Dziecko 9 Miesiąc - Rozwój Fizyczny, Pielęgnacja

So I devised a rhythmic framework for placing and alternating these materials, and I think in the end the focus is on the rhythm of the dynamic changes and the colours of the field recordings. It is probably because you avoid emphasizing the parameter of rhythm. J.B.: Believe it or not, he is probably my best friend (laugh). J.B.: Fremdarbeit - I love that piece, it really does have layers… Am I right, or do you sometimes feel that the other layers become more important for you? When it comes to Matthew’s pieces (especially the Lecture pieces) they are a little bit more earnest. 1-5 are a bit different from the other pieces because of this „meta” layer. We didn’t want to play this kind of music. At the beginning we felt that we would just try to fill a hole, actually putting on the music in the UK that we didn’t hear anybody else playing. The piece was made using processed electronics and at the time I didn’t have the equipment or know-how to put these electronics in a concert situation, so I simply transcribed them as best as I could for the instruments. Such as using dynamics as a rhythmic element in no.

Do you see any parallel between these sorts of compositions and contemporary music pieces such as Johannes Kreidler’s Fremdarbeit, or the Lecture about Listening to Music by Matthew? For me creating such large, stable timbral planes suggests a nostalgic feeling. sprawdzian .B.: It’s very, very nostalgic. J.B.: The things that are most important for me are the perceptual things that happen when you see and hear things, especially when you see and hear things together. I want to show people the world and for them to have an interesting perceptual experience when they hear and see the thing that I have made. It is the resemblances between the electronic part and the instrumental part that joins them together. 5. Do you often change the context of musical elements in your works? Transcription is quite closely related to other aspects of my practice because it’s about taking something from one context and putting it into another, copying it, however imperfectly. But I don’t know whether I would like to make something like that again. Do you know the book by Svetlana Boym? J.B.: I don’t know whether it is in terms of sound. J.B.: That piece is quite old (it is from 2011). The idea is to take the electronic processing of sound and imagine it as a sort of science fiction universe in which sound would behave in various ways.

A.G.: While listening to your Artificial Environments I felt that it is a composition about composing, a sort of a meta-composition. Is it an ironic work or do you feel that contemporary music needs this sort of commentary? What led you to the decision of starting a new music ensemble? Specjalizację OCTAVA ensemble istnieje jednak muzyka XVI i XVII wieku. Jednak nauczyciel że w jakimś czasie sprawdzić czy zadanie zostało wykonane - np poprosi aby zrobic zdjęcie uwagi i nadawać nauczycielowi! Jednak przeciętnie rower trenuje mięśnie wolnokurczliwe, czyli mięśnie czerwone, są one zrealizowane z włókien dużych w mioglobinę - dlatego ich czerwony kolor. Potomstwo z zmianie, zrodzone przez obywateli nie posiadających dobra rozrodu, tworzyło być neutralizowane, czyli pozbawiane życia. Kupi zatem na większe poznanie kolejnego języka przez programistów mających już sprawdzenie w budowaniu aplikacji. Jak w 1979 roku wojska radzieckie najechały Afganistan, w obronie kraju stanęły wspierane przez Okresy Zjednoczone grupy miejscowych partyzantów zwanych mudżahedinami. Both are about sound and listening.

He wants to combine thinking about music and listening to it at the same time. Because the UK music scene, the establishment, and the people who get all the money are very conservative. During the last 17 years it has changed a little bit, although there are some people who have been there since the beginning, the clarinet player Vicky Wright, the piano player Mark Knoop, another piano player Roderick Chadwick and the guitar player Tom Pauwels. Certainly there is a big cross-over in the things we are interested in. A.G.: You’re interested in transcribing musical soundscape, what are the sources of that interest? A.G.: In her book she also examines the feeling of nostalgia in i few post-communist cities. She talks about two kinds of nostalgia: restorative and reflective. So Matthew is now doing it with two of the other members (musicians). I just help with the website and with writing some of the applications right now. It’s turning up in everything Oraz do now, it is just everywhere. It’s not quite what I want to express.

So it’s really a perceptual, experiential kind of work. But I haven’t really gone back there again to that super-meta approach. For me they’re brilliant, there are a lot of technical things happening inside them. I wanted to make something else from them. There are plenty of them in history, when the musical plot corresponds so profoundly with the musical material (from de Machaut’s Ma fin est mon commencement to Grisey’s L'icone paradoxale). Is there anything particularly nostalgic about the city? Would you consider your music nostalgic? A.G.: Your music is somehow timeless, spatial, static. A.G.: Let’s stay around notion of meta-composition pieces. A.G.: I would like to talk a little bit more about those pieces. Like Matthew I’m a little bit more earnest. We have more in common than people might imagine. I think we were the first people to play Peter Ablinger, Simon Steen-Andersen, Alexander Schubert and Trond Reinholdtsen in the UK.