Where we are today and how we got here.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/CdU5h3

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 4d: 20th Century Notation and Electronics

Here we discuss the six basic ways that print culture utterly transformed western civilization, including within the field of music and art.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/mRl07X

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 5a: The Development of Print Culture

Ｂａｄ Ｔｉｐｓ🔸https://linktr.ee/badtips
𝕽𝖊𝖖𝖚𝖊𝖘𝖙𝖘 👉🏾 badtipsaudio@gmail.com


⏬𝐁𝐔𝐘 𝐘𝐎𝐔𝐑 𝐌𝐔𝐒𝐈𝐂 𝐓𝐎 𝐒𝐔𝐏𝐏𝐎𝐑𝐓 𝐀𝐑𝐓𝐈𝐒𝐓𝐒 & 𝐋𝐀𝐁𝐄𝐋𝐒⏬



Various - Scores
CLM x GUN, 2024
𝓑𝓾𝔂 👉🏾 https://clublatemusic.bandcamp.com/album/scores

🔴 𝔽𝕠𝕝𝕝𝕠𝕨 𝔸𝕣𝕥𝕚𝕤𝕥
https://soundcloud.com/bajenunca
https://www.instagram.com/baje_nunca/

🔵 𝔽𝕠𝕝𝕝𝕠𝕨 𝕃𝕒𝕓𝕖𝕝
https://soundcloud.com/club-late-music
https://www.instagram.com/clublatemusic
https://clublatemusic.com/

Scores [CLMxGUN]

𝖕𝖗𝖊𝖒𝖎𝖊𝖗𝖊#246 📢 Baje Nunca - En Blue Gray et DVD [CLM x GUN]

++ PRESENTATION ++

Scores +°-  glyphs to sounds !

+°°+--+
Scores is a compilation exploring musical notations and how they can be interpreted as sounds. People have always tried to translate sonic expressions into visual cues that could be archived, passed down, and transformed back into music. 

From symbols to numbers, grids, staffs, figures or abstract shapes, several languages have been developed and continuously questioned to improve the ability to retain the emotion and meaning sounds can convey - what lies behind the veil.
 
What if this time, the notation would come beforehand?

+°°+--+
The project unfolded in two phases. In the first one, visual artists from the Global URL Nation could propose one sheet of music score, free of interpretation. They were invited to play with musical notations and explore what it would even mean.
–
It welcomed chaggrin, Eurrope, M4X1US, MYEN, s1m0nc3ll0 & Ziyiz for 6 sheets


+°°+--+
In the second phase, artists from GUN could pick one sheet and create a track trying to follow it as much as possible. It invited them to question music as a physical object, with its shapes, colors, textures and layers with the following :

__How is the overall composition? Are there any axis or lines that could be interpreted as a timeline or a melodic scale?
__How many discrete elements are in the image? How are they laid out?
__What are the shapes involved?  What is their scale? Do they have sharp or blurry outlines?
__What are the colors/textures used? How do they relate with each other in terms of tones, contrasts…?
__How are the different elements layered on top of each other? Are they superimposed or do they merge in some way?
__How would they translate them in musical terms, such as textures, notes, structures, timbres, rhythms, dynamics? 

It welcomed Bademjan, Baje Nunca, C+Vis, Capiuz, Clair X, C.T.A.A.M.  Ecovoron, Epiphagi, HeedLess, Mambo Kahn, migu, POL100, Yau Hei ASJ & Ziyiz for 14 tracks ranging from ethereal scorescapes to hyperstimulating scratches. Sounds and shapes weave together, blurring the boundaries between the two media to create one whole entity

+°°+--+
With Scores, we invite you to seek the music that can be hidden in our surroundings, to decrypt and hear the phantom scores one can find in every shape, every color and every little visual detail __ open your ears and see the sounds, sometimes music lies in a simple fold of clothing


++ TRACKLIST ++

__((Sheet A by chaggrin))
A1. Clair X - Unravel
A2. migu - Red for Funeral
A3. Epiphagi - Everything We've Come To Be

__((Sheet B by Eurrope))
B1. Bademjan - Wrinklenest
B2. Yau Hei ASJ - Jigsaw Puzzle

__((Sheet C by s1m0nc3ll0))
C1. Ecovoron - Burning Shide
C2. C.T.A.A.M. - A-L

__((Sheet D by MYEN))
D1. Capiuz - Dreamer of Nightmares
D2. POL100 - Butterfly Wall

__((Sheet E by Ziyiz))
E1. Baje Nunca - En Blue Gray et DVD
E2. HeedLess - Incomprensibile

__((Sheet F by M4X1US))
F1. Mambo Kahn - Celestial Arson
F2. C+Vis - Untitled
F3. Ziyiz - Skies Inside (Ring The Bell)


++ CREDITS ++ 

Music sheets created by chaggrin, Eurrope, M4X1US, MYEN, s1m0nc3ll0 & Ziyiz. 

Tracks produced by Bademjan, Baje Nunca, C+Vis, Capiuz, Clair X, C.T.A.A.M.  Ecovoron, Epiphagi, HeedLess, Mambo Kahn, migu, POL100, Yau Hei ASJ & Ziyiz. 

Common cover by Griigg
https://www.instagram.com/griigg

Mastering by Ioannis Nafpliotis
https://www.instagram.com/iamxato/

DOWNLOAD

F3. Ziyiz - Skies Inside (Ring The Bell)

F2. C+Vis - Untitled

F1. Mambo Kahn - Celestial Arson

E2. HeedLess - Incomprensibile

D2. POL100 - Butterfly Wall

D1. Capiuz - Dreamer Of Nightmares

C2. C.T.A.A.M. - A - L

C1. Ecovoron - Burning Shide

B1. Bademjan - Wrinklenest

A3. Epiphagi - Everything We've Come To Be

A2. Migu - Red For Funeral

E ALLORA, OGGI, LA MANO LA SCORGO SPIEGARE LE LINEE, ORDIRE PAZIENZA (1993-94) 
For Violinist and Vocalist. 

Marco Rogliano, violinist
Renato Gatto, vocalist 

Live at HAPPY NEW YEARS Festival | Santa Marta Church, Ivrea (Italy) | 4 May 1994 
________________________

The composition uses the notation technique of the HN System®, a musical system based on the parameterisation of the performative processes that I have been developing since the early 1990's

In 1994 I was invited as a lecturer at the "Internationale Ferienkurse für Neue Musik" in Darmstadt to present the HN System. On that occasion Heinz-Klaus Metzger and Rainer Riehn defined the System as "the most surprising artistic invention of the last 15 years"

"E allora oggi la mano la scorgo spiegare le linee, ordire pazienza" is part of the "HN Cycle", a four-compositions cycle which includes also:
- "Si nutre del tempo sotteso", for any number of percussionists;
- "Non punta più le pupille su questa mano, oggi, io", for two pianists (one piano), violinist and vocalist; 
- "Sempre più ampio il mio sguardo fisso alla morte", for two pianists (https://youtu.be/NNJV19xp4nc).

HN is the acronym of the Latin phrase Hic et Nunc (Here and Now).
_________________________

ORIGINAL PROGRAMME NOTES

The score traces a detailed web of physical constraints and experiential stimuli, which passes through the interpreter’s body and conditions its behaviour at different levels.

Such indications – which range from the most macroscopic to the most subtle, such as the contraction and relaxation of parts of the body that are not obviously involved in the sound action – do not simply constitute a score of “things to do”, but rather the limits within which to discharge one's violence, to concentrate one's delicacy...: living one's own corporeality, more than articulating it according to a punctual musical intentionality 

The composition requires that the interpreter’s behaviour is fed by the impulses which come from their perception of their own body, and that the performer supports their natural drive to manifest. Feeding their corporeal memory – reawakened by their own beahaviour – of emotional sensations that are deeply concealed, the interpreter will spontaneously remember and actualise motor behaviours that are connected to them.

This process should plunge into the here and now without the interpreter deciding or foreseeing what they will do moment by moment. Above all, one must avoid the attempt to musically represent or describe their own interior state, an attempt which will weaken their contact with themselves. Moreover the inter-action between the two interpreters shall not be based on reciprocal imitation or on a "positive" research for relations, but shall spring from their intense reciprocal experiential connection. When, in fact, the interpreter attempts not to suffocate their own perceptions (aural, visual, emotional) of all that happens and exists moment by moment, including the living presence of the audience, they manage to spontaneously create the space in which every thing breathes.

Sensitisation to the present space and time is meant to involve the audience. To this end, what might be effective is that the musician does not perform on a stage but rather among the spectators. In this way, the audience will find itself in the same space as that in which the interpreter lives and performs. This is what will allow to more easily abandon an objective and clinical approach typical of an observer in front of a performance, in other words, the tendency to refer to a there and then what is happening here and now.

© 1994 Dario Buccino

E allora, oggi, la mano la scorgo spiegare le linee (1994) | Voice, violin

FINALMENTE IL TEMPO È INTERO. PER DUCCIO BEVERINI E PIANOFORTE. Nº 2 (2022)
For piano

Duccio Beverini, piano

A 0:00 | B 4:10 | C 7:46 | D 12:23 | E 14:51 | F 17:18 | G 20:39 | H 23:37

[Scroll for English description] 

Il titolo rivela che l'opera non consiste soltanto nella propria forma sonora, ma anche nell’essere umano che le dà vita. Il pezzo immerge l'ascoltatore in insistenti tempeste acustiche e in prolungati silenzi, conducendolo a immedesimarsi nella catarsi emotiva del performer. 

La partitura prescrive azioni da eseguire con l’intero corpo: slanci, crolli, spasmi, abbandoni che si riversano sulla nona più grave dello strumento. Una complessa composizione di processi performativi fisici, mentali ed emotivi, organizzati sulla pagina con una notazione specifica.

Il lavoro disegna un arco temporale che procede idealmente dall'esterno verso l'interno, ovvero dalla fisicità più evidente – con il pianista che suona in piedi e con le mani protette da grossi guanti imbottiti – fino alla sua sublimazione simbolica – con l'interprete che si allontana dallo strumento e stabilisce un delicato contatto fisico con un ascoltatore o un'ascoltatrice (informati in precedenza), trasformando l’azione performativa in un atto di rispetto umano.

È musica? Performance? Teatro? La risposta è sempre sì.
__________________________

The title reveals that the work consists not only of its sound form, but also of the human being who brings it to life. The piece immerses the listeners in insistent acoustic storms and prolonged silences, leading them to identify with the performer's emotional catharsis. 

The score prescribes actions that are to be performed with the whole body: outbursts, collapses, spasms that surge over the lowest ninth of the instrument. A complex composition of physical, mental and emotional performative processes, organised on the page with a specific notation. 

The work traces a time arc that ideally proceeds from the outside to the inside, that is, from the the literal evidence of physicality – with the pianist playing standing and with his hands protected by large padded gloves – to its symbolic sublimation – with the performer moving away from the instrument and establishing delicate physical contact with a listener (informed beforehand), transforming the performative action into an act of human respect.

Is it music? Performance? Theatre? The answer is always yes.
__________________________

Recorded live at Curva Minore Festival | Palermo | 27.11.2022
With the support of Musikfonds, Fund for Contemporary Music from the German Ministry of Culture

Live audio recording: Simone Sfameli
Audio mix: Alessio Camagni

Finalmente il tempo è intero. Per Duccio Beverini e pianoforte. Nº 2 (2022) | Solo piano


Quand notre reine est un démon, c'est que nous vivons en enfer. 
Hébergé par Ausha. Visitez ausha.co/fr/politique-de-confidentialite pour plus d'informations.

La reine-guenon (et le Paris démoniaque)

𝗰𝘂𝗿𝗮𝘁𝗲𝗱 𝗯𝘆 𝗴𝗯𝗼𝗶
𝖗𝖊𝖖𝖚𝖊𝖘𝖙𝖘 👉🏾 badtipsaudio@gmail.com

// CLM //

Club Late Music is an open-source and collaborative music label exploring the production and promotion of artistic projects by gathering an enlarged community : the @globalurlnation (GUN).

// GUN //

Inspired by the free and open-source software approach, GUN gathers a diverse community of artists, designers and enthusiasts into an international network based on collaboration, the sharing of knowledge and of creative resources. Using various mediums, processes and formats, it multiplies collaborative, decentralized experiments, from EPs and compilations to audiovisual projects, installations or live acts.


// CONTACT //

For bookings and inquiries :
contact(at)clublatemusic.com

For demos and promos :
promo(at)clublatemusic.com

Want to join the GUN community as a producer, DJ, musician, vocalist, visual artist, graphic designer, open-source enthusiast or anything in between? Send us an email with a little bit of info and links to : 
gun(at)clublatemusic.com

Sarah Wallin Huff has enjoyed her work as a composer for concert halls and soundtrack work since 1993. Her original compositions have been performed throughout the States and abroad, including the Exeter Phoenix Auditorium in Devon, England; the Mosman Art Gallery in Sydney, Australia; the Zipper Hall in Los Angeles; and the National Opera Center in New York City. As a violinist, violist, and 6-string electric violinist, she has extensive experience playing with diverse ensembles, as well as performing on various recording projects, large and small.
- Multiple GMA medal award winner
- "Her music positively buzzes with energy…There is no doubting that Sarah Wallin Huff has a distinctive voice that is well worth hearing..." (Fanfare Magazine)
- "Her music is quite complex and unusual and yet…very easy to absorb and appreciate. There’s a lot to take in here…" (Baby Sue)
- "Sarah’s music has a classy, understated sound, yet it is baroque and ornate" (Artist Rack)

Composer, performer, teacher and designer of musical instruments.

His training includes composition studies at the Milan Conservatory, musical analysis and electronic music at the Civica Scuola di Musica in Milan, advanced courses in Europe, studies in the field of theatre and performing arts.

His works combine music composition, performance art, sound sculpture, and have been presented in Europe, the United States, China.

In the early 1990s he created the HN System® for the composition of physical, mental, emotional performative processes.

In 1994 he was a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, where he presented the HN System, defined by Heinz-Klaus Metzger as «the most surprising artistic invention of the last 15 years».

He designed the HN Percussion®, musical instruments that involve the performer’s entire body.

He conducts workshops at conservatories and universities.

His music is the subject of academic papers, theses, documentary films.

New tracks tagged #NOTATION