Music, in traditional sense, only happens through a selective perception, that filters every non-musical event and push it to the outside of the impenetrable microcosmos.

“Musik” uses the non-selectivity of the perception of a computer program, in order to recode the non-musical events in form of music: in the white and black keys of a piano. In addition to the musical content of an old vinyl recording of Chopin’s nocturne Op. 15/2 of Chopin -Claudio Arrau at the piano-, their non-musical d (mechanical) disturbances are sounded through the piano as well, and coexist with the music at the same level:
– the rotation tempo of the vinyl record -hearable through the scratches of its surface- makes a kind of rhythmical counterpoint to the original tempo of the nocturne
– the articulation created by the dust of the vinyl merges with Arrau’s
– the human factor of the interpretation materializes itself in an objective way
– the a priori intact harmony of Chopin is drastically tinged by the sound spectrum of the disturbance (mechanical and electrical noise) and by the wear of the vinyl caused by time.

More info at: http://www.albertobernal.net/musik

Musik #1

"Found musics" are sounding ready mades, musics taken from the street as they are found there, with their context, their background noises, the indifference of the surrounding, their imperfections... Otherwise as the ordinary musical hearing, in which our ears, its diffusion, the sound technique and the concert praxis separate surrounding noise and context in order to focus on the efective "music" and what this transmits, these "found musics" constitute a sound document that swaps the foreground focus with a focus to infinity: music becomes the real background noise and what this really transmits is found in the once called "background noise" and its interaction with the "music".

found musics - Turkish march in La Latina Station (2006)

One of the most transcendent contributions of Pierre Schaeffer was to gain for the music all that which wasn’t music, that which remained outside the borders assigned to the unreal music and that we could denominate “real”.

Reality -a fragment of real life as a field recording-,
Schaeffer -present in form of his etudes de bruits-,
his trace -as an envelope follower of the last over the first-,
and the music…

… all these elements are represented in this work in a literal way, where its own identity tries to get along with the new identity emerging from the convergence of the two elements. The fragment of real life is musically “lighted” by the dynamic outline of the etudes de bruits, provoking the overturn of the real towards the musical, of the everyday perception towards the aesthetic percepcion, and vice versa.

More info at: http://www.albertobernal.net/schaeffer

étude aux chemins de fer (cinq études légères)

étude aux tourniquets (cinq études légères)

tape music
More info at: http://www.albertobernal.net/var

"Found sounds" are sounding ready mades, sound situations taken from the every day life as they are found there, without any kind of preparation, modification or later edition; only the (mostly arbitrarily) choice of an start and ending point. 
 Music? Art? Emotivity? Autorship? Conventions? Music?

found sounds - Emptiness #2 (2007)

found sounds - Emptiness #1 (2007)

found sounds - From the life of a dish (2009)

found sounds - Passepied avec Willy Ronis (2010)

found sounds - Mantra (2009)

found musics - Duo #2 (2016)

found sounds - Duo #1 (2016)

found sounds - Trondheim's bridge (2011)

found sounds - 10 Variations (2016)

found sounds - Nothing (2011)

Composer and sound artist of classical formation and several influences, with works framed near the turning point between traditional concert situations and other disciplines like installation, performance of videoart. His work is, above all, a search and deconstruction of borders: between the aesthetic and sociopolitical realms, or between the different conventional perceptual fields (sound, image, word, quotidian perception). www.albertobernal.net

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