PROBES #30.2
Auxiliaries
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. In PROBES #30.2 we take a stroll through music made (variously) with water, stones, stage props, ice, snow, stalactites, Tesla coils, sand dunes, leaves, flowers, grass, twigs, glass and a coffee can.
Transcript
Transcript of PROBES #30, curated by Chris Cutler.
Transcript
Transcript of PROBES #31, curated by Chris Cutler.
In PROBES #31 we begin to consider evolutionary pressures and invented instruments and follow the twists and turns that led the xylophone out of Asia and Africa, spun it around the world and metamorphosed it into the vibraphone; with a coda from the intonarumori.
Auxiliaries
Chris Cutler looks at the diversity of instruments extended out from the xylophone and their sometimes surprising use in almost every imaginable musical context.
Auxiliaries
Amongst the new acoustic inventions, Chris Cutler highlights here the Rumitone, the Uberorgan, a whole Anarchestra, Philip Dadson's Sproings, a Violimba, some scraper flutes, an Aquavine, Diego Stocco's Custom-built Orchestra, an elastic aerophone-centriphone, Leonardo da Vinci's viola organista, Martin Molin's heroic Marble Machine and many other hopeful and inspired monsters.
Auxiliaries
In this new Auxiliary by Chris Cutler, we’ll find the Theremin at work in art ensembles, symphony orchestras, a jazz group, rock bands and on film and television scores – both alone and in quantity –, and there’s a rare sighting of Nikolai Obukhov’s Croix Sonore from his extraordinary Third and Last Testament.
Chris Culter shows us how artists, composers and performers make water, ice, glass, fire, wind and Styrofoam their soloists in installations, recordings and events designed for concert halls, galleries, the Phillips pavilion, TV series' and open air gatherings.
Deleted scenes
We dig up some unreleased fragments of the interview with Jacob Kirkegaard that we were unable to include the first time around.
Research process: Jacob Kirkegaard
In 2014, we interviewed Danish artist Jacob Kirkegaard as part of a research project entitled ON LISTENING. This podcast takes us back to that conversation, where Kirkegaard reflected on the importance of listening and argues that sound art can create purely sensory spaces that go beyond our immediate perception, helping us to grasp the unfathomable.