" – Peu importe d’où l’on vient. Il n’y a pas de tonique. Le thème et son développement ne sont qu’un mirage…
Il y a une musique toujours inattendue.
– Et les dissonances ?
– Dieu les a créées, elles aussi…"
Jaume Cabré - "Voyage d'hiver" - 2014

”La terre, il se pourrait bien après tout que ce soit une espèce
de merveilleux petit appareil enregistreur, plaçé là par on ne sait qui,
pour capter tous les bruits qui circulent mystérieusement dans l’Univers.”
Pierre Reverdy - ”En vrac” - 1929

”J’entends tous les bruits de la terre grâce à mes oreilles et mes nerfs de cristal
dans lesquels circulent le feu du ciel et celui des volcans.”
Michel Leiris - ”Le point cardinal” - 1927

"L'écoute, c'est l'ombre de la composition"
Pascal Dusapin - 2008

"Go, go, go! ... Go! go! ..."
John Lee Hooker"

 

01/02/2014

Mikrophonie 1


"Mikrophonie 1" is a piece for tam-tam, 2 microphones and 2 electronic filters and controlers, created by Stockhausen in 1964. In this live piece, "the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible" (K.S. 1971): just to reveal "inaudible vibrations", by an active process of sound detection.

Stockhausen decided to categorize the sounds according to their perceived qualities: groaning, trumpeting, whirring, hooting, roaring, grating, chattering, wailing, sawing, ringing, choking, cawing, clacking, snorting, chirping, hissing, grunting, crunching, clinking, tromboning, scraping ...

(c.a.d. en français : gémir, claironner, vrombir, huer, rugir, griller, bavarder, se lamenter, scier, sonner, suffoquer, croasser, claquer, renifler, gazouiller, siffler, grogner, croquer, cliqueter, tromboner, gratter... )


to celebrate the 100 000 followers of the coda,
beyond the beyond, 
"Mikrophonie 1", a pure piece of jewel : enjoy!



"I searched for ways to compose — flexibly — also the process of microphone recording. The microphone . . . would have to become a musical instrument and, on the other hand, through its manipulation, influence all the characteristics of the sounds. In other words, it would have to participate in forming the pitches — according to composed indications — harmonically and melodically, as well as the rhythm, dynamic level, timbre and spatial projection of the sounds." (K.S. 1971)

& a personal tribute to K.S.  <<<here>>>

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