Podcast appearances and mentions of mauricio kagel

Eine Initiative zeigt den avantgardistischen Film „Hallelujah“ von Mauricio Kagel in der vom Abriss bedrohten Pauluskirche – dem Ort, an dem er zum Teil gedreht worden war und wo er sich mit dem Skandalkonzert in die Erinnerung eingeschrieben hat.

Episode 154 Chapter 15, Elektronische Musik in Germany. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: ELEKTRONISCHE MUSIK IN GERMANY Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Heinz Schutz, “Morgenröte” (1952). Elektronische musik using magnetic tape (Cologne). 03:42 01:36 2.     Karel Goeyvaerts, “Compositie Nr 5 met zuivere tonen” (1953). Elektronische musik using magnetic tape (Cologne). 02:44 05:12 3.     Karlheinz Stockhausen, “Studie I” (1953). Elektronische musik using only processed sine waves (Cologne). 09:25 07:50 4.     Giselher Klebe, “Interferenzen” (1955). Elektronische musik using magnetic tape (Cologne). 04:52 17:16 5.     Gottfried Michael Koenig, “Klangfiguren I” (1955). Elektronische musikusing magnetic tape (Cologne). 04:18 22:00 6.     Franco Evangelisti, “Incontri di fasce sonore” (1957). Elektronische musikusing magnetic tape (Cologne). 03:30 26:08 7.     Mauricio Kagel, “Transición” (1958). Elektronische musik using magnetic tape (Cologne). 13:22 29:30 8.     Györgi Ligeti, “Artikulation” (1958). Elektronische musik using magnetic tape (Cologne). 03:58 42:44 9.     Herbert Eimert, “Epitaph für Aikichi Kuboyama” (1960). Elektronische musik using magnetic tape (Cologne). 22:26 46:44 10.   Michael von Biel, “Fassung” (1964). Elektronische musik using magnetic tape (Cologne). 13:47 01:09:06 11.   Karlheinz Stockhausen, “Hymnen Region III (opening)” (1953). Elektronische musik using only processed sine waves (Cologne). 02:30 01:22:40 12.   Peter Eötvös, “Mese” (1968). Elektronische musik using magnetic tape (Cologne). 12:42 01:25:10   13.   Karlheinz Stockhausen, “Studie II” (1953). Elektronische musik using only processed sine waves (Cologne). 03:10       Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

À composer des pièces pour la radio, certains compositeurs ont fini par concevoir leurs pièces de concert avec les dispositifs permis par la radio de la fin des années 1960 jusqu'aux années 2000. Le compositeur Mauricio Kagel n'a pas arrêté de composer des pièces pour la radio WDR-3 à Cologne, très tôt primées et emblématisées … Continuer la lecture de « Metaclassique #315 – Radier »

Werken van Mauricio Kagel, Peter Michael Hamel en Aribert Reimann Het Vierde strijkkwartet van Mauricio Kagel uit 1993 is een voorzetting van het Derde. De componist speelt opnieuw met onze luistergewoonten, met wat we menen te herkennen. Menigmaal worden we door hem echter op het verkeerde been gezet. Ook Peter Michael Hamel zocht naar manieren […]

De Duits-Argentijnse componist Mauricio Kagel werd vooral bekend door zijn onconventionele en vaak ook theatrale kijk op de eigentijdse muziek. In zijn Derde strijkkwartet wilde hij nader komen tot de klassieke traditie, tot de welluidendheid ervan en de vierdeligheid van het traditionele kwartetidioom. En typisch Kagel: met de nodige ironie en dubbele bodems. Enno Poppe […]

Compositor, director de orquesta y escenógrafo, el argentino llega a ser calificado por John Cage como “el mejor músico europeo que conozco”. Influenciado por Fluxus, Jorge Luis Borges, el cine (donde se prodiga con una veintena de películas) y el teatro musical, lleva su obra hacia el expresionismo, el surrealismo y el dadaísmo._____Has escuchadoHeterophonie (1959-1961). Sinfonie-Orchester des Hessischen Rundfunks. Michael Gielen, director. WERGO (1972)Match (für drei Spieler) (1964). Siegfried Palm y Klaus Storck, violonchelos; Christoph Caskel, percusión; Mauricio Kagel, director. Deutscher Musikrat (1983)Presentación y estreno de la obra de Mauricio Kagel. Acústica (1968-1970). Kölner Ensemble für Neue Musik. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 5 de noviembre de 1990Streichquartett III. Andante (1986-1987). Cuarteto Arditti. Disques Montaigne (1990)_____Selección bibliográficaBARBER, Llorenç, Mauricio Kagel. Círculo de Bellas Artes de Madrid, 1987COLEMAN, Anthony y Mauricio Kagel, “Mauricio Kagel”. BOMB, n.º 88 (2004), pp. 62-67*HANS-KLAUS, Jungheinrich, Aufgehobene Erschöpfung: Der Komponist Mauricio Kagel. Schott, 2009HEILE, Björn, The Music of Mauricio Kagel. Routledge, 2016KAGEL, Mauricio, Parcours avec l'orchestre. L'Arche, 1993—, Palimpsestos. La Caja Negra, 2011KLÜPPELHOLZ, Werner (ed.), LeseWelten. Mauricio Kagel und die Literatur. PFAU-Verlag, 2002MENACHO, Luis, “Mauricio Kagel y la triangulación USA, Argentina y Alemania: Un camino alternativo en los cursos de Darmstadt a fines de los años 50”. En: VI Congreso Interocéanico de Estudios Latinoamericanos (Mendoza [Argentina], 14-16 de noviembre de 2018): [PDF]MIKAWA, Makoto, “Formal Design and Material in Mauricio Kagel's Antithese für Elektronische und Öffentliche Klänge”. Tempo, vol. 68, n.º 270 (2014), pp. 57-67*—, “The Theatricalisation of Mauricio Kagel's Antithese (1962) and Its Development in Collaboration with Alfred Feussner”. The Musical Times, vol. 156, n.º 1932 (2015), pp. 81-90*SCHNEBEL, Dieter, Mauricio Kagel: Musik - Theater - Film. Verlag M. Dumeont, 1970SOLARE, Juan María, “Curiosity Is Limitless: A Last Interview with Mauricio Kagel”. Tempo, vol. 63, n.º 250 (2009), pp. 8-26* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Este compositor, musicólogo y artista sonoro valenciano ha llevado sus Conciertos de Ciudad con campanas a más de 150 ciudades del mundo. Creador de la “música multifocal”, comenzó su formación musical estudiando órgano, gregoriano y la obra de Johann Sebastian Bach._____Has escuchadoConcierto para campanarios y espadañas de la ciudad de Granada (1992). Hyades Arts (1992)Linguopharincampanology. Cantinela (1994). Llorenç Barber, campanas preparadas. Hyades Arts (1994)Linguopharincampanology. Lingua Ludens (1994). Llorenç Barber, voz difónica. Hyades Arts (1994)Linguopharincampanology. Manjar (1994). Llorenç Barber, voz difónica y campanas preparadas. Hyades Arts (1994)_____Selección bibliográficaBARBER, Llorenç, Mauricio Kagel. Círculo de Bellas Artes, 1987—, “Los dioses muertos”. Revista de Occidente, n.º 151 (1993), pp. 27-46*—, “Carta de naturaleza, una música pública: o sea, notas para la composición del Concierto con la flota pesquera subtitulado Música marina para una noche de verano”. Quodlibet: Revista de Especialización Musical, n.º 60 (2015), pp. 103-109*—, “El arte sonoro español en el contexto mundial: una narración desde mi experiencia”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 9-62*—, “Lo imprevisible hízose necesario: de ZAJ al arte sonoro”. En: Poéticas compartidas: convergencias artísticas en la música de los siglos XX y XXI. Editado por Belén Pérez Castillo y Ruth Piquer Sanclemente. Comares, 2023*BARBER, Llorenç y Montserrat Palacios, La mosca tras la oreja: de la música experimental al arte sonoro en España. Ediciones Autor, 2009*GARCÍA FERNÁNDEZ, Isaac Diego, “Estrategias para el análisis de la música visual: el caso de Llorenç Barber”. En: Musicología en el siglo XXI: nuevos retos, nuevos enfoques. Coordinado por Begoña Lolo Herranz y Adela Presas. Sociedad Española de Musicología, 2018*GARGÍA SÁNCHEZ, María Teresa, De la ciudad en vibración al ser resonante. Una investigación a propósito de los conciertos de campanas de Llorenç Barber. Tesis doctoral, Universidad Politécnica de Madrid, 2012GIL NOÉ, José Vicente, “La memoria convocada en los conciertos de ciudades de Llorenç Barber”. Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 16, n.º 1 (2021), pp. 230-249HERVÁS, Marina y Pedro Ordóñez, “Combustión visual para una brecha sonora en Granada (a partir de Arde Granada de Llorenç Barber)”. SOBRE: Prácticas Artísticas y Políticas de la Edición, n.º 7 (2021), pp. 226-259JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Presentación Vete tú a saber, de Llorenç Barber”. Laocoonte: Revista de Estética y Teoría de las Artes, n.º 8 (2021), pp. 27-30LÓPEZ CANO, Rubén, Música plurifocal: Conciertos de ciudades de Llorenç Barber. JGH Editores, 1997ROMÁN, Alejandro, Indeterminación y minimalismo, pop y vanguardias. Lulu Press, 2008VÁZQUEZ GONZÁLEZ, María de los Remedios, La música de Llorenç Barber: el minimalismo de la premodernidad a la posmodernidad. Tesis doctoral, Universidad de Oviedo, 2015 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Episode 97 Crosscurrents in Elektronische Musik from Germany Playlist Josef Anton Riedl, “Studie 1b, 1a” (1951) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Early example of German tape composition, categorized as musique concrète as it includes more than purely electronic sounds, but the edited and processed sounds of human voices and instruments (a harp, string bass) as well. But it's the vocal utterances and the way they were edited for effect with unpredictable silences that makes this work stand out for me. Riedl completed this after visiting and hearing musique concrète in France. After that, the Cologne studio came into existence and provided a new means to create electronic music not with microphones, but directly through electronic signals on tape. Riedl switched from making musique concrète to elektronische music. Realization by Riedl in association with the Studio für elektronische Musik des Westdeutschen Rundfunks, Köln (WDR, West German Radio in Cologne). 5:34 Karlheinz Stockhausen, “Étude” (1952) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). Realized by Stockhausen during a stay to ORTF, Paris, where he learned the basics of musique concrète, which is how he categorized the piece before working purely electronic music at WDR. 2:56 Karlheinz Stockhausen, “Studie I” (1953) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). One of two purely electronic “studies” composed by Stockhausen at the WDR. His serialist approach dictated all aspects of the sound and he composed the works using a graphical approach to depict the shapes and values of the volume, duration, pitch, and timbres of the sound. “Studie I” is among the first works of electronic music composed entirely for sine waves. Although the means for creating “Studie I” are readily available today using computer synthesis, its composition in 1953 required much manual intervention and ingenuity by Stockhausen. “Studie I” was a completely serialized composition in which the composer applied the mathematical analysis of tones and timbres to the way in which he generated, shaped, and edited sounds for a tape composition. With electronic tone generators and tape recorders at his disposal, Stockhausen felt that it was possible to “compose, in the true sense of the word, the timbres in music,” allowing him to synthesize from base elements such as sine waves the structure of a composition, its tone selection, and all of the audio dynamics such as amplitude, attack, duration, and the timbre of the sounds. He approached the composition by first recording a series of electronic tones that met certain pitch and timbral requirements that he prescribed and then using serial techniques to devise an organizational plan that determined the order and duration of the sounds as he edited them together. 9:23 Karlheinz Stockhausen, “Studie II” (1954) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). The second of two purely electronic “studies” composed by Stockhausen at the WDR. For “Studie II,” Stockhausen extended his experiments with sine waves begun on “Studie I” by exploring the use of attack and decay characteristics as elements of composition. “Studie II” is one of the first post-war tape works to have a written score, albeit a graphic one in which overlapping translucent geometric shapes are used to denote the occurrence of a tone of a given amplitude in a given frequency with specific attack and decay characteristics. For “Studie II,” Stockhausen defined a set of frequencies based on the same ratio, resulting in an 81-tone scale of tones divided into one-tenth octave steps. The loudness and attack characteristics of the tones were divided into five stages. Tones based on such equal divisions of the frequency spectrum proved to be more harmonic when mixed. Stockhausen recorded short passages of the given tones and spliced them together in a loop that could be played repeatedly. These loops were then played through a reverberation system and then recorded to provide the final material with which the composer worked. Stockhausen's extensive use of reverberation added body and a noise quality to the sounds that embellished the raw sine tones. Using serial techniques to determine how to edit the material together, Stockhausen varied the attack characteristics and then also played some of the sounds backward to create a ramping decay that would abruptly cut off. His application of attack and decay characteristics in five prescribed stages of amplitude resulted in passages that were highly articulated by cascading, irregular rhythms. 2:59 Herbert Eimert, “Fünf Stücke” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization, H. Schütz, Herbert Eimert. Produced in the WDR studios, Cologne. Like Pierre Schaffer in France, Eimert had a background in creating music and sound for radio. He was one of the founding directors of the Cologne studio. Of the works included here, this one is a good example of his serialist approach that incorporated constantly changing combinations of defined sounds. 12:31 Gottfried Michael Koenig, “Klangfiguren II” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig. Produced in the WDR studios,Cologne. Koenig was with the WDR Studio for ten years from 1954 to 1964. There he experienced the fundamental aspects of creating works with electronic sound devices, most of which had never been intended to make music. His work led him directly to computer music composition in the 1960s. In “Klangfiguren II” “every sound goes through several working steps, and both the original sound and the various intermediate results of the transformation process are heard.” 10:13 Karlheinz Stockhausen, “Gesang Der Jünglinge” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig, Karlheinz Stockhausen. Produced in the WDR studios, Cologne. “Gesang der Jünglinge” was begun three years before Varèse completed “Poème électronique.” Like the Varèse work, “Gesang der Jünglinge” was produced using a host of electronic music production techniques cultivated earlier at the WDR studios. Stockhausen's approach was to fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically. Stylistically, Stockhausen avoided the choppy, sharply contrasting effects that were so evident in many early magnetic tape pieces, instead weaving his sound sources together into a single, fluid musical element. He practiced his newly formed principles of electronic music composition, setting forth a plan that required the modification of the “speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre” in an exact and precise manner. The piece was painstakingly crafted from a visual score specifying the placement of sounds and their dynamic elements over the course of the work 13:03 Hermann Heiss, “Elektronische Komposition 1” (1956) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by H. Schütz, Hermann Heiss. Produced in the WDR studios,Cologne.One does not often hear the name Heiss in relation to electronic music, although he went on the direct the Studio für Elektronische Komposition at the Kranichstein Music Instutute. At the time of this composition, he was focused on adapting electronic sounds to serial composition, for which he thought they were ideally suited. 5:11 Herbert Eimert, “Selection I” (1959) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). For electronic and concrete sounds. 10:03 Herbert Eimert, “Sechs Studien” from Epitaph Für Aikichi Kuboyama (2005 Creel Pone). “Sechs Studien” was composed 1962 & realized by Leopold von Knobelsdorff and released in 1962 on the Wergo label. For electronic and concrete sounds. Interestingly, Eimert was also branching out with the addition of keyboards and what sounds like a theremin (although it might have been an Ondes martenot). The WDR studio had a keyboard instrument built by Harald Bode in 1953, the Melochord, along with a a Monochard made by Friedrich Trautwein. 17:48 Karlheinz Stockhausen, “Kontakte”(1959-60), parts 1 and 2 from the album Gesang Der Jünglinge / Kontakte (1962 Deutsche Grammophon). Composed and realized by Karlheinz Stockhausen. Produced in the WDR studios,Cologne. This work was adapted for phonograph from a 4-track original tape composition. Given that the album could only hold about 25 minutes of sound per side, they divided this piece in two and presented it as parts 1 and 2. I've joined the two parts together for the podcast. Note the experiments in sound movement between the speakers, a facet of electronic music about which Stockhausen was captivated. Around this time, he began using contraptions invented for the Cologne studio that would, for example, rotate a loudspeaker in space from which fixed microphones could pick up fluctuating signals based on the frequency of the speaker rotation. He would eventually use this same technique with live performances and 4 or more speakers to enable the sound to, in effect, rotate around the audience. By the time her wrote the liner notes for this recoding in 1962, he had “publicly performed” the work “more than thirty times in all large European cities as well as in Canada, the USA, and Brazil, and broadcast by most radio stations in both versions” (stereo and radio mixes). Stockhausen's sound palette had also grown more sophisticated by this point and contained many seemingly organic elements that stood out from the earlier, purely electronic music output of the WDR. It is also one of his last electronic works to exploit “total serialism” in which he painstakingly composed around the parameters of sound to “bring all properties” such as timbre, pitch, intensity, and duration under a single control." In 1981, music scholar David Toop looked back on this work and noted that Kontakte was really the culmination of Stockhausen's attempts to apply serialism technique to electronic music and succeeded only at the broadest level. Many other composers by this time had discovered that the fundamental nature of electronic music was to deal with the basic elements of sound and calling it serialism seemed quite meaningless. After all, the structures and tonalities were only as interesting as the listener found them to be. In his case, Stockhausen's uniquely vibrant and organic music, tinged with introspection and shocking contrasts, provided an emotional impact that serialism had never intended. Don't miss hearing the sequence beginning around 17 minutes in that presents a sequence of pulsing electronic tones that are sped up, at first, to sound like a smooth waveform but then lowered in frequency so that you hear the component particles and beats that comprise the faster tone. This was quite a trick using tape manipulation, probably requiring several playbacks of the sound at different speeds and then some eloquent mixing to join the pieces together. 34:33 Mauricio Kagel, “Transicion I” (1958) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). This is one of several reissues of the work that was originally released by Philips (who owned Limelight, its US label). I have several versions of this work and this was in the best shape. Realization by Gottfried Michael Koenig, Mauricio Kagel. Produced in the WDR studios, Cologne. “Transicion I” for electronic sounds (1958) was composed when Kagel first traveled to Cologne, where he remained for the rest of his career. Clearly influenced by the Cologne school of serialism, “Transicion II” was characterized by an exploration of the many aural possibilities of his sound sources set to an arrhythmic, seemingly formless sequence of sonic exclamations without pattern. These works were similar in effect to some of Stockhausen's instrumental pieces of the same period, but radically different from the German's evolving approach to methodical tape composition. 12:49 Opening background music: Four short sections of “Kontakte” (1959-60) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). These are not presented in their original order, but comprise Struktur parts 11, 12, 13a and 13b. the CD release on Stockhausen Verlag presents “Kontakte” not a one uniform track but as a set of parts originally created and edited together by Stockhausen. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

In jedem Genre kulturellen Umgangs kann Humor erfreuen, relativieren, versöhnen, aber auch richtig ätzen. Tut er das auch in der Musik? Und wenn ja, welche Formen von Humor bewirken was? Gerade für die Ernste Musik können humoristische Ansätze zur Gefahr werden, wenn damit die Ernsthaftigkeit des kompositorischen Anliegens und das Standing der Komponierenden auf dem Spiel stehen. Joseph Haydn, Mauricio Kagel, Dmitrij Schostakowitsch, Frank Zappa und andere zeigen gleichwohl überzeugende Spielarten und Zwecke des Humors in Musik.

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

14th-20th CenturiesThis week we hear works by Oswald von Wolkenstein, Walter Frye, Antoine de Févin, Osbert Parsley, Sigismondo d’India, Chiara Margarita Cozzolani, Johann Friedrich Fasch, Johann Friedrich Reichardt, William Henry Fry, Albert Roussel, and Mauricio Kagel.137 Minutes – Weeks of September 13 and 20, 2021

durée : 02:58:25 - Le programme classique d'Anne Montaron : Britten, Purcell, Dowland, Berio ... - par : Anne Montaron - Notre Rose des vents nous mène au Nord-Ouest aujourd'hui avec Mauricio Kagel. Cap sur les Iles britanniques ! Beaucoup de vent et de pluie donc, et les musiques de Purcell, Dowland Hume, Britten, Berio (Cries of London…),Wagner et Nielsen. Nous irons même jusqu'aux Iles Féroé ! - réalisé par : Emmanuel Benito

durée : 02:58:03 - Le programme classique d'Anne Montaron - par : Anne Montaron - Aujourd'hui, cap vers le nord-est avec une promenade musicale qui commence sur la musique de Mauricio Kagel, très sensible et à l'imaginaire des lieux, et aux points cardinaux. - réalisé par : Emmanuel Benito

durée : 02:58:05 - Le programme classique d'Anne Montaron : Mompou, Falla, Ohana, Scarlatti, Monteverdi, Berio... - par : Anne Montaron - Aujourd'hui, cap vers le Sud, et comme boussole une fois encore la "Rose des Vents" de Mauricio Kagel ! On part en Méditerranée, dans cet espace parfois décrit comme "La frontière de l'olivier", avec Mompou, Falla, Ohana, le villancico de la renaissance portugaise, le fado de Lisbonne, Scarlatti... - réalisé par : Emmanuel Benito

durée : 01:00:09 - En pistes, contemporains ! du dimanche 20 juin 2021 - par : Emilie Munera - A retrouver également : une réédition d'Acustica de Mauricio Kagel sous le label du Printemps des Arts de Monaco; une pièce pour orgue de la compositrice britannique Judith Bingham et le Concerto pour violoncelle de Xavier Dayer interprété par Estelle Revaz... - réalisé par : Claire Lagarde

Der Komponist, Trommler, Lyriker und Künstler ist ein disziplinarischer Tausendsassa. Zugleich ist er mit Daniel Ott Intendant der immer wieder verschobenen Müchener Biennale und lernte bei Christoph Caskel und Mauricio Kagel. Raoul Mörchen spricht mit ihm über sein Leben und Werk.

Cet œuvre est extraite de "sonant" pour guitare, harpe, contrebasse et percussions. Elle peut être jouée dans toutes les combinaisons possible : solo, duo, trio ou quatuor. Je vous présente donc : Faites votre jeu 1, pour guitare.

Guitare synthé pour les basses "pad" et au piano : Jean-Philippe Causse pour "rondeña", à la fin. C'était l'ouverture d'un concert de musique Argentine. Je posterai prochainement une autre œuvre de Kagel issue de ce programme.

Com cada dijous, avui, al Recapte, hem obert una nova llauna de Conserves Musicals, amb el músic i escriptor Miquel Àngel Marín. Avui hem parlat de deconstrucció musical alemanya amb peces de Cassiber, Markus Hetchle, Heiner Goebbels, Mauricio Kagel i Cabosanroque.

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Casey Cangelosi, Ben Charles, and Ksenija Komljenović, Karli Viña Intro music by Reese Maultsby - reesemaultsby.com Recommended reading: Allen recommends Zadie Smith's Intimations as a poignant, relevant reflection on these times. Watch here  Listen below  0:11 intro 7:04 Welcome Allen Otte! 9:48 Blackearth Percussion Group record stories 14:46 Founding of Blackearth Percussion Group 23:47 Lion's roar and Mauricio Kagel's Dressur 27:17 Taking the work seriously 29:44 More about Dressur 38:51 Hurdles in getting started with a chamber group 47:27 Christopher Deane and Facebook question from Brady Spitz: How do you cultivate creativity in your students, not just percussive skills, but artistry independent of instrument? 55:12 “The good old days of new music” 1:01:38 Karli topic: protest music 1:12:40 The Innocents project with John Lane 1:18:48 Allen performs Mark Saya's piece The Simurgh from From the Book of Imaginary Beings

In today's Sound Perimeter, University of Arkansas Music Professor Lia Uribe explores how the bicycle inspires composers. In this segment you'll hear "Eine Brise" by Mauricio Kagel, "La Bicicleta Cristal" by Angélica Negrón and "La Bicicleta" by Shakira and Carlos Vives.

Autor: Keim, Stefan Sendung: Fazit Hören bis: 19.01.2038 04:14

durée : 00:59:08 - Archives Beethoven contemporains : Mauricio Kagel, André Boucourechliev, Bruno Mantovani - par : Arnaud Merlin - Arnaud Merlin a exploré les archives de l'INA en remontant notamment en 1970, au moment du bicentenaire de la naissance de Beethoven, une année où plusieurs compositeurs lui rendaient hommage à travers leurs propres œuvres. - réalisé par : Claire Lagarde

In this episode with Carola Bauckholt, we discuss her orchestra piece "Im Auge des Klangs", the Violin and Samples piece "Doppelbelichtung", and a brand new work called "Witten Vakuum". We also go over her background, her studies with Mauricio Kagel, current work, the music of her students, and how she is coping with the Covid19 crisis. Carola is one of DN's favorite collaborators, and we hope you enjoy this talk!

I'm really honored to have violinist Violaine Melançon on the show this week to discuss her views on the skills young musicians need to develop to become well-rounded artists. As you'll get to hear, Violaine is an artist of great depth and a dedicated pedagogue with wonderful wisdom and empathy.  I'm certain that you will resonate with her message and walk away inspired and motivated In our conversation, Violaine expands on: The importance of choosing a teacher that will be a good fit The wonderful teaching philosophies of Isadore Tinkleman, which created “searching musicians” and fostered thinking and creativity in his students The importance of learning to listen and trust your ear Becoming a “Searching Musician” The importance of being versatile How and how long we should practice What summer festivals can bring to a young musician's development How much we learn when we teach The importance of having a good balance between routine, consistency, and variety Listening to yourself as if you were your own best student (which will help you listen better and assess what is objectively) Her main “engines:” curiosity, creativity in problem-solving, and yoga Her wise advice to students Her beautiful actionable tip: find a way to be inspired every day     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we'll begin 2020 with The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT VIOLAINE MELANÇON: Website: https://www.violaineMelançon.com/     An artist deeply dedicated to the range of violin and chamber music repertoire, violinist Violaine Melançon is Associate Professor of Violin at the Schulich School of Music at McGill University, and serves on the violin and chamber music faculties of the Peabody Conservatory. She was for thirty years the founding violinist of the Peabody Trio which was ensemble-in-residence at the Peabody Conservatory from 1987 to 2016. After winning the prestigious Naumburg Chamber Music Award in 1989, the Peabody Trio established itself as an important presence in the chamber music world as vivid interpreters of the classics of the repertoire, advocates for new music, and dedicated teachers and mentors to a generation of young musicians. As a member of the Peabody Trio, Ms. Melançon gave a New York debut in 1990 at Alice Tully Hall and has performed in the most important chamber music series in North America, including New York, Washington, DC, Chicago, Denver, Vancouver, Montreal, Seattle, San Francisco, Los Angeles, San Diego, Indianapolis, Dallas, Honolulu, Memphis, Minneapolis, New Orleans, Portland, St. Louis, Boston and Philadelphia. With them, Ms. Melançon toured internationally, frequently performing in England, making repeat appearances at London's Wigmore Hall, and in Japan and Israel.   She has a special affection for the music of today and is a serious interpreter of works of Gyorgy Kurtag, Mauricio Kagel and Zhou Long. The Israeli composer Shulamit Ran wrote a violin concerto for her and she has premiered several works by other leading composers. Among the artists with whom she enjoys collaborating are pianists Leon Fleisher, Gilbert Kalish and Peter Frankl, soprano Phyllis Bryn-Julson, and violist Roger Tapping.   During the spring of 2012, she presented the complete works for solo violin by J.S. Bach. She performs recitals annually, exploring unusual gems of the solo and violin-piano duo repertoire. Ms. Melançon is from Québec, Canada. After receiving First Prize in violin at the Conservatoire de Musique, she continued her studies with Ivan Galamian at the Curtis Institute of Music, with Isadore Tinkleman at the San Francisco Conservatory and with Arthur Grumiaux in Belgium. While at Curtis, she was a member of the Nisaika Quartet, prize winner of the 8th International String Quartet competition in Evian, France. Ms. Melançon is also the recipient of many awards for solo performance including the 1984 Prix d'Europe. In 1983, she formed the Knopp-Melançon Duo, an artistic collaboration which would eventually expand to become the Peabody Trio. In 1987, as a result of having been appointed USIA Artistic Ambassadors, the duo toured abroad extensively and made their Washington, DC debut at the Kennedy Center. Since then, her activities as a chamber musician, soloist with orchestras, and teacher have taken her to major music centers in the United States, Canada, Europe, the Middle East, and Japan.   She has participated in many summer festivals as violinist, teacher and guest artists, including those of Tanglewood, Ravinia, Skaneateles, Rockport, Orford, and Domaine Forget. She gives yearly masterclasses at the Green Mountain Chamber Music Festival, and teaches regularly at NOI, the National Orchestral Institute and Festival. For many years, she has served on the faculty of Yellow Barn   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Nur kurz rauschen die Velos vorbei, wir bemerken sie gerade, schon sind sie weg! „Eine Brise“ heisst diese Komposition von Mauricio Kagel, aufgeführt von 50 Berner Velofahrer*innen und Velofahrer.

Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou· www.creativeprocess.info

“As a child, music felt very natural for me. I didn't feel I needed to put any effort into learning the piano. I wanted to find all the musical information that was there. What was the purpose of studying the piano? Suddenly the whole thing became so creative. I felt that the sound is something malleable and you can have an infinite number of possibilities and ways of phrasing and expressing, so that opened a whole new area of possibilities and I found this just fascinating.”Lorenda Ramou, PhD, is a pianist, musicologist, piano teacher and concert curator, with a particular interest in 20th and 21st c. repertoire. She has appeared in many festivals and concert tours in Europe, USA and Chile. She has extensively researched, published and lectured on Greek piano repertoire; her numerous CD recordings for BIS, ECM, NAXOS and Athens Music Society include, among others, solo and chamber music works by Nikos Skalkottas, Dimitris Dragatakis, Konstantia Gourzi and Yiannis Ioannidis. She collaborates as Project Manager for contemporary music projects with Onassis Cultural Centre, Athens. Eager to transmit her knowledge of 20th and 21st century's piano repertoire to a younger generation of performers, she is teaching a yearly workshop on the subject at the Athens Conservatory. She had collaborated with composers Mauricio Kagel, Maurice Ohana, Frederic Rzewski and with French author Pascal Quignard. She had received guidance by pianists Claude Helffer, Marie-Françoise Bucquet, Pierre-Laurent Aimard and Steve Drury, while studying at the Paris Conservatory (CNSMDP), City University, London, and New England Conservatory, Boston. Her projects have been supported by the French Ministry of Culture, the British Council, Fulbright Foundation and the Center of Hellenic Studies, Harvard University.· www.onassis.org/people/lorenda-ramou · www.creativeprocess.info

In de vierde en voorlaatste aflevering van Galerie Moderne met het jonge turbotalent Brechtje van Dijk bespreken Tom Klaassen en Brechtje de motetten van Mauricio Kagel, voorwaar geen kleinigheid.

For New Year New Music, Michael Berkeley's guest is the Irish composer Gerald Barry. We tend to think of 'New Music' as something deadly serious and even agonised; Gerald Barry utterly confounds that stereotype. His latest opera, which will be staged at the Barbican this March, transforms The Importance of Being Earnest - with Lady Bracknell sung by a bass in a business suit, and Gwendolyn and Cecily throwing dinner plates at each other. It's Barry's fifth opera; his first, The Intelligence Park from 1990, told the story of an 18th century composer who fell in love with a castrato. As well as the operas there are scores of instrumental pieces, piano concertos and choral works. They have wonderful titles: Humiliated and Insulted; The Destruction of Sodom - a piece for 8 horns and 2 wind machines. In Private Passions, Gerald Barry talks to Michael Berkeley about his childhood in a small village in the West of Ireland. It wasn't a musical household, but as a young boy he heard Clara Butt singing Handel on the radio and that was an awakening for him, 'a visitation'. From then on, he knew he wanted to be a composer, though he didn't even know the word. At the age of 14, he won a medal for composition - by taking a Mozart piano sonata and cutting it up, sticking it together again in random order. Barry went on to study with Stockhausen and the Argentinian composer Mauricio Kagel, and he talks about his struggle to make a living as a church organist in Cologne: he was fired, first for being Catholic, then for being late for 7.30am Mass. He gives a moving account of his mother dying, just as his first opera was performed. And he reflects on the woeful blandness of singing voices in the musical world now, compared with the countertenors and castrati of the past. Gerald Barry's marvellously idiosyncratic choices include Mozart, Alfred Deller, Clara Butt, William Byrd, a hymn setting by Stainer, and Oscar Wilde's letter from Reading Gaol, De Profundis, set by the contemporary composer Rzewski. He ends with a hilarious recording of the Red Army Choir singing 'It's a Long Way to Tipperary'. A Loftus Production for BBC Radio 3 Produced by Elizabeth Burke.

Lundi 11 février à 20h Une proposition de Jean-Pierre Drouet Jean-Pierre Drouet est une figure majeure de la musique improvisée comme de la musique contemporaine. Exubérant et virtuose, il a donné vie tout au long de sa carrière à différents objets détournés et percussions exotiques créant ainsi des textures sonores étonnantes. Pour cette carte blanche, il conçoit une soirée à l'image de son univers artistique, réjouissant, fantaisiste et poétique, en réunissant des collaborateurs de longue date. Louis Sclavis, clarinettiste et saxophoniste français joue sur une des incroyables machines musicales de Claudine Brahem ; le jongleur Jérôme Thomas et la comédienne Edith Scob proposent un duo inédit ; Jean-Pierre Drouet s'associe à Abdul Alafrez pour des tours de magie et, pour clore cette soirée, un octuor de violoncelle interprète Trahison orale de Mauricio Kagel dans une adaptation de Jean-Pierre Drouet. Artistes présents : Abdul Alafrez, Ensemble Nomos, Louis Sclavis et Etienne Bultingaire, Edith Scob, Jérôme Thomas

Götter und Schriften rund ums Mittelmeer. Symposion in memoriam Friedrich Kittler | Symposium Fr, 19.10.2012 – Sa, 20.10.2012, ZKM_Medientheater „There's someone in my head, but it's not me. Nur Atavismen wie das Urheberrecht, das ja nicht umsonst aus der Goethezeit stammt, zwingen noch zur Namensnennung von Textern und Komponisten (als ob es dergleichen im Soundraum gäbe). Viel eher wären die Schaltpläne der Anlagen und […] die Typennummern der eingesetzten Synthesizer aufzuführen.“ (Friedrich A. Kittler, 1975) In den frühen 1980er Jahren baute Friedrich A. Kittler einen modularen Synthesizer in 5 Makro-Modulen/Gehäusen. Fünf Kuben aus gebürstetem Aluminium – heute golden nikotinbrüniert – in smartem, minimalistischem Post-Braun-Design sieht man auf einem Portraitfoto hinter Kittler in seinem Regalsystem von Dieter Rams stehen. Daneben findet man Bücher und die weißen Elementen der Atelier-Anlage von Braun (auch unter Mitwirken von Dieter Rams entworfen) sowie einen elektrostatischen Kopfhörer der japanischen Marke Stax. Seit Kittlers Tod am 18. Oktober 2011 verbleibt der Synthesizer zusammen mit seinen Aufzeichnungen und Datenträgern als Teil seines Nachlasses am Deutschen Literaturarchiv in Marbach. apparatus operandi ist ein konzeptuelles Kunstprojekt von Jan-Peter E.R. Sonntag aus Setzungen verschiedener Formate. Im Zentrum des ersten Teiles steht die Anatomie des Synthesizers Friedrich A. Kittlers. Das Projekt stellt die wahrnehmungsgenerative Potenz von Apparaten in Frage und argumentiert in allen Formaten archäologisch, historisch und sinnlich; Hardware nah am Prozess, am Werden orientiert, reformuliert es eine Absage an überkommene Substanzbegriffe. apparatus operandi1::anatomie// Der Synthesizer des Friedrich A. Kittler ist als Entwurf ein Vorwurf an veraltete Institutionen, die uns in einer Art von Trägheit immer noch dienen. Dem bei der Anatomie eröffneten Gefüge - Epistemologie von Schaltungen, Kittlerphilologie, Gedächtnispraxis - sinnt Sebastian Döring nach. Sebastian Döring, geboren 1977, konzeptioniert und veranstaltet seit 2005 fröhliche Wissenschaft im Medientheater, ergründet Wissenskonfigurationen und betreibt Medienarchäologie und -epistemologie; seit 2009 am Medienarchäologischen Fundus der Humboldt-Universität zu Berlin. Seine Forschungsschwerpunkte sind die Archäologie des neuzeitlichen Subjekts, die Mediengeschichte gesetzten Rechts  und die Analyse epistemischer Dinge. http://www.medientheater.org/ Jan-Peter E.R. Sonntag, geboren 1965, ist Künstler, Komponist und Forscher. Er studierte Bildende Kunst, Kunstgeschichte, Musikwissenschaft, Komposition, Philosophie und Kognitionswissenschaften bei Rudolf zur Lippe, Ivan Illich, Umberto Maturana & Gustavo Becerra Schmidt. Workshops absolvierte er u. A. bei Albert Mangelsdorf, John Cage & Alvin Lussier; er war Assistent bei Mauricio Kagel und gründete 2002 N-solab. Sonntag erhielt zahlreiche Stipendien und Preise (Akademie Schloss Solitude, Berliner- & Deutscher Klangkunstpreis, Cynet Art Award, Haupstadtkulturfond für e-topia, emare-Mexiko und für 2012 Villa-Aurora, Los Angeles & Chambre Blanche in Quebec). Er stellte auf vielen renommierten Festivals und Institutionen aus, u.a. V2, Rotterdam; NIMK, Amsterdam; Making Waves Festival, San Francisco; Apex Art & The Kitchen, New York; Fundación Arte Y Tecnología, Madrid; Centre de Cultura Contemporània & METRONOM, Barcelona; Nacional Gallery Poznan; Academy of Arts, transmediale & Martin Gropius Bau, Berlin; Mediabiennale, Seoul Museum of Art, & Aram Art Gallery, Seoul; Laboral Centro de Arte y Creación Industrial, Gijon; Center for Contemporary Art, Torun; Museum für Kunst und Gewerbe, kampnagel, Galerie der Gegenwart & Kunstverein, Hamburg; Museum Centro Galego del Arte Contemporénea, Santiago de Compostela; ars electronica, Linz; CYBERFEST, Hermitage, St. Petersburg; HMKV, Dortmund; WKV & Staatsgallerie, Stuttgart; Skanu Mezs & RIXC, Arthall, Riga; Tent, London; 3rd Art and Science International Exhibition & Symposium, Beijing. sonntag3000@sonarc-ion.de In seinem Lebenswerk hat Medientheoretiker Friedrich Kittler (1943−2011), die Geschichte der Dichtung, der Philosophie, ja der Kultur als solche vom Kopf auf die Füße ihrer technischen und vortechnischen Medien gestellt. Was Aufschreibesysteme für die Literatur, was Befehlssätze für programmierbare Maschinen, das ist den Göttern das elementarste Medium im lateinischen Wortsinn von elementa: Buchstaben. Das Symposion »Götter und Schriften rund ums Mittelmeer«, noch zu Lebzeiten von dem deutschen Medientheoretiker Friedrich Kittler selbst vorbereitet, widmet sich dieser Hypothese. Wie bestimmen die Kontakte, Konkurrenzen, Innovationen der verschiedenen Schriften und Alphabete seit der frühesten Antike rund ums Mittelmeer die zukünftigen Geschicke des Abendlands?

"Sound magic" from a trio whose name means "Journey to the West." French jazz guitarist Nguyen Le studied visual arts and philosophy before working with artists like Ornette Coleman, Ray Charles, and Mauricio Kagel. Influences from Jimi Hendrix to the traditional music of Vietnam meld harmonies from East and West to paint an Asia without borders. For more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5507.

Playliste de William Winant pour webSYNradio Avec des extraits de Kathy Acker, Kenneth Anger, Robert Ashley, David Behrman, Alvin Curran, Richard Foreman, Anthony Braxton, Mauricio Kagel, Kipper Kids, Anna Lockwood, Alvin Lucier, Richard Maxfield, Gordon Mumma, Zeena Parkins & Chris Cutler, John Zorn, Xenakis , Varèse, Frederic Rzewski, James Tenney.