Transfer practica musica to new pc7/1/2023 As a very subtle Art binding our spirit, soul, feelings, experiences, needs, emotions, into the wonderful Musics that fortunately still do exist on our planet. Tomorrow they may be different, my own perspective may be different, as I believe that nothing is a pre-determined system.Īt the same time I strongly believe that behind and above any computer and sequencer there is Music awaiting as the ultimate goal for any musician. Their importance for me is just because «I» think them to be important. I know very well that all these issues are simply aspects of our times. Conceptual and aesthetic musical aspects left apart.īy nature I think of myself as not being a pessimistic person. Tools adored as gods replacing the creative motivation. Countless new devices and possibilities A huge market with its own expediencies and laws A technocratic consumer hysteria from the musician’s part Killing every truly artistic and creative mood. «MUSICA PRACTICA» was formed as I was trying to find a creative and personal approach to music technology, threatened in a way by the recent developments in this field. If “MUSICA PRACTICA” is for me an effort to advance what I started with “ONAR” (concerning music technology), this effort goes even further in my next CD, “PHOENISSES”. So the already existing pieces were re-builded but always on the same basis that the original “MUSICA PRACTICA” material was grounded on, as electronics remained the principal sound source. Not merely from the point of view of sound engineering, but chiefly from aesthetic, structural and compositional aspects. This was a new goal, to merge the acoustic sound as closely as possible with the electronic one. When the question of recording this music on CD came up, I thought to combine in a few cases the electronic sound with acoustic instruments. “MUSICA PRACTICA” could be seen as a live concert for only one musician and his studio on stage.īased on the ideas already mentioned, the work was designed as an “open ended” music material, flexible to be continuously reshaped and refined in time with fresh ideas and additions. With this work Ι conceptualised my search to relate in a truly creative way the musician and the possibilities offered by the technology of our days.Īlong with this music I developed my concept of “Musical Praxis” (“musical action”), and created a whole series of pieces with no aesthetic prejudices using electronic sound in many and different between them musical styles. That music is included in this CD (tracks 17-21) under the title “Topos -2 or Paradise has no Apple tree” and it formed the music core of the dance / theatre performance “ ISIMERIES”.Īdditionally, “MUSICA PRACTICA” seemed to pave the way for a more personal approach to music technology. The basic idea behind this work began to take shape in the spring of 1992.Īt that time, Ι was working with the painter Herman Blaut, writing the music for his series of paintings “Paradise has no apple tree”.
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