founded by Todd L. Burns. It featured long-form music journalism, four daily music reviews, movie reviews, podcasts, an MP3 blog, and a text blog. Additionally, ''Stylus'' had daily features like "The Singles Jukebox", which looked at pop singles from around the globe, and "Soulseeking", a column focused on personal responses in listening. Even though they never reached the readership of other music magazines such as PopMatters or Pitchfork, they still had a very consistent and fired-up audience. In 2006, the site was chosen by the '' Observer Music Monthly'' as one of the Internet's 25 most essential music websites. ''Stylus'' closed as a business on 31 October 2007. The site remained online for several years, but did not publish any new content. On 4 January 2010, with the blessing of former editor Todd Burns, ''Stylus'' senior writer Nick Southall launched ''The Stylus Decade'', a we ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Microtonal Music
Microtonal music or microtonality is the use in music of microtones— intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In ''Revising the musical equal temperament,'' Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone ''equal temperament'' (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure (beatless), as described by t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Extended Technique
In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres.Burtner, Matthew (2005).Making Noise: Extended Techniques after Experimentalism, ''NewMusicBox.org''. Composers’ use of extended techniques is not specific to contemporary music (for instance, Hector Berlioz’s use of ''col legno'' in his ''Symphonie Fantastique'' is an extended technique) and it transcends compositional schools and styles. Extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, particularly in more recent styles like free jazz or avant-garde jazz. Musicians in free improvisation have also made heavy use of extended techniques. Examples of extended techniques include bowing under the bridge of a string instrument or with two different bows, using key clicks on a wind instrument, blowing and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dynamics (music)
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There ar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Radu Malfatti
Radu Malfatti is an Austrian trombone and harmonica player, and composer. He was born in Innsbruck, in the province of Tyrol, on December 16, 1943. Malfatti is associated with the style of music known as reductionism and has been described as "among the leaders in redefining the avant-garde as truly on-the-edge art." His work "since the early nineties... has been investigating the edges of ultraminimalism in both his composed and improvised work." He also operates B-Boim, a CD-R-only record label focusing on improvised and composed music, much of it his own. Discography As leader * ''Balance'' with Balance (Incus, 1973) * ''Thrumblin'' with Stephan Wittwer (FMP, 1976) * ''Und?'' with Stephan Wittwer (FMP, 1978) * ''Bracknell Breakdown'' with Harry Miller (Ogun, 1978) * ''Humanimal'' with Jerry Chardonnens (Hat Hut, 1980) * ''Blek'' with M.L.A. Blek (FMP, 1981) * ''Ach Was!?'' with Ulrich Gumpert, Tony Oxley (FMP, 1981) * ''Zwecknagel'' with Harry Miller (FMP, 1981) * ''Formu'' (N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toshimaru Nakamura
Toshimaru Nakamura is a Japanese musician, active in free improvisation and Japanese Onkyokei, onkyo. He began his career playing rock and roll guitar, but gradually explored other types of music, even abandoning guitar, and started working on circuit bending. He uses a mixing console as a live, interactive musical instrument: "Nakamura plays the 'no-input mixing board', connecting the input of the board to the output, then manipulating the resultant audio feedback."Todd S. Jenkins (2004). ''Free jazz and free improvisation'', p.250. . "His principal tool is his 'no-input' mixing board used to create feedback and tiny electronic sounds that are amplified tremendously." Nakamura's music has been described as "sounds ranging from piercing high tones and shimmering whistles to galumphing, crackle-spattered bass patterns." Nakamura founded the ensemble A Paragon of Beauty in 1992. He has recorded solo albums, worked as a session musician, and collaborated with artists including Sac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Axel Dörner
Axel Dörner (born 26 April 1964 in Cologne, Germany) is a German trumpeter, pianist, and composer. Biography Dörner studied piano in the Dutch town Arnhem (1988–89) and at the Music Academy in Cologne (1989–1996). From 1991 he studied trumpet with Malte Burba, and during his studies he collaborated with trumpeter Bruno Light as the Street Fighters Duo. The duo expanded to form the Street Fighters Quartet and the Street Fighters Double Quartet, with members including Matthias Schubert, Bruno Leicht, and Claudio Puntin. He formed the Axel Dörner Quartet with Frank Gratkowski, Hans Schneider, and Martin Blume, and played with saxophonist Matthias Petzold on the albums ''Lifelines'' and ''Psalmen Und Lobgesänge''. Dörner has lived in Berlin since 1994 and is an integral part of the Berlin scene of new improvisational and experimental music. Besides playing solo and in his trio TOOT (with Phil Minton and Thomas Lehn), he has played with artists such as Otomo Yoshihide and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhodri Davies (musician)
Rhodri Davies (born Aberystwyth, 1971) is a harp player working within the field of free improvisation. He was one of the most prominent members of the London reductionist school of improvised music that was active in the late 1990s and early 2000sBell, Clive”The Other Side of Silence” ''The Wire'', (issue 260, October 2005) pp.32–39 and which has been described as being "extremely influential over the last decade".Saunders, James, ''The Ashgate Research Companion to Experimental Music'', (Ashgate, 2009), p.228 Davies is also active in the field of contemporary composition where he has commissioned new works for the harp from leading avant-garde composers. He has also worked as an orchestral player and as a session musician for Charlotte Church and Cinematic Orchestra amongst others.Hamilton, Andy, "Invisible Jukebox: Rhodri Davies", ''The Wire'' (issue 318, August 2010) pp.28–31 He has appeared on over 60 commercially available recordings. He has created a number of ins ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Electroacoustic Improvisation
Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry. Real-time generation and manipulation of audio using live coding is now commonplace. History 1800s–1940s Early electronic instruments Early electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Onkyokei
The Onkyo music movement or (translation: "reverberation of sound"Cox, Christoph and Warner, Daniel, eds. (2004). ''Audio Culture: Readings in Modern Music'', p.413. .) is a form of free improvisation, emerging from Japan in the late 1990s. Onkyō can be translated as "sound, noise, echo". Some artists commonly associated with Onkyō include Toshimaru Nakamura, Tetuzi Akiyama, Sachiko M, and Taku Sugimoto, among others. The Off Site, a venue in Tokyo, is home to the Onkyo music movement, which is characterized by improvisation, minimalism, and "quiet noise". Onkyo improvisation, "explores the fine-grained textural details of acoustic and electronic sound". It influenced the development of electroacoustic improvisation, or EAI, a genre with which it is strongly intertwined. The transnational circulation of onkyo also influenced its representation as a form of "Japanese new music," despite claims by its authors that onkyo had little to do with Japanese cultural identity.Novak, D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
