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The Insane Hollow of P-ART Composing 2

by P-ART

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 9. Open Scores 

 10. Intimacy Music as Foodstuff

 11. Beyond the Outside of Musical Objects 

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9. Open Scores

Painting score "Music in Sign"

Click on the picture to enlarge the details

In 1985 I painted scores like Music in Sign, a color score for oboe, five violoncellos and three spectra of glass formations.

It was very difficult to engage classical players I needed. The performance prepared in 1987 couldn't be finished, because the classical trained performers unhooked on the full open interpretation of the painted score, without prescribed pitch and duration.

Other music scores I have drawn by pencil like To the point (free instrumental choice) and Weakness for soft performer(s), solo or group. In these scores the performer has to interpret himself the sensitivity, pressure and nuance, the soft and hard traces of the pencil on the paper.

Click on the scores below to see the full score: perform the 3D-points starting by the arrow in the left corner and following the stream of points till the end (arrow at right).

Click on the next picture to encounter the subtle world of "Weekness"

 

Individual performers of different historical and electronic keyboards have studied and prepared his own interpretation of the graphic icons and the time-axis affections (reserved, repulsive restrained, peaceful, appealing) in K- Music per multi  soli keyboards. They don't have any ensemble try-out before the final performance, to keep the surprising meeting of discriminative interpretations. Only in the last section of K-Music, all solists come closer to each other's performance.
                                   
  Click on the picture to view the full score ( + legend) for "K-MUSIC" (1987).

 

 

 

 

 

Click on the picture of the score: THE ART OF TABLE (Zusammen) >

The Art of Table (Composition 1985; Creation CC Hasselt, Belgium, 1987) is an open score for violoncello, piano and soundscape. Sprightly table conversations and kitchen sounds in the restaurant were recorded. This environment tape was faded into the performing process to feed the intuition and sensitivity of the three participating musicians.

 

 

 

 

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The Insane Hollow of P-ART Composing 2

10. Intimacy Music as Foodstuff

 

An other aspect of being performer-composer and  composer-performer is the natural integration of musical stuff into my daily life. There is no studio time or artificial isolation. I immediately tape everything that urges me in my living room.

I don't need hectic preparation or exercise in terms of right or wrong. All manipulations are constructive to find the true hollow. After all, often the only thing I have to do, is press the REC-key. This offered me the chance to compose at the right moment!

When I started to work with microphones and to record new pieces in my living room, I was bothered by the noisy background of the street interfering with the sound and silence on tape. In the meanwhile I see that those annoying environmental sounds are more appropriate to the composition than clean conditions. They can even be treated as if they belonged to the composition itself.

This way of composing didn't only happen in the seventies and eighties. The last ten years I recorded many first takes: I 'm still looking for MIDI-equipment and audiorecording that allow me to compose music as a natural part of my daily life.

Of course, it would be very straightforward to say that the water drops in Play with Parameters (< click) (1980) build up the composition by starting from their own sound entity through their own logic, autonomy and talent. One could say that out of our daily surroundings these tonal beings lose their conventional function creating a musical reality where the composer is only an active chief witness of what is recording by the microphone.
"Parameterspel "(= Play with Parameters) is created in my kitchen by a dripping tap that liked to be listened to, just like a living being that makes music on its own. The only thing I could do as a witness, was to encourage them... and record this tonal given!

I don't need to change or manipulate the interior of a composition that presents itself as authentic. Nobody, not even myself, is able to comprehend entirely the impact of for instance some imperfection on the total piece. So I didn't care eventual mistakes or false harmony away automatically, when they don't have any musical relevance but only, when the piece as a whole doesn't have enough quality.

The only way I select compositions out of the recorded works is by evaluating them for their nourishing value, as keeping foodstuff.

There is the listener who has the right to be confronted with a rendering of my works that is as perfect as possible. I will never allow this claim about the wrapping up to endanger the essential of the piece itself.

Of course, this natural attitude will cause problems if I should have to compose at a prearranged moment like on an organised concert evening. I certainly can improvise then. But compose?
I don't decide that myself. It is true that this kind of composing style is incompatible with pre-arranged public performances in the usual sense.

 
1992 I composed the  MIDI-score " Scelsi, I'm still here! for double piano. At that time I met the world of Giacinto SCELSI. Belonging to the nobility, this man improvised daily at the piano and registered on tape ... just like ME. However, HE was rich enough to have his personal music transcribed, what I was always looking for. In the late eighties I found a solution by MIDIfying my grand piano and by MIDI-notation in realtime, using ENCORE (music notation software). Marianne Schroeder intended to be a good contemporary piano performer of Scelsi's music. Asking for advice, Scelsi answered by asking her: "Do you also practise yoga? This is a good preparation for my music." Such approach seems close to the holistic entity that I prefer for my composing activities.

It 's true that my music demands for intimacy rather than for massive distribution.

It's also true that the interpretation of recorded music is limited by the special timbre and qualities of the loudspeaker, the manipulation of the equipment and by the personal and contextual qualities of the listener himself.

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The Insane Hollow of P-ART Composing 2

11. Beyond the Outside of Musical Objects

Over the years I have selected and collected many sound objects (des objets trouvés): toy instruments, found objects, small  ethnic instruments (from all over the world) and exotical bizzarities that I loved for their sonorities. For pictures and details: click and look at my illustrated soundobject page (> SOUNDOBJ.htm).

I 'm fascinated by the sound quality and not by the conventional  music source. In some of my music scores like Paper Music VAN PRAAG (1991), I "scanned" the sound qualities of current daily objects like large commercial paper. These scores are frames of different acts and sequences with the same natural instrument. Many times I have experimented with  the spatial and percussive sound of classical music catalogues. I selected out of these poor "instruments" for the soundqualities of printed paper,  to achieve the most appropriate sound tools in  my open score Neue Fingerfertigkeit (<click) (1993-94).

Excerpt from the original score Neue fingerfertigkeit

Musique du monde futur (1992) is a tape composed originally with the "poor" sounding keys of a mini calculator that can produce only the "Happy Birthday to You" tune. An other piece on tape, Feeding (1993), combines an electronic sound source with other throw-away sounds, but that characterization doesn't really matter. In The Insane Hollow (1984) the insane sound reverberates on the wooden floor. The sound sources are difficult to recognize, even if the indigenous wooden flute pops up for one moment.
Klokken (1982) does not stem from bells, even if it might look like it.
Meta (< click) (1980) is a piece of tape, based on the electronic organ sound and the percussive sound of a piece of cloth.However, the real meaning of Meta can probably only be experienced beyond (meta) the physical outside of the sounds. It would also be a mistake to understand Primeval Language (1981) as musical recitato and not as what it really is: primeval language (Oertaal).

The inner side of "my" music cannot be neglected. Indeed, the deep influence on the performer and listener goes into astral-physiological, esoteric or even therapeutical direction, beyond the physical outside of the sound.

For my Glass Installation (< click) (1985) I have selected ancient deep blue glass panes because of their musical quality.

 

The largest  sound source ("objet trouvé") is my gild bed preserved for the installation The Acupunctural Percussionist (< click) (1984). The rich sounding sides of the gild bed is made of scrolled ironwork. The composer puts his bed in a church or other resonating space. With the aid of an acupuncture map of the musical bedpoints, everybody is invited to explore this musical object with fingers, hands or sticks. The percussionist can even play his own music.

 

 

 

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The Insane Hollow of P-ART Composing  3
 
Click >here for all next chapters OR click and go to the next chapters :

Part 3

12. Spiritual Gesture in Organic Overtones

13. Acoustic versus Digital Music
14. Midi - Composing
15. Meta - Polyphony
16. Breaking Out
17. My spinet a dream
18. New P-ART editions

Enter > THE  P-ART  GUEST BOOK Comments, ideas and additional information are welcome


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