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05/11/2013

Curated by Chris Cutler

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. PROBES #6 continues to explore probes into pitch through the preparation and modification of conventional instruments – looking at the many tapings, wrappings, clampings, clippings, attachments and impairments applied across the family of strings, before moving on to the less familiar territory of prepared winds. Some people get up to some pretty strange behaviour in the pursuit of unusual sounds.

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