![]() ![]() ![]() This title, borrowed from Erich Auerbach, German writer and critic deceased in 1957, immediately sets the scene on a plane where realism is depicted in the aesthetics of Western music.Įlectro-acoustic music has the ability, using “concrete” sounds (with all the ambiguity implied by the word), of giving us an immediate sensation of reality, which we can all situate in relation to our references and private objects of reference these are the profound notions of sublimitas and humilitas, which merge and unite in musical expression. Katarina Gryvul (dgalapita) - Taxidermia for electronic Blowing the trumpet face of this sound object onto the trumpet of a trumpet becomes even more evident: we can indeed perceive the heights proper to the true fundamentals of the instrument! In the present acousmatic piece phonemes of human voice and trumpet sounds interact (with techniques of crossed synthesis and not only) in a path marked by multiple orders of subrogation aimed at highlighting the multiple affinities between singing and brass playing: the human voice is the fruit of a vibration, and the trumpet has its voice. Blowing the trumpet sound, it is sufficient to try to perform a long breath by hinting a scale whistled to realize it. ![]() ![]() Contrary to what one might think, it is not classifiable with absolute uniqueness as a nodal sound: although in fact a noise nature may be evident, it is actually in effect a grooved sound, it is sufficient to try to perform a long breath by hinting a scale whistled to realize it. The “breath” in English, or “ruah” in Hebrew, or “qi” in Chinese, or “pneuma” in Greek, is the energy that gives life, the creative energy, but it is also music. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |