The Present of Music
March 11, 2008
I BELIEVE THAT THE USE OF NOISE TO MAKE MUSIC
WILL CONTINUE AND INCREASE UNTIL WE REACH A MUSIC PRODUCED THROUGH THE AID OF ELECTRICAL INSTRUMENTS
Otto Leuning – Low Speed (1952)
For Low Speed, Luening made sketches on which he based his flute improvisations. He transposed the first recording an octave lower, and successive versions each a fifth higher than the initial recording. Feedback produced a kind of unearthly, ghostly counterpart of the live flute.
Burial – Forgive (2006)
“The sound of a truck at 50 m.p.h. Static between the stations. Rain. ”
WHICH WILL MAKE AVAILABLE FOR MUSICAL PURPOSES ANY AND ALL SOUNDS THAT CAN BE HEARD. PHOTOELECTRIC, FILM, AND MECHANICAL MEDIUMS FOR THE SYNTHETIC PRODUCTION OF MUSIC:
John Cage – Williams Mix (1952)
Cage’s first composition for tape recorder already goes to the limits of the medium. Commenting on his score, Cage explains: «This is a score (192 pages) for making music on magnetic tape. Each page has two systems comprising eight lines each. These eight lines are eight tracks of tape and they are pictured full-size so that the score constitutes a pattern for the cutting of tape and its splicing. All recorded sounds are placed in six categories … Approximately 600 recordings are necessary to make a version of this piece. The composing means were chance operations dervied from the I-Ching.
Akufen – In Dog We Trust (2002)
“organization of sound.”
WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
Wishmountain (Matthew Herbert) – Golf (1998)
Disco Inferno – Starbound (1994)
“the emphasis is on the group and the integration of the individual in the group.”
Hugh Le Caine – Dripsody (1955)
Autechre – Acroyear2 (1998)
“The “frame” or fraction of a second, following established film technique, will probably be the basic unit in the measurement of time. No rhythm will be beyond the composer’s reach.”
THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FIELD OF SOUND, WILL BE INADEQUATE FOR THE COMPOSER WHO WILL BE FACED WITH THE ENTIRE FIELD OF SOUND.
AND PRESENT METHODS OF WRITING PERCUSSION MUSIC:
Ricardo Villalobos – Ichso (2007)
“Any sound is acceptable to the composer of percussion music; he explores the academically forbidden “nonmusical” field of sound insofar as is manually possible.”
AND ANY OTHER METHODS WHICH ARE FREE FROM THE CONCEPT OF A FUNDAMENTAL TONE.
THE PRINCIPLE OF FORM WILL BE OUR ONLY CONSTANT CONNECTION WITH THE PAST.
Matmos – For Felix (and all the Rats) (2001)
AND MAN’S COMMON ABILITY TO THINK.