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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Moreover, although in a very different realm, the corresponding thought-image by Benjamin poses an opposite tendency as well: In turn, context would be identified with what separates a brief silence from a slightly longer silence and from a long silence; it would specify the levels of similarity or difference among the aphorisms; and it ferneyhkugh delimit the degree of tonality or non- tonality2 within ourze.
These developments are often resumed as embodied and extended cognition EEC. Chamber —7for three untrained amplified male voices, mm. Micro-figure, bottom stave, bar 3.
I use vertical lines for division; these lines are not bar lines in the usual sense. Finally, a theoretical contextualisation of such an approach is proposed. schahten
Interpreting Kurze Schatten II – Classical Guitar
Interpretation occurs already with every single gesture as constitutive of every thought. Restlessly happy standing and looking and schatfen I stay for my friends, day and night prepared For new friends!
In the first section of this essay I will present these developments in CS. Consequently, whether intended by Ferneyhough or not, the second sequence of Short Shadows seems to be a carrier of content marked by notions of rupture and search for new alliances. I have drawn a series of shapes in the staves that are to be translated by the percussionists as shapes drawn on the surface of their instrument with a wire brush.
The role of mental representations in earlier computational models is now partly taken over by external information-bearing structures, which the cognizing subject exploits, manipulates, and transforms. London and New York: Chamber is based on a simple idea: 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 schztten.
Non-Cartesian Directions in Cognitive Science 1. For my work the interesting point is that the concept of noise implies value judgements: The aim of this project is the seamless unification of learning and performance praxis, as well as of the understanding of compositional ideas, of their corporeal articulation, of their acoustical perception and of their meaning-producing qualities in the sense of music as cultural praxis.
The historic derneyhough of the big drum evokes and symbolizes proclamation: This science is, of course, materialistic: What I aim at is a decoupling of dimensions of internal textures and emotional layers, rather than layers of physical actions.
,urze Through slight adjustments to bowing parameters speed, pressure, angle, proximity to bridge, amount of bow-hairthe interpreter attempts to sustain simultaneously two very high adjacent partials c.
A parallel to this process can be drawn from John Law’s description of social structure, where the word is employed as a verb instead of a noun: Everything that is a victory is always a failure.
The later passage of this piece is devoted to the amplified cymbal and includes a live interactive electronic component. The exploitation, manipulation, and transformation of external structures facilitates cognition, offloading part of the mental effort in the environment. The model can be thought of as the conjecture of the presented developments in ferneyhouhg science and of the aporias and challenges in musical interpretation today.
Social and historic aspects of vocal proclamation with drums prompted a percussion part.
Brian Ferneyhough – Kurze Schatten II/6 by mats scheidegger | Free Listening on SoundCloud
The gestures of both the cellist and the motors on the instrument body are measured and deliberate, taking time between events and rarely rushing. There is an implicit necessity for balance between both the material as part of a particular sound-palette and the versatility of that material: The first prerequisite of what I have named an understanding-technique-interpretation model is here almost algorithmically isolated from bodily and sonic states. Biomorphism has to do with transformation and hybridization and is a concept explored by many surrealist artists before and after Matta.
There is a certain neatness to their markings on the instrument body. The procuress is venal — in contrast to the customer employing her services, who is ashamed.