FERNEYHOUGH KURZE SCHATTEN PDF

CeReNeM Journal Issue 4: March Editor: Pedro Alvarez Journal of the Centre for Research in New Music, University of Huddersfield CeReNeM Journal, . Tel: Fax: e-mail: [email protected] internet: Brian Ferneyhough. Kurze Schatten II () . Brian FerneyhoughKurze Schatten II EP for Solo Guitar BRIAN FERNEYHOUGH KURZE SCHA1TEN II.

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Forum rules Topics archived from Public Space and its subforums after a long period of inactivity, or redundant for some other reason. In the inner monologue. Key Writings, New York and London: Similarly, extended cognition after Clark and Chalmers suggests that cognitive processes extend out into the environment, in the sense that they partly consist of actions in it. Automatic drawing through its relation to gesture and visual shapes may provide a more intuitive and improvisational alternative to more cerebral indeterminate or probabilistic processes.

Expression here remains somewhat diffuse, ferneyhoughh, like a primordial breath out. University of Chicago Press.

The Myth and Cult of the Virgin Mary. The role of this process of translation in pre-composition is the act of establishing a network traversed during composition.

Although not represented as an author herself, the work of composer Lisa Streich Sweden, is also present here as the subject of Chris Swithinbank’s article, which proposes parallels of hermeneutic resonances with Bouguereau’s art.

Finally, thanks are due to all the authors for generously making their work available, through this journal, to encourage critical discussion, and thus contribute to a stimulating debate that enriches the current state of this music and its study. Creation of the libretto Following the construction of the score, I selected texts to represent different layers of mind activity. Liza Lim must be acknowledged in these pages, as well as the thorough proofreading of Tim Rutherford-Johnson.

It illustrates the raw and immediate emotional quality of vocal exchange.

Kurze Schatten II

Such a decision, which especially should be a concern in passages with longer temporal intervals between events, affects not only the visual information of performance; the fact of playing ferneyjough events harmonics and micro-figures with no preparation considerably affects the potential expressive of the whole performance. Poet and friends have separated.

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I found corresponding themes covered in recent artistic work by contemporary authors Anne Waldman and Margret Kreidl. Here the performer is invited to structure their reading and interpretation themselves. How can one intend the unintended, sound the paradox?

Brian Ferneyhough – Kurze Schatten II/6 by mats scheidegger | Free Listening on SoundCloud

Touching the environment — in this case an instrument — literally with the lip and fingers is perceived to be an extension of the activity of the mind. Sounds or single words surface like raw ideas popping up from deep down. We have heard it already and we know it: Learning complex scores manifests as a real-time gestural analysis and processing of the notation, which cuts through textual complexity.

Here is Leimer’s and Gieseking’s take on the issue of such ear-training and its association with memorization of the note image: It may be seen as the shifting border of the world of the imagination and the so-called real world. The complete libretto was created from texts by three authors: Perceive everything to be nonbeing.

This 1 Only the choice of which string to detune in 3 is left completely up to the player, but this would most likely be strongly influenced by material agency in the guise of instrument care and maintaining even tension across the strings. However, the spectator, by being given the power to create the spectacle of condemnation, also possesses the power to reverse perceived guilt — if not necessarily to commute sentences — and to turn the condemned into a hero or martyr cf.

Brian Ferneyhough – Kurze Schatten II

Besides, there is a diminuendo, which somehow contradicts the physical freneyhough of the schwtten itself. My initial pre-compositional work included making a network of a cymbal. Also, detuning one string will almost certainly affect the tuning of other strings. The notation of pitch in Kurze Schatten II obeys the tablature principle, that is, the notated pitches are not the real sounds but are notated as if the guitar were tuned normally.

If the kudze is kudze pressure, it succumbs to bondage; if it is released, distortions will clear by themselves. Does it ever stop? What I aim at is a decoupling of dimensions of internal textures and emotional layers, rather than layers of physical actions. There was some discussion of Kurze Schatten II last year including quite a lengthy analysis of the piece.

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Our website is made possible by displaying online advertisements to our visitors. Biomorphism has to do with transformation and hybridization and is a concept explored by many surrealist artists before and after Matta. Author and McDonald, C. The communication of this unity in a performer-specific discourse enables the formulation of a holistic approach to interpretation today.

The local and global are processes at two different timescales within the same sounding continuum, and they interact to generate the structure of the piece. Echoes and counter-echoes of thoughts. I’m doing some research into Brian Ferneyhough’s ‘Kurze Schatten II’ and sfhatten if any of you have learnt or attempted to learn it, and whether anyone would be prepared to answer some very brief questions on their interpretive experience.

Narrative, it seems to me, corrupts the uniqueness and autonomy of such transference, as it implies that the fashion in which the sounds are organised refers to other artistic disciplines: Is it only about telling a story schattten does it also include understanding that a story is being told?

Actor Network Theory and After. Restlessly happy standing and looking and waiting- I stay for ffrneyhough friends, day and night prepared For new friends! For example, to signal the start of meditation practice in the morning a certain number of strokes of a gong are spaced out by reciting — silently and inwardly — a contemplative text between each strike. The movement functions between learning and performance, between detailed and global aspects, and between the continuity of performance and the resistance of decoding.

I also chose a passage from this text for the final 3 Through personal exchange and explanations of my intentions I gained permission from the authors for this kind of work; I sincerely appreciate their generosity.