Sound

Working with Peripheries: Workshop for the Restoration of Unfelt Feelings

In this essay, Māra Traumane guides readers through the diverse, interdisciplinary practice of the Riga-based collective Workshop for the Restoration of Unfelt Feelings (NSRD), which operated from the end of the 1970s until 1989. NSRD was involved in the avant-garde music scene as well as in architecture, and their activities ranged from concerts and the production of record albums to performances, writing, and video art.

Moving Forms: Writings on Graphic Notation

Selections by Uesaki Sen and Miki Kaneda; Annotations by Miki Kaneda Graphic scores visibly and sonically changed contemporary music in the late 1950s and ’60s. The new notation unleashed a torrent of fundamental questions about music, sound, and composition: What counts as music? What distinguishes musical sound from non-musical sound? What is the time of…

Graphic Scores: Tokyo, 1962

Graphic scores tend to have multiple identities. Simultaneously, they can be design objects, artworks, and documents silently encoded with music whose future performance can depend, at least to some degree, on their existence. What can graphic scores tell us about music, art, design, and performance, and about their intersections? During the late 1950s and the…

Ile jest Rudnika w Pendereckim, a ile Rudnika w Nordheimie? Rozmowa z Eugeniuszem Rudnikiem

Moją specjalnością były filmy o miłości, o macierzyństwie, śmierci, martyrologii czy funeralnym świecie, ilustrowane muzyką konkretną. Ja zilustruję w moim warsztacie dowolny film na dowolny temat. Chciałem wygenerować czy wynaleźć, wymyślić dźwięki, których cechą jest to, że dotąd nigdy nie zaistniały, nie dają żadnych skojarzeń, bo jak ktoś bierze muzykę instrumentalną, to natychmiast słuchacz widzi…