WORKSHOPS IN MULHOUSE NEXT SUMMER !
JACQUES DI DONATO | 20-24.08.2012
si vous aimez : le jazz, le rock, l’impro, Mozart et Naked City, Barney Bigard, Pierre Boulez et Jacques Di Donato, les mélodies, les sons, l’espace, la liberté, la musique…
ce qu’il en dit : Improvisation libre !!! Improviser c’est s’autoriser. Rechercher une manière intuitive de voir, sentir et entendre les ” choses”. Créer un état sensible qui “agite” notre imaginaire et dans un geste exacerbé, s’autoriser à voyager à l’intérieur d’une composition en temps réel où le corps et l’écoute sont partie prenante d’une résonance approuvée.
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WILL GUTHRIE | 20-24.08.2012
si vous aimez : la batterie, le jazz, le free, l’électronique, penser, jouer, Old & New Dreams, le Wu Tang Clan, la pop, le rock, l’impro, la folk, l’Australie, Nantes, la musique…
ce qu’il en dit : « STRATREGIES composition | improvisation »
Travailler les stratégies pour l’improvisation. Des exemples très simple, mais pratique, qui peuvent nous sauver, donner un cadre, une forme, une sorte de composition. Moins dans la poésie et le discours que dans le concret. Élargir les tactiques, les pistes, les options pour faire un maximum avec le minimum.
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JOHANNES BAUER | 20-24.08.2012 | ENGLISH
if you like : free jazz, jazz, trombone, energy, dance, drive & groove, Peter Brötzmann, Paul Lovens, Thomas Lehn, Clayton Thomas, fifths & fourths, Germany, music…
what he says :
Whatever skills and abilities each of us brings, we’ll make music out of it.
We’ll develop an ensemble–sound, and we give space for individual ideas.
We’ll exercise very simple musical material, for new sound experience.
We’ll be fascinated and surprised by the secrets of Improvised Music.
» more info
THOMAS TILLY | 21-25.08.2012
si vous aimez : les musiques électroacoustiques, les sons, les bruits, la nature, Francisco Lopez et Jean-Luc Guionnet, les arts que l’on dit sonores et les sons que l’on croit artistiques, le Poitou, Nantes, la musique…
ce qu’il en dit :
J’utilise le microphone comme instrument de travail. Depuis une douzaine d’années dans je parcours les champs de la composition, de l’installation et de l’éducation à l’art sonore, Je suis motivé à la fois par des protocoles d’analyse de l’environnement et par une réflexion sur l’écoute et la notion de musique. Mes travaux sont le fruit d’une forte implication sur le terrain.
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![TACET is a new research publication dedicated to experimental music. Published annually and bilingually (French and English), its ambition is to create an interdisciplinary and international space of reflection for this music, in all its aesthetic diversity : from noise to improvisation, via electroacoustic, electronic, minimalist music, silent, indeterminate, conceptual, sound poetry, free jazz, field recordings, sound art, etc. We should specify that the experimentation does not belong to a specific genre of music, but depends on the artistic approach that leads the practice.
TACET, as John Cage showed so well in 4’33’’, designates a moment of silence observed by an instrumentalist during the whole period of a movement. By extension, it becomes, as the title of this publication, a moment of introspection, of reflectivity and reflection, where music interrupts itself to give way to research and theoretical questioning.
TACET aims, in this way, on the side of experimental music, to contribute to the renewal of theoretical research by confronting and intersecting musicians’ speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography. In short, like the publication Source, edited by Larry Austin, at the end of the 1960s, it is there to form a space of scientific and heuristic experimentation on the different creative processes that nourish this music and its reception, and also, on larger sociocultural problems that affect it intimately. The publication does not have as its object to decrypt the supposed hidden meaning in works –such a hidden meaning does not exist, as Cornelius Cardew reminds us in a Wittgensteinian fashion–, but to interrogate modalities, the forms and how they relate to creativity in this music, its evolution, its transformation, and the relationships it maintains with the societies of which it is a part.
The publication will be developed according to four principal types of discursive movement: 1) Flux, bringing together an ensemble of in depth studies and articles responding to the principal question of each issue; 2) Influx, putting in tension the first flux by an ensemble of free reflection papers and of shorter format; 3) Afflux, inserts and points of discourse constituted by images, citations, archives and other documents, deploying themselves throughout the pages by association and resonating with the different texts; 4) Reflux, book critical reviews and work reports of recordings, performances and events relating to experimental music.For the details regarding each column, see our file instructions for authors.
Editorial board
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TABLE OF CONTENTS
Who is John Cage ? – Table of Contents
Manifesto
Matthieu Saladin, Introduction
[FLUX]
In search of John Cage
Philip Gentry, The Cultural Politics of 4’33”: Identity and Sexuality
Sarah Troche, Cage as Frankenstein: Monstrosity and Indeterminacy of Performance
Jean-Yves Bosseur, The Question of Cage’s Legacy
Thinking the silence
Xabier Erkizia, Listening To Our Own Deafness
Seth Kim-Cohen, I Have Something To Say, But I’m Not Saying It
Michael Pisaro, Nicht alles, nicht nichts : etwas. The opposing tensions of John Cage’s 0’00’’ and Roaratorio
Conceptual Music : Cage, below & beyond
Sophie Stévance, John Cage Tunes Into the Redefinition of the Musical Field by Marcel Duchamp and the Emergence of a Conceptual Music
Mattin, Cage as a Cage : Towards Conceptual Improvisation
Documents
John Cage, A Composer’s Confessions
John Cage’s Library Reconstructed Through His Sayings and Writings
[INFLUX]
Matthieu Saladin, The Fetish Character in Experimental Music
Radu Malfatti, The Difference Between a Sea and a River is: Two Consistencies of Different Kinds
Toshiya Tsunoda, Field Recording and Experimental Music Scene
Jérôme Noetinger, Aus den Sieben Tagen by Karlheinz Stockhausen
[REFLUX]
Kenneth Silverman, Begin Again : A Biography of John Cage, by Philip Thomas
Julia Robinson (ed.), The Anarchy of Silence : John Cage and Experimental Art, by Rob Haskins
Stephen Chase & Philip Thomas (ed.), Changing the System : The Music of Christian Wolff, by Ivana Miladinović Prica
Olivier Lussac, Fluxus et la musique, by Cyrille Bret](http://25.media.tumblr.com/tumblr_lupm1snd3Z1r0443fo1_400.jpg)
