Lesetagebuch(2) <Immer wieder und wieder: Musik als Ort, Situation und Wiederholung>, von Eivind Buene
Critical music?
The difference between self-expression and the critical concerns the idea of skills versus displice. (Peter Eisenman)
<Critical repetition>/Being “critical“: a position of self-reflexivity, a crtitical art to examine its own ideological device and its own conditions and means of productions
<meta-music>: tends to underplay the examination of the conductions of production in its exuberant celebrations of itself.
The present-day residue of historical structures rather than a questioning of these structures
It’s difficult to step outside the theoretical boundaries and connect to the actual music that we’re making, to the text(“critique“) tends to come out something like footnote, which is all swell, but it doesn’t really take us closer to the music…
The act of creation, making music, has posed several issues that start to conflict with a cler-cut theorization on the subject: When you get into the groove of actually making the stuff, you get your hands dirty with all sorts of inventions and phantasmagorical detours from what looked like a well-defined path. This is a good thing. For art, maybe less so for theory.
… use the opportunity to see what energies can be drawn fron this collision
Repetition as musical parameter, use it as a metaphor for the incessant and thoughtless interation of the classical canon in the modern
… to show in a eather unrefined way.
Repetition as th simplest way of evoking musical “magic“
……this might be the time to take leave of theory and point to the actual piece of music, and to how these meeting points, or rather, collisions, might work.
….. to create a saturated space, …. questioning about the sustainibility of such procedures
The dacay of the sampled fragments toward the end of teh piece creates sound structures that have a certain kind of electronic beauty.
“I make the place for these energies within sound, …, to letthe unresolved frictions of dualities linger, in order to leave the situation open to the imagining ear“
To let the music insist on its status as sound, and to trust the physical sound in the actual context of the performance can convey the critical potential of the music.
…describing his sound as separate worlds connected to us through our bodies. “This is not easily explained, but more easily eapxerienced.“
“I discovered through letting myself go in the act of investigating y ideas in purely musical ways, …, to map out an area where idea and sound can meet on equal terms, fresh to my ear and without inhibitions.“ (without the limitations of a pre-fabricated theory.)
“The piece is a place, and the listener is invited to traverse the area in a variety of different ways.”
Each different piece will offer an independent reading of the topology, making different maps that each reveal different meeting points between idea and sound. ““Different places that I had thought up beforehead, isn’t this the whole point of artistic research?“
“When making new music, it’s crucial to trace one’s own trajectory, not only on musical, but also aesthetical terms, …., the obligation to create a personal foundation for the work. Without it, all talk of criticality is futile. The effect of what I want to achieve might NOT differ so much from the critical tradition of the 60s & 70s, … but it’s crucial that I find my own ways of describing the processes, and alternate routes of getting there.”
…, to open up the inherited formats and institutions (“systems”), this is something that has to be done over and over again, to make the inner workings of music transparent to the listening ear. This is the core of the questions, the aim of critical discourse.
The constitutional energies of the orchestra are unveiled - in other words not taken for granted - scrutinized with a questioning gaze - criticized.
The creative/honing process must find place in sound, not textual or visual aids.
… to expand my field of writing, to encompass more personal, maybe even precarious views.
Finctional writing: the gap between the fictional voice, on one hand, and the serious quasi-scientific voice on the other hand, needs to be filled by some sorts of textual go-between, …, a need to get away from the heroic stance of the composer (ironically, while working with the orchestra, music’s most hierarchical structure, requiring almost dictator-like “leadership“.)
In the attempt to both precise about my take on the subject of critically and the need for a more personal voice, is to try to write a polyphonic text: a text where these two layers interwine, where the main thread in teh fabric is the personal voice, laying bare the actual bare the actual friction at this stage in my process.
