Tempo最新文献_第9页

Liza Lim Liza Lim

IF 0.7 4区艺术学

Tempo Pub Date : 2023-09-01 DOI: 10.1017/S0040298223000505

Tim Rutherford Johnson

引用次数: 0

THAT ‘OTHER’ WAY OF WORKING: MICHAEL WOLTERS AT 50 另一种工作方式:50岁的迈克尔·沃尔特斯

IF 0.7 4区艺术学

Tempo Pub Date : 2023-09-01 DOI: 10.1017/s0040298223000335

Paul Norman

引用次数: 0

ARTWORK: ANTON LUKOSZEVIEZE 艺术:Anton lukoszevieze

IF 0.7 4区艺术学

Tempo Pub Date : 2023-09-01 DOI: 10.1017/s0040298223000414

A. Lukoszevieze, Walter Zimmermann

引用次数: 0

DIAHEMITONIC MODALITY: A QUARTER-TONAL COMPOSITION SYSTEM 半音阶:一种四分调性的作曲系统

IF 0.7 4区艺术学

Tempo Pub Date : 2023-09-01 DOI: 10.1017/S0040298223000359

Simon M Kaplan

引用次数: 0

CONTRIBUTORS 贡献者

4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/s0040298223000037

引用次数: 0

Sanne Krogh Groth and Holger Schulze, eds, Bloomsbury Handbook of Sound Art, Bloomsbury, 2022, 592 pp., £35.99. Sanne Krogh Groth和Holger Schulze，编辑，Bloomsbury声音艺术手册，Bloomsury，2022，592页，35.99英镑。

IF 0.7 4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/S0040298223000281

Alex Huddleston

{"title":"Sanne Krogh Groth and Holger Schulze, eds, Bloomsbury Handbook of Sound Art, Bloomsbury, 2022, 592 pp., £35.99.","authors":"Alex Huddleston","doi":"10.1017/S0040298223000281","DOIUrl":"https://doi.org/10.1017/S0040298223000281","url":null,"abstract":"Bernard Mâche’s Greek holiday home, provide useful references. Chapter Seven, ‘Some Closer Looks’, continues the discursive breadth that was introduced in the opening chapter. In excerpts from Roger’s notes, there are brief, evocative vignettes; sipping kitrone with Marie-Luce and François-Bernard Mâche on the island of Amorgos, or musings on a boat journey across the Mediterranean. It is clear that Karen and Roger Reynolds formed enduring friendships with their musical colleagues. Letters between Xenakis, Karen and Roger include philosophical questions about life and art, discussions of the serious illnesses that affected both Roger and Iannis and contemplations of friendship. In another setting, this could all seem a little saccharine – happy, successful couples, travelling the world yet cocooned by the prestige of their achievements. This is not the case in this book. Instead, personal reflections, anecdotes and expressions of feeling serve to underline the touching honesty, even idealism, at the heart of this project. All this supplementary material suggests that the Reynolds Desert House was not just a plan for a building, but an idea that grew with and from human connections and the exchange of ideas. The final 11 pages of Chapter Seven are a transcript of a public discussion between four composers at Delphi Computer Music Conference/ Festival in 1992. Although this could seem like a digression, it provides a fascinating insight into the thoughts of Paul Lansky, François-Bernard Mâche, Roger Reynolds and Iannis Xenakis. The pivot towards more generalised musical and philosophical themes sets the scene for Chapter Eight, ‘Creation: A Personal Assessment’. Three of Xenakis’ works are considered: Achorripsis, Thalleïn and Tetras. The authors state that they do not intend to provide a musically detailed study of these works. Nonetheless, the analysis provided is thorough and informative. References are supported by relevant score excerpts. Discussion of Achorripsis acknowledges similarities with Xenakis’ writing in Formalized Music, presented here in ways that are ‘less detailed and more carefully illuminated’. Complex materials, including mathematical formulae, tables of probabilities and a copy of the matrix that Xenakis used in Achorripsis are explained clearly and succinctly. Similar precision is demonstrated in the section-bysection discussion of Thalleïn. Analysis of Tetras usefully focuses on how a listener might comprehend the work. Throughout the final chapter, architectural analogies and parallels with the Reynolds Desert House link musical materials to previous chapters. The closing section returns to Xenakis’ music. As elsewhere, evocative scenes and incisive summaries make for an engaging read, yet I was left feeling that there were unanswered (or perhaps unasked) questions. What is the authors’ final assessment of the Reynolds Desert House project? Given the candid tone of previous chapters, the absence of a definitive evaluation ","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"87 - 89"},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45645816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

NARRATOLOGY IN THE PRACTICE SESSION MODEL OF ELLIOTT CARTER'S STRING QUARTET NO. 5 卡特第1号弦乐四重奏练习阶段模式中的叙事学。5

IF 0.7 4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/S0040298223000062

C. Carey

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引用次数: 0

Electric Spring Festival 2023, Huddersfield. 2023年电气春节，哈德斯菲尔德。

IF 0.7 4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/S0040298223000189

Mia Windsor

引用次数: 0

Christopher Fox 克里斯托弗·福克斯

IF 0.7 4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/S0040298223000232

Tim Rutherford-Johnson

{"title":"Christopher Fox","authors":"Tim Rutherford-Johnson","doi":"10.1017/S0040298223000232","DOIUrl":"https://doi.org/10.1017/S0040298223000232","url":null,"abstract":"releasing Cosmic Time as an audio-only download, both of these aspects are lost on the listener. With the flexibility of an online release, would it not have been possible to have included some video clips of the performance and a brief explanation of the research process? What I find more satisfying, however, is the skill of the creators and the performers in choosing their sounds carefully, giving each movement time to develop without outstaying its welcome. While this album may not provide anything particularly new, it does what it does very well, without sounding like something you may hear piped through the speakers of a health spa. I am particularly struck with the restraint of the performance – at no point is there a sound or individual performance that intrudes on the atmosphere being created at that time. Each movement is discrete but blends beautifully into the next, making a balanced whole, a reflection of the egalitarian nature of The Sound Collectors Lab themselves, who from the outset have focused on ‘plurality and collaboration’. Without knowing the interdisciplinary context or scientific background to the research, there is little on this release that would particularly challenge the listener. Yet I would highly recommend setting aside 40 minutes to turn down the lights, get comfortable and listen to this album on headphones. Gleave, Cole and Devenish have created a beautiful meditation on time and space, and taking a moment to slow down and join them is a very welcome experience.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"80 - 81"},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46041351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Beibei Wang, Wu Xing (5 Elements), Tangram, LSO St Luke's, London, 28 January 2023. 王蓓蓓，吴星(五元素)，七巧板，LSO圣路加，伦敦，2023年1月28日。

IF 0.7 4区艺术学

Tempo Pub Date : 2023-07-01 DOI: 10.1017/s0040298223000190

Caroline Potter

{"title":"Beibei Wang, Wu Xing (5 Elements), Tangram, LSO St Luke's, London, 28 January 2023.","authors":"Caroline Potter","doi":"10.1017/s0040298223000190","DOIUrl":"https://doi.org/10.1017/s0040298223000190","url":null,"abstract":"gentle rhythms and meticulously controlled, quiet feedback and snare noise. This pair worked so well together with their unique yet unified approaches that I preferred the sparser moments where the field recordings were not present. The Jitterbug performance was followed by Viola Yip’s Liminal Lines II. Yip is known for visceral performances where she attunes her body to the quirks of a particular piece of technology. Liminal Lines II was a gesture-driven noise set where she interacted with a plastic raincoat, lined with speaker cables, attached to a chain of effects pedals. The performance began with a tone slowly emerging, with slight movements, eventually leading to larger movements to touch different parts of the coat together, allowing noise and feedback patterns to gradually emerge. This then built into a full-bodied noise wall and an eventual scrunching up of the coat. The performance radiated tension with certain gestures not always rewarded, or at least not right away, allowing both artist and technology to become symbiotic agents in the work. Yip’s set was complemented well that evening by a very differently approached noise set from Nacre (Marion Camy-Palou) working with a simple set-up of electric guitar, amp and effects pedals. The craft that went into this performance was incredible. Nacre’s approach possessed a powerful rawness: relentless attacks on the guitar with sounds emerging that were so detailed it almost seemed like magic, given the set-up. The textural detail was particularly special: swiftly and fluidly morphing between and layering percussive tones, voice-like feedback, rich drones and noise walls. I am always excited when contemporary music organisations make the effort to step out of the concert hall and cross over with popular music, jazz or the more DIY side of experimental music. I strongly believe that these communities should mix more and that they can inspire and learn from each other. This year’s Electric Spring put on two acts that did this. Four-piece ‘avant-pop experiment’ Saenture worked well in this role with a set that moved between drummachine dance tracks and ambient tracks with synth drones, field recordings and beautiful moments from a gently played processed psaltery harp. Two of the members were responsible for a wonderfully organic approach to visuals, drawing and collaging images under a projector. The festival also put on post-rock band Adore// Repel, which frankly was mediocre with a standoff laddishness that I prefer to avoid when I can. I would have been much more excited to hear a rock band that were more exploratory and inclined to care about experimental music, of which there are plenty in the north of England. Though Electric Spring, like any festival aiming to be varied, had points that were hit-or-miss, I truly believe it to be special in terms of programming exciting music, pushing boundaries and bringing together a curious community of listeners and practitioners.","PeriodicalId":22355,"journal":{"name":"Tempo","volume":"77 1","pages":"74 - 75"},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48602971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0