Counter-voicing in the avant-garde and experimental music: Selected cases

Maska ◽  
2021 ◽  
Vol 36 (203-204) ◽  
pp. 106-116
Author(s):  
Luka T. Zagoričnik
Keyword(s):  
Present Article ◽  
Experimental Music ◽  
Avant Garde ◽  
Sound Poetry ◽  
The Voice

The present article is a reworking of a lecture that was performed live and with visual and sound examples at the CoFestival. In selected examples, the author tries to articulate various vocal practices through contemporary and experimental music, performative practices and sound poetry, in which the voice escapes gender, meaning, turns into noise, and emerges through the utterances of silence.

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

scholarly journals Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory

2018 ◽  
Author(s):  
Miško Šuvaković
Keyword(s):  
Experimental Music ◽  
Experimental Film ◽  
Experimental Theater ◽  
Avant Garde ◽  
Experimental Art ◽  
Institutional Power ◽  
Starting Point ◽  
Singular Event ◽  
Unknown Control ◽  
Second World

In what follows, I will point to theorization of concept of the experimental film. My main thesis is that experimental art is based on the project, research practice, innovation and open transgressive or subversive artworks. Art focused on subversion of institutional power features as a singular event performed within a particular social relationship, as a critical actionist, engaged, or activist practice. Transgression – literally – refers to: infraction, violation of a law or an order, while in geological terms it implies penetration and expansion of the sea over the mainland. The notion of transgression relates to excess, overrunning or, more precisely, departing the familiar for the unknown, control for freedom. Experimental art was created in different disciplines such as experimental music, experimental film, experimental theater, etc. John Cage’s concept of ‘experimental music’ has been the starting point for new experimental art and artistic practices since 1950. Experimental film (experimental, new, avant-garde or neo-avant-garde cinema) has featured since the Second World War. The concept and term describe a range of filmmaking styles which are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking and entertainment-oriented cinematography. In the second and third part of the essay, I will present an analysis of the experimental films of the artists the OHO group and Neša Paripović. Article received: December 2, 2017; Article accepted: December 18, 2017; Published online: April 15, 2018; Original scholarly paper How to cite this article: Šuvaković, Miško. "Fragments Over Experimental Film: Liminal Zones of Cinema, Art and Theory." AM Journal of Art and Media Studies no 15 (2018): . doi: 10.25038/am.v0i15.225

Samuel Beckett Et La Mécanisation D'echo

2007 ◽  
Vol 17 (1) ◽  
pp. 434-447
Author(s):  
Yoshiki Tajiri
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Samuel Beckett ◽  
Avant Garde ◽  
Friedrich Kittler ◽  
The Voice

This paper wants to situate Beckett's work within the cultural context of the beginning of the twentieth century when acoustic technology was strongly linked to the art of the avant-garde. I am going to analyze the 'voice of the telephone' in and I shall accentuate the pertinence of the idea of "the discourse network of 1900" (Friedrich Kittler) regarding Beckett's work. Finally I want to show how acoustic technology appears in and in In these processes the figure of Echo has been mechanized and materialized by Beckett in our view.

scholarly journals THE AVANT GARDE AS EXFORM

Tempo ◽  
2018 ◽  
Vol 72 (286) ◽  
pp. 7-16
Author(s):  
Lauren Redhead
Keyword(s):  
Experimental Music ◽  
Art Practice ◽  
Political Movement ◽  
Avant Garde ◽  
The World ◽  
Work Concept ◽  
Capitalist Ideology ◽  
Critique Of Ideology

AbstractPeter Bürger's critique of the historical avant garde (in Theory of the Avant Garde) accounts for its ineffectual nature as a political movement because of its relationship with institutions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’. The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant garde. In contrast, Nicolas Bourriaud's concept of the ‘exform’ re-conceives the avant garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible’. This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud's approach to re-thinking the avant garde might apply specifically to contemporary and experimental music in the present.

scholarly journals From Microphone to the Wire: Cultural change in 1970s and 1980s music writing

2019 ◽  
Vol 16 (3) ◽  
pp. 531-555
Author(s):  
STEPHEN GRAHAM
Keyword(s):  
United States ◽  
Cultural Change ◽  
White Male ◽  
Experimental Music ◽  
Avant Garde ◽  
Music Scenes ◽  
Independent Music ◽  
Attitude And Practice ◽  
The 1960S ◽  
The Uk

AbstractIn this article I examine localized cultural change that nevertheless serves as an applied instance of broader change. Focusing mostly on British, white male musicians and music writers active in the improvised and experimental music scenes of the UK (and, to a lesser extent, United States and Europe) across the 1970s and early 1980s, I identify clear shifts in taste, attitude, and practice. These shifts arc across what Ben Piekut calls the ‘mixed avant-garde’ of the 1960s to what I describe as the ‘unpop avant-garde’ of the late 1970s and 1980s, in which influences from popular and non-Western music play more significant roles than before and liminal, quasi-popular practices such as noise are in the emergence. I trace the appearance of the unpop avant-garde through independent music publications from the period, most prominently Microphone, Musics, Collusion, Impetus, and Re/Search, using these published scene discourses as barometers of the musical atmosphere of the time.

scholarly journals Lumpérica: alegoría y cita en voces rizomáticas en la narración chilena posmoderna

2019 ◽  
Vol 7 (12) ◽  
pp. 96-110
Author(s):  
Gonzalo Ignacio Rojas
Keyword(s):  
Present Article ◽  
The Body ◽  
Deleuze And Guattari ◽  
Performative Writing ◽  
Literary Expression ◽  
The Subject ◽  
The Voice

The present article will analyze the voice of the narrator from the rhizomatic figure (Deleuze and Guattari) to determine its non-place in the construction of narrative scenes in the new performative forms of literary expression. Therefore, this condition will be reviewed from two Benjaminian notions, the allegory and the quotation to determine that the idea of the body is -centrally concentrated in L. Illuminated- a correlation between language and subject: the disappearance of the subject is the disappearance of his / her language, epistemological symmetry that gives rise in Chilean narrative to a performative writing.

scholarly journals Über Dichter, Proletarier und Apachen

2019 ◽  
Author(s):  
Gérard Raulet
Keyword(s):  
Interwar Period ◽  
French Literature ◽  
Walter Benjamin ◽  
Social Criticism ◽  
The Novel ◽  
Social Worlds ◽  
Avant Garde ◽  
The Voice ◽  
Collective Dimension

It is somewhat surprising that Walter Benjamin, who has been very much involved with French literature, has shown so little interest in the most prestigious social novelists and in the great social romance cycles. Unlike Lukács, Benjamin evaluates the form of the novel negatively: the novel is not, or no longer, the modern epic. The contemporary novelist differs from the epic narrator in that he has lost the collective dimension. Instead of complaining about this loss, Benjamin accepts it and looks critically for authors and works that experiment new narrative means and at the same time explore new social worlds. But most novels to which Benjamin attributes experimental, or even avant-garde, value have met this challenge the least. They betray their breakthrough either by a purely private social criticism (Julien Green), by a kind of “infantile disease” of commitment (Malraux), or by a mere “cry of indignation” (Céline), which at least has the merit of reintroducing the voice of the Lumpenproletariat into the realm of the novel without mobilizing the “mimicry” of belonging to the proletariat. This essay is part of a larger project on Benjamin and the French intelligentsia of the interwar period.

scholarly journals Subalternidad, vida y escritura en Camina o revienta de Eleuterio Sánchez / Subalternity, life and writing in Eleuterio Sanchez’s Camina o revienta

2017 ◽  
pp. 507
Author(s):  
Antonio García del Río
Keyword(s):  
Present Article ◽  
Post Colonial ◽  
Autobiographical Work ◽  
The Voice

Resumen: En el presente artículo, nos centraremos en el estudio de la obra autobiográfica Camina o revienta de Eleuterio Sánchez a partir del estudio de la construcción del relato autobiográfico y la configuración de la identidad del sujeto mediante la escritura; el rol del autor dentro del contexto de publicación de la obra en el periodo de la Transición y el tratamiento que recibe por parte de los aparatos del estado dictatorial franquista; por último, analizaremos la construcción de la voz por parte de un sujeto perteneciente a una comunidad subalterna, la quinqui o los mercheros, a partir de los estudios poscoloniales centrados en el análisis de la subalternidad por G.C.Spivak.Palabras clave: identidad, estigmatización, ley, franquismo, autobiografía, subalternidad, escritura, criminalidad. Abstract: In the present article, the author focus es on the autobiographical work of Eleuterio Sánchez, Camina o Revienta. He studies the construction of the autobiographical account and the configuration of the identity through writing. The author focuses as well on Sánchez in the context of publication of his autobiografphy, and the treatment received by the Franco dictatorial State; finally, he analyzes the construction of the voice as belonging to a subordinate community, the quinqui or mercheros,, using the concept of subaltern as theorized in post-colonial studies.Key Words: identity, stigma, law, Francoism, autobiography, subalternity, writing, crime. 

scholarly journals Some Remarks on the Art of Exegesis in the Kalophonic Style

2021 ◽  
Author(s):  
Maria Alexandru
Keyword(s):  
Present Article ◽  
Music School ◽  
The Voice

The present article focuses on the technique and art of the so-called exegesis, the traditional interpretation of the kalophonic piece Ἀπόλαυε τῶν θαυμάτων τὰς ἰάσεις – Enjoy, seing the miraculous healings, in honor of St Demetrios, by St John Koukouzeles, in the first authentic mode. It is based on the manuscripts Zakynthos 7, Metochion Panagiou Taphou 728, and three Anthologia from the Music School of the Putna Monastery, and highlights several exegetical procedures through microsyntactical and generative analyses of chosen passages of the piece. The profile of the kalophonic melody revealed through the slow exegesis is mainly characterized by stepwise up-and-down movements of the voice around and between the structural notes, with few skips only, and in a perfect balance with the poetical text, which emerges for the singer and the listener syllable by syllable, carried on a continuous melodic flow, a sort of Byzantine ‘unendliche Melodie’.

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