article al País 1986 Baschet
PERFIL François Baschet
Creador de molinos que silban y cristales que apaciguan los nervios
PEDRO SORELA, - Madrid - 11/06/1986
François Baschet es un escultor francés que al terminar una vuelta al mundo de siete años de duración, tras la II Guerra Mundial, con una guitarra -el mejor pasaje- cuya caja de resonancia era un globo de plástico hinchable, comprendió que lo suyo era la invención de instrumentos. Junto con su hermano Bernard, no ha parado de crear desde entonces molinos que silban, tambores con tornillos y carámbanos de cristal que, acariciados, apaciguan los nervios con melodías sin letra. Expone cuatro instrumentos, con los que juegan los niños, en la muestra Procesos, en el Centro Cultural Reina Sofía.A sus 66 años, Baschet busca la manera de ejecutar en España su más importante invención, la que impedirá que su ciencia se pierda: una fundación a la que se pueda acudir para realizar sin coste el sueño del instrumento a la medida.No sabe leer música, aunque tiene oído. Al taller de los Baschet, en París, acuden actores en busca de escenarios sonoros, bailarines que quieren subir por escaleras musicales, intérpretes que buscan y compositores con fiebre. Baschet colabora con ellos, realiza sus ideas y se niega a juzgarles o a dar consejo. Es su manera de mantener la independencia. "Yo hago el ladrillo, el músico es el que hace la casa", dice en su idioma de metáforas.
También acuden, y no son los menos, maestros tras la utopía de encontrar la forma de enseñar música sin ser un latazo. Porque los Baschet han desarrollado un sistema para descubrir la música a los niños y sobre todo para hacerles comprender que pueden crear, componer, que no es brujería. Unos cuantos fieles se han encargado de llevar la idea a varios países, incluida España, y poco a poco, venciendo prejuicios de siglos, la idea se abre camino. Basta ver a un niño jugar con los instrumentos, en Procesos, para comprender que por lo menos es divertida.
No es preciso ser músico m ingeniero para quedar meditabundo con las posibilidades de los aparatos. Muy sencillo: los tambores son una suerte de barras de aluminio terminadas en conos. Según se ejecute la percusión, con palos de goma, los conos emiten sonidos capaces de encaprichar a más de un baterista. O los cristales: unas barritas transparentes que, acariciadas por el índice y el pulgar de una mano mojada, causan una vibración que repercute en una plancha metálica y crea una melodía suave y pacífica.
Basta ver a François Baschet para comprender que ésa es la única regla: "Sólo sonidos que calman los nervios". Baschet tiene ojos azules, una sonrisa abierta y largas patillas blancas de cuentista holandés. Sólo le falta una pipa de cerámica. No se ha casado. "¿Qué mujer aguantaría el tipo de vida que llevo?". Porque no para: cinco meses en París y el resto explicando sus exposiciones o ejecutando encargos campanarios de iglesia sin campanas o un salón de juegos en Osaka (Japón), donde miles de niños se lo pasaron de cine interpretando en una gigantesca orquesta a su medida. Las esculturas cantantes de los Baschet han sido expuestas en el Barbican Centre de Londres o el Museo de Arte Moderno de Nueva York.
Baschet quiere crear su fundación en España porque opina que aquí se da el espíritu que hubo en Europa tras la guerra: un aire de novedad que permite proyectos. "Ahora, en Francia, todo el mundo lo sabe todo, nadie se sorprende de nada". En España, dice existe la movida, algo renovador. Y cuando se le dice que hay quien lo niega, abre los brazos y pide: "Déjeme mis ilusiones. Vivo de ellas".
Musicoterapia con Baschet
Web de la fundació?
http://www.elsonidodelagua.com/PROYECTO%20BASCHET.htm
extret de
http://www.atades.com/sobre-atades/noticias-de-atades/155-musicoterapia-con-baschet
Musicoterapia con Baschet
http://www.elsonidodelagua.com/PROYECTO%20BASCHET.htm
extret de
http://www.atades.com/sobre-atades/noticias-de-atades/155-musicoterapia-con-baschet
Musicoterapia con Baschet
| 16 de marzo de 2010 ATADES ha introducido en Aragón, de mano de EMF Producciones, el Método Baschet. A través de esculturas sonoras, los participantes en los talleres, personas con discapacidad intelectual, se expresan y se consigue múltiples beneficios. Varios centros de Zaragoza y numerosos profesionales descubrirán este proyecto del 15 al 19 de marzo.  ATADES ha organizado, del 15 al 19 de marzo en el centro Joaquín Roncal de la Fundación CAI-AC, varios talleres sobre el Método Baschet. Bajo el título “Escuchar para ver. Creación artística y comunicación”, el músico y pedagogo con estructuras sonoras Baschet, Andreu Ubach, dará la oportunidad de experimentar con el sonido a las personas con discapacidad intelectual que participen de estos talleres. Se desarrollarán tres talleres por día, de una hora de duración (de 10:00 a 11:00, de 11:30 a 12:30 y de 13:00 a 14:00) y están dirigidos a grupos de niños de colegios de Educación Especial y a personas con una discapacidad intelectual profunda o severa. Los grupos serán de 15 personas como máximo, más monitores. Aprovechando la novedad del Método Baschet, se dará una charla para profesionales el jueves 18 de marzo, a las 18:00 en el centro Joaquín Roncal. “Todas las novedades que surjan a la hora de trabajar con las personas con discapacidad intelectual, que les pueda ser beneficiosas para su desarrollo es positivo. Este es el motivo que nos impulso a traer y dar a conocer el Método Baschet”, afirma la presidenta de ATADES, Ana Mª López González. Los objetivos son claros: despertar el instinto lúdico y el potencial de cada alumno, desarrollar las capacidades perceptivas de reconocimiento sensorial, visual, auditivo y corporal y favorecer el desarrollo de la atención, del sentido estético y del orden, de la participación, la cooperación y la comunicación. En las diferentes sesiones se utilizan 10 estructuras sonoras: parrilla, cuerdas, disco, varitas rectas, estrella, varitas curvas, silbante, escalera, dobles muelles y cristal. Todas las esculturas y elementos utilizados se denominan “Instrumentarium” y se caracteriza por “ser un material original y atractivo visualmente, rico en cualidades sonoros: sonidos armoniosos, variedad de intensidades y dinámicas. Esta creación estimula la estructuración del lenguaje sonoro”, explica el pedagogo Andreu Ubach. “la no correspondencia con instrumentos de música conocidos, la accesibilidad directa al mundo sonoro permiten una desinhibición rápida del participante”, añade. Este proyecto es innovador en Aragón y ATADES ha querido traerlo e invitar a varios colegios de Educación Especial y entidades del sector de la discapacidad para que conozcan este método pedagógico que, a partir de la escucha reducida, se puede descubrir, progresivamente, los instrumentos. E incluso realizar música desde un punto de vista ecléctico e intuitivo. Método Baschet  François y Bernard Baschet descubrieron el principio acústico de la vara encastrada en 1952 y a raíz de ese punto, crearon una nueva familia instrumental. En aquel primer momento los instrumentos eran mucho más grandes y pesados y fueron protagonistas de una serie de exposiciones que se realizaron en lugares como el Museo de Arte Moderno de Nueva York, México Osaka, Berlín, etc. Ahí comenzó la novedad: dar acceso libre al público para que “jugara” con las obras expuestas. En 1975, la Fundación del Museo Guggenheim de Nnueva York les propone participar en un programa escolar piloto destinado a la reinserción de personas con dificultades y ante el éxito de esta experiencia, los hermanos Baschet decidieron desarrollar una “paleta sonora”. Tuvieron que pasar 10 años para que los modelos del “instrumentarium” se definieran en los instrumentos que hoy se utilizan. |
més baschet i altres per reordenar
retrouver ce média sur www.ina.fr
retrouver ce média sur www.ina.fr
trois musiciens jouent une mazurka sur des instruments révolutionnaires. L'un d'entre eux François BASCHET, interviewé par Jacques MOUSSEAU, présente les instruments qu'il a conçus, dont une guitare pneumatique. Il explique pourquoi il a senti le besoin de créer ces instruments, ces nouvelles structures sonores et pourquoi il ne les diffuse pas. Jacques LASRY, le compositeur, fait une démonstration de ce que l'on peut jouer sur ces instruments, dont une oeuvre adaptée de Bach. Il explique sa manière de composer, en essayant de retrouver certains bruits de la nature et de la vie moderne. Il improvise aussi beaucoup, en concert ou dans les films. Jacques LASRY et son équipe (Jacques CHOLET, Yvonne LASRY et Daniel IZOUNOV ?) improvisent un morceau.
BERNARD (repetit?)
http://www.telerama.fr/musique/dans-l-atelier-de-bernard-baschet-createur-de-sons,51146.php#xtor=RSS-21
UNIVERSITAT QUEBEC
http://www.er.uqam.ca/nobel/baschet/
http://www.er.uqam.ca/nobel/baschet/introduction/index.html
http://www.gillesdalbis.com/annick.htm ?
Atmosphère 12 Feb 2009
Extrait de la Fenêtre sur cour (concert) du 15 décembre 2010 cloturant la résidence de Wilhem Latchoumia , Pierre Malbos et Fly de Latour à l'Abbaye de Royaumont autour du Piano Baschet-Malbos.
www.studio433.com
Extraits du spectacle qui traite écologie en s'appuyant sur la mythologie et la fantaisie. Claude Gudin poète scientifique aixois, nous conte en direct les aventures d'Artemis, celle qui danse dans sa décharge d'Entressen s'enivrant d'Absinthe sur les rythmes oniriques des Sauvages Organismes Sonores.
Extrait de la Fenêtre sur cour (concert) du 15 décembre 2010 cloturant la résidence de Wilhem Latchoumia , Pierre Malbos et Fly de Latour à l'Abbaye de Royaumont autour du Piano Baschet-Malbos.
www.studio433.com
Que es lo que aconteció en el Taller de Francois Baschet en paris el 01/02/2011 a las 10:45
DUO Catherine Brisset, cristal Baschet et Gilles Dalbis, percussions, novembre 2006
musique improvisée
My Cristal just showed up a couple of hours ago at work. Took the rest of the day off and went home to set it up. A half hour in, here is my demo! ;-) Used a $30 camera that is the size of my thumb to record. Does better than you'd think!
Bryan Lowe
Seattle
Original Music I wrote for the Cristal Baschet.
Experiment with a Cristal Baschet.
Music I wrote for the Cristal baschet.
JAPANEXPO1970
1970年に開催された日本万国博の鉄鋼館には、「バシェの楽器」と呼ばれる作品が展
演奏は、土居秀行さん。初日初回の20分に渡る熱演のうちの、終盤８分の様子です。
3_4 Opening Expo70 Pavilion Bampaku_Kinen_koen Osaka Japan
オープン初日。当時､鉄鋼館に展示されていた鉄の楽器彫刻を「池田フォーン」と呼ぶそ
オープン初日。当時､鉄鋼館に展示されていた鉄の楽器彫刻を「池田フォーン」と呼ぶそ
博覧会開催４０周年記念として､池田フォーン演奏会が開かれました。その模様。
万博公園だより３月号によると､この日の演奏はマリンバ･パーカッション奏者の駿田千
さて、何ら説明不要の音色とリズムとパフォーマンス。いいですね。高揚感を感じ取って
L'instrumentarium Baschet from TomA on Vimeo.
Piano Baschet-Malbos
Extrait de la Fenêtre sur cour (concert) du 15 décembre 2010 cloturant la résidence de Wilhem Latchoumia , Pierre Malbos et Fly de Latour à l'Abbaye de Royaumont autour du Piano Baschet-Malbos.
www.studio433.com
Sonatas-Pianos-Machines-Interludes
Cristal Baschet, musical saw and electronic live in Barbican
présentation du cristal
"Prior Art" The Baschet Sound Sculptures
Baschet Sound Sculpture at Sunrise Studios
stormking sound sculpture
Sound Sculpture, Full Moon Rising act II
Artep sing and plays baschet instrument
barres i patrons chladni
modal violi
modal guitarra
sembla que no li vibra la tapa, oi?
cap al minut 6
tapa harmònica
barres, curs
barres posteriors guitarra
modal guitarra
sembla que no li vibra la tapa, oi?
cap al minut 6
tapa harmònica
barres, curs
barres posteriors guitarra
Echo 1980's Het Apollohuis
Del llibre de 1987 "Echo" publicat per Het Apollohuis. Regal del Dr.Roy al Dr.Cerdà.
exposició que va tenir lloc del 22 novembre 1984 a 1985 al Het Apollohuis
cataleg expandit de
llista que extrec per cercar autors i peces a internet
pg
3 paul panhuysen
6 hugh davies
24 julius
30 ellen fullman
34 history of unheard music
35 max eastly
38 takehisa kosugi
46 godfriend-willem raes
56 steim
57 anton van gemert
60 the simulated wood
61 joob van brakel
62 horst rickels
63 rik van lersel
64 bart lootsma
74 giancarlo cardini
76 juan hidalgo
77 walter marchetti
78 davide mosconi
82 arnold dreyblatt
92 richard lerman
98 leon van noorden
110 hans-karsten raecke
114 jon rose
118 george smits
__________________________
de la introducció:
-henry cowell: 1920's prepara pianos inspira a cage
-"trautonium"
-8000 efectes de so de Disney
-Bruno Munari: fabrica 2 kinetik sculptures sonadores
-Yacov Agam: sculptural panles playable
-Takis: magnetic sculpture + sound
-Compositors 1940's interessats en electricitat i electrònica
Varése, Hindemith, Messiaen, Graingen, Honegger, Jolivet, Milhaud, Copland, Ives, Shostakovitch, Ravel.
-Fluxus: Joe Jones ( contrucció i mecanització)
-Fluxus: Gutai
-Fluxus: Mood Engineering society (Holland)
1950's
-Baschet brothers= :)
1960's
-Betroya
-Charles Mattox ( saltamartins sonor)
-Edmund Kieselbach
-Marcel Von Thienen
-Howard Jones (osciladors electrònics interactius)
-Juan Downeyi James Seawright
-Max Newhaus
-Liz Phillips
-Stanley Lunetta
-David Jacobs (electromagnetic drones)
-Stephan von Heune's
-Norman Andersen
-Martin Riches
exposició que va tenir lloc del 22 novembre 1984 a 1985 al Het Apollohuis
cataleg expandit de
llista que extrec per cercar autors i peces a internet
pg
3 paul panhuysen
6 hugh davies
24 julius
30 ellen fullman
34 history of unheard music
35 max eastly
38 takehisa kosugi
46 godfriend-willem raes
56 steim
57 anton van gemert
60 the simulated wood
61 joob van brakel
62 horst rickels
63 rik van lersel
64 bart lootsma
74 giancarlo cardini
76 juan hidalgo
77 walter marchetti
78 davide mosconi
82 arnold dreyblatt
92 richard lerman
98 leon van noorden
110 hans-karsten raecke
114 jon rose
118 george smits
__________________________
de la introducció:
-henry cowell: 1920's prepara pianos inspira a cage
-"trautonium"
-8000 efectes de so de Disney
-Bruno Munari: fabrica 2 kinetik sculptures sonadores
-Yacov Agam: sculptural panles playable
-Takis: magnetic sculpture + sound
-Compositors 1940's interessats en electricitat i electrònica
Varése, Hindemith, Messiaen, Graingen, Honegger, Jolivet, Milhaud, Copland, Ives, Shostakovitch, Ravel.
-Fluxus: Joe Jones ( contrucció i mecanització)
-Fluxus: Gutai
-Fluxus: Mood Engineering society (Holland)
1950's
-Baschet brothers= :)
1960's
-Betroya
-Charles Mattox ( saltamartins sonor)
-Edmund Kieselbach
-Marcel Von Thienen
-Howard Jones (osciladors electrònics interactius)
-Juan Downeyi James Seawright
-Max Newhaus
-Liz Phillips
-Stanley Lunetta
-David Jacobs (electromagnetic drones)
-Stephan von Heune's
-Norman Andersen
-Martin Riches
Cage
27 sounds manufactured in a kitchen - John Cage
John Cage - Water Walk
John Cage performing "Water Walk" in January, 1960 on the popular TV show I've Got A Secret.
Dave Boston performs John Cage's Water Walk.
To find out more about the styles Dave plays visit http://www.davebostondrums.co.uk
Brown New Music's
Clara Schuhmacher & Whit Bernard
Perform John Cage's "Water Walk"
May 18, 2007 Grant Recital Hall, Brown University
John Cage - Water Walk
John Cage performing "Water Walk" in January, 1960 on the popular TV show I've Got A Secret.
Dave Boston performs John Cage's Water Walk.
To find out more about the styles Dave plays visit http://www.davebostondrums.co.uk
Brown New Music's
Clara Schuhmacher & Whit Bernard
Perform John Cage's "Water Walk"
May 18, 2007 Grant Recital Hall, Brown University
PVC i tubòfons
If you would like the spreadsheet that I used to get the lengths needed for each note, here is the file:
https://pantherfile.uwm.edu/mjb/publi...
This is just me messing around on the pipes. Play these on good quality speakers, they really do sound good.
If you want info on how to make something like this or just the paddles, read the comments. I have already explained.
Jared playing the tubulum at elementary talent show.
a short clip that came from the DVD included with the Tubes toy
http://www.youtube.com/watch?v=P06zGcIyi2k&feature=related
https://pantherfile.uwm.edu/mjb/publi...
This is just me messing around on the pipes. Play these on good quality speakers, they really do sound good.
If you want info on how to make something like this or just the paddles, read the comments. I have already explained.
Changing Harmonics and Timbre on Melodic Tube Drums by Sarah Tulga
Changing Overtones and Timbre on Electrical Metallic Tubing by Sarah Tulga
taquinophone
vaya un escala...
Jared playing the tubulum at elementary talent show.
a short clip that came from the DVD included with the Tubes toy
http://www.youtube.com/watch?v=P06zGcIyi2k&feature=related
Tapes d'olla
The Aquaggaswack
This is a homemade instrument made out of pot lids. The video was created for an exhibition called "Rare Instruments" in Compiegne, France, May-June 2008.
uiiiiiiiiiiiiiiiiééé
play percussion without music instruments with other equipment such as the garbages, bottles drums solo traditional
(s'està portangt molt el rollo tradicional combinat amb una mica de show bolibudienc improvisadamnent, estic casolà de la Universitat de Mahasarakham!)
khaen thai: orgue de boca
This old craftsman has been making this instrument for over 50 years. We found him in a small village in Isan, North East Thailand.
เดี่ยวแคน โดย จ่อยภูไท ศิลปินพื้นบ้านอีสานชาวภูไท จากวงโปงลาง "บัวละบัดวัฒนธรรมอีสาน" หรือ "หนุ่มภูลาว สาวภูไท"
-----------
Kaen Solo by Joy Phuthai: An Esan Traditional Artist from Kalasin Province, Thailand.
(Video clip taken by: Muri)
เดี่ยวแคน โดย จ่อยภูไท ศิลปินพื้นบ้านอีสานชาวภูไท จากวงโปงลาง "บัวละบัดวัฒนธรรมอีสาน" หรือ "หนุ่มภูลาว สาวภูไท"
-----------
Kaen Solo by Joy Phuthai: An Esan Traditional Artist from Kalasin Province, Thailand.
(Video clip taken by: Muri)
bamboo
The Nanaikapono Community-School Museum would like to feature Hawaiian Bamboo Pipes used for Hula Kahilo.
Musical instruments are made from Bamboo, typically by people who live in forests and use them to protect themselves from wild animals.
Budapest based percussion ensemble playing own composition for the West Javanese bamboo instrument, angklung. Check out more @ http://www.myspace.com/trigintapercus...
Musical instruments are made from Bamboo, typically by people who live in forests and use them to protect themselves from wild animals.
Budapest based percussion ensemble playing own composition for the West Javanese bamboo instrument, angklung. Check out more @ http://www.myspace.com/trigintapercus...
bamboo autòmats
Akinori Matsumoto's Bamboo Bank installation at Bank Art 1929, Yokohama
Sound wheels in France Chateau Chaumont sur Loire with fun
it´s a musical instrument
A flowing stream makes these bamboo waterfall pipes fill up and empty, a wonderfully soothing rhythm. At Fern Resort in Northern Thailand.
Here's a close up of a hand-cranked instrument I made today, May 14, 2007. I named it "Keith".
Sound wheels in France Chateau Chaumont sur Loire with fun
it´s a musical instrument
A flowing stream makes these bamboo waterfall pipes fill up and empty, a wonderfully soothing rhythm. At Fern Resort in Northern Thailand.
Here's a close up of a hand-cranked instrument I made today, May 14, 2007. I named it "Keith".
Orgue de Bombolles
Aaron Wendell created this instrument in instructor Eric Leonardson's instrument construction class. Aaron started out with the idea of using water bubbles to create sounds, and then had to figure out everything from how to make the instrument case watertight, to how he could direct the air flow, to how to set up a bellows-type system to create the air flow in the first place. The result is a bizarre yet comfortably Victorian-looking contraption that creates a completely unique sound. See more on gearwire.com.
La Corde à Vent
Hors Cadre
Bande annonce du spectacle "derrière les bruissons" de La Corde à Vent
Plus d'infos sur www.arbre-canapas.com
Quick cow blues
Antonio De Luca / Mario Ciccioli
Imbutofono
Suonare luoghi /
Performance nella Cappella di San Vito / salento 2003
Imbutofono track 2 April 24, 2008Suonare luoghi
Antonio de luca / Mauro Tre
Frammento della performance alla Fondazione Pistoletto
Biella Settembre 2008
Frammento della performance alla Fondazione Pistoletto
Biella Settembre 2008
November 27, 2009
Video realizzato da RaiSat1 ARTE nel 1998.
Intervista a Mario Ciccioli nel suo studio a Tuscania condotta da Alessandra Crisanti dove l'artista spiega la genesi del proprio lavoro riguardo la costruzione e l'installazione di Arpe Eolie.
Installazione di tre Arpe Eolie, realizzata a Ginevra nel 1989 davanti al "Musee d'Histoire des Science" nel Parco "Perle du Lac".
September 04, 2009
Tabakalera présente plusieurs œuvres de douze artistes qui travaillent à partir du son. Par des installations sonores, des sculptures ou des travaux audiovisuels interactifs, l'exposition propose une nouvelle manière de découvrir Tabakalera par le son. Des œuvres spécifiquement créées pour l'exposition conversent avec d'autres qui se sont adaptées aux imposants espaces du bâtiment. C'est pourquoi, et dans ce but, nous avons créé un parcours guidé dans le son qui tout en composant une exposition consacrée à l'art sonore nous invite à connaître un bâtiment emblématique comme Tabakalera.
Installation sonore interactive/Interactive sound installation
Voir plus/View more www.bechardhudon.com
Voir plus/View more www.bechardhudon.com
Antonio De Luca
May 13, 2009
Scultura sonora per ferro e ottone
Antonio De Luca e Mario Ciccioli
Installazione sonora permanente per acqua e aria
OSSERVATORIO NOMADE /SALENTO
Cappella di San Vito
Masseria torcito
MARZO 2003
Antonio De Luca e Mario Ciccioli
Cappella di San Vito, masseria Torcito ,
Salento - Marzo 2003
immagini di Giorgio D'ambrosio
Installazione sonora per ferro, piombo, acqua e cotone
- Palazzo Belmonte-Riso /
Palermo
Osservatorionomade
Antonio De Luca / Mario Ciccioli
Performance ed installazioni sonore nel Salento
Stanza dei suoni delle mani / Parte 2
Bow Gamelan ensemble
Bow Gamelan ensemble
http://www.annebean.net/past-projects/1981-1990/119
courtesy of The Scotsman
photo by P Sakomizu
photo by Ed Sirrs
photo by the artists
The Bow Gamelan Ensemble was founded in 1983 by Anne Bean, Paul Burwell and Richard Wilson during a boat trip up Bow Creek. Over the next seven years they created a dynamic experience using sound, light and performance which went beyond the conventional definitions of music event.
Since their first (intended to be their only) performance at the London Musicians Collective, the Bow Gamelan Ensemble made dozens of performances, events and specially commissioned works throughout Europe, America, Mexico and Japan.
The name Bow Gamelan derives from the area of East London where they lived and worked and from the Indonesian metallophone ensembles. Their instruments were all specially constructed, mostly from scrap metal, electric motors and glass and produced a wide variety of sounds ranging from the deep, organ like sounds of the pyrophones through a gamut of percussive timbres and dynamic range. Both the sound sources and the musical structures generated were unusual because of the physical relationship between the way instruments work and how they had to be played.
The unique sensibilities of the individual members combined with their long experience in the areas of performance art, drumming, sculpture, environments and multi-media made the collaboration remarkably creative and fruitful.
The Bow Gamelan grew from intimate indoor performances to large outdoor events which created new orchestras out of discarded materials around the world. They developed relationships with pyrotechnicians such as Wilf Scott, le Maitre Fireworks and El Diablo in Mexico and entered into a range of working relationships with artists and groups such as the sound poet Bob Cobbing, the American percussionist z’ev, Simon York of Miraculous Engineering, Tom Leadlay of the Thames Steam Launch Company, Eel Pie Marine, Ballooning World, historic re-creation societies and remote control helicoptor enthusiasts.
In their seven year history, Bow Gamelan received enthusiastic accolades and worldwide press coverage :
They serve up adventures in music, sculpture and performance that dazzle the eyes, astonish the ears and stimulate the imagination of viewers with an unorthodox magic.
Time Out Performance Award
The Bow Gamelan Ensemble… is the most stunning cross media project of the decade. Gloriously inventive, riotously funny and completely accessible.
City Limits
The sheer scale of the thing is a delight to behold… the smoke and light constantly changing creates a strange beauty where you would never have expected to find it.
The Sunday Times
See also In C and Air (1986), Concrete Barges (1986), Offshore Rig and The Navigators (1987-88), A Damned Near Run Thing (1988), Worldwide (1985-89).
http://www.annebean.net/past-projects/1981-1990/119
courtesy of The Scotsman photo by P Sakomizu photo by Ed Sirrs photo by the artists | Bow Gamelan Ensemble (1983 - 1990) |
The Bow Gamelan Ensemble was founded in 1983 by Anne Bean, Paul Burwell and Richard Wilson during a boat trip up Bow Creek. Over the next seven years they created a dynamic experience using sound, light and performance which went beyond the conventional definitions of music event.
Since their first (intended to be their only) performance at the London Musicians Collective, the Bow Gamelan Ensemble made dozens of performances, events and specially commissioned works throughout Europe, America, Mexico and Japan.
The name Bow Gamelan derives from the area of East London where they lived and worked and from the Indonesian metallophone ensembles. Their instruments were all specially constructed, mostly from scrap metal, electric motors and glass and produced a wide variety of sounds ranging from the deep, organ like sounds of the pyrophones through a gamut of percussive timbres and dynamic range. Both the sound sources and the musical structures generated were unusual because of the physical relationship between the way instruments work and how they had to be played.
The unique sensibilities of the individual members combined with their long experience in the areas of performance art, drumming, sculpture, environments and multi-media made the collaboration remarkably creative and fruitful.
The Bow Gamelan grew from intimate indoor performances to large outdoor events which created new orchestras out of discarded materials around the world. They developed relationships with pyrotechnicians such as Wilf Scott, le Maitre Fireworks and El Diablo in Mexico and entered into a range of working relationships with artists and groups such as the sound poet Bob Cobbing, the American percussionist z’ev, Simon York of Miraculous Engineering, Tom Leadlay of the Thames Steam Launch Company, Eel Pie Marine, Ballooning World, historic re-creation societies and remote control helicoptor enthusiasts.
In their seven year history, Bow Gamelan received enthusiastic accolades and worldwide press coverage :
They serve up adventures in music, sculpture and performance that dazzle the eyes, astonish the ears and stimulate the imagination of viewers with an unorthodox magic.
Time Out Performance Award
The Bow Gamelan Ensemble… is the most stunning cross media project of the decade. Gloriously inventive, riotously funny and completely accessible.
City Limits
The sheer scale of the thing is a delight to behold… the smoke and light constantly changing creates a strange beauty where you would never have expected to find it.
The Sunday Times
See also In C and Air (1986), Concrete Barges (1986), Offshore Rig and The Navigators (1987-88), A Damned Near Run Thing (1988), Worldwide (1985-89).
Suzuki
Suzuki, Akio. akiosuzuki.com
http://www.arika.org.uk/resonant-spaces/akio-suzuki/
(escolta'l) i http://www.last.fm/music/Akio+Suzuki
Perhaps the most charming, engaging artist I’ve seen, Japanese musician and inventor, instrument builder and shaman Akio Suzuki is probably unknown to most of you. But we think his work is utterly captivating and crucial; it deserves a much bigger audience. Akio has been performing, teaching and building instruments for nearly 40 years. His music is simple and pure, and beautifully unworried by the rules of modern music. He explores nature and how its atmospheres and sounds can be harnessed and then set free, how you can lose yourself in the sound that surrounds us, and how musical creation and beauty exist in all things, in all moments.
“I think of Akio Suzuki as a kind of magician”
David Toop
“Hearing this music, I remember many things, including playing in a puddle as a tiny kid”
Yamatsuka Eye: Boredoms
Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields.
Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.
During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."
From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received.
As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.
In recent years, the insights he gained from the Turbridge (1999-2000) installation at the Daad Gallery in Berlin have opened up new avenues of development for his future work. By recording and creating sound sources himself, and by using electric amplification with Suzuki's own self-designed output devices, he was able to reconstruct sounds and experiment with listening to the "factors of place". These experiments were followed up by the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB, and Nagekake & Tadori (Throwing and Following, 2002) which included some suggestions towards the construction of place. Visitors to the latter were able to experience a "place established by the artist as a wholly different space and time axis."
To run simultaneously with these experiments, Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki's family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end.
http://www.arika.org.uk/resonant-spaces/akio-suzuki/
(escolta'l) i http://www.last.fm/music/Akio+Suzuki
Perhaps the most charming, engaging artist I’ve seen, Japanese musician and inventor, instrument builder and shaman Akio Suzuki is probably unknown to most of you. But we think his work is utterly captivating and crucial; it deserves a much bigger audience. Akio has been performing, teaching and building instruments for nearly 40 years. His music is simple and pure, and beautifully unworried by the rules of modern music. He explores nature and how its atmospheres and sounds can be harnessed and then set free, how you can lose yourself in the sound that surrounds us, and how musical creation and beauty exist in all things, in all moments.
“I think of Akio Suzuki as a kind of magician”
David Toop
“Hearing this music, I remember many things, including playing in a puddle as a tiny kid”
Yamatsuka Eye: Boredoms
Listen here
| http://www.arika.org.uk/resonant-spaces/x_flash/stone-flute.htm | |||||||||
| http://www.arika.org.uk/resonant-spaces/x_flash/analopos.htm |
PROFILE
Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields. Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. The inspiration behind this performance - the idea that if one were to hurl an object down a well-balanced stairway, a pleasant rhythm might be the result - took the desire to "listen" as its subject. That desire to hear, to listen has remained the one constant in Suzuki's stance as an artist.
During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity. As an extension of the principles underlying Analapos, Suzuki constructed the Hinatabokko no kukan (Space in the Sun) in 1988. This space consists of two huge parallel walls, in between which the artist can sit all day and purify his hearing by listening to the reflected sounds of nature. This space leads the artist to discover a new method of listening. Suzuki himself comments, "Sound, which had been conceptually imprisoned in various spaces, is freed to circle the world."
From the late seventies and through the eighties, Suzuki also developed a form of performance he refers to as Conceptual Soundwork. Applying a number of self-imposed, simple and austere rules, he uses objects close at hand in a mode of "intellectual play". While these events do on the one hand express a critique of meaningless improvised performance, at the same time Suzuki is constantly aware of the audience's process of listening and he attempts to create contemporaneous connections with the site of performance. It was around this time that Suzuki began to travel frequently to the US and Europe, and his performances at leading music festivals, Festival d'Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received. As sound art enjoyed a period of prosperity in the nineties, Suzuki was given the chance to create many installations, particularly in Berlin. Worthy of special note were his soundless installations, such as Otodate (Echo point, 1996) in Berlin, Enghien-les-Bains (since 1997, http://www.insitu-enghien.org/) and Strasbourg; Hana (Flower, 1997) at the Stadtgalarie Saarbrucken; and Pyramid (1999) which involved people excavating sounds. These soundless pieces were not designed to critique the old perceptual theories of music, rather they questioned the very location of music. Through their encounter with these works, the past experiences and memories of viewers were reconstructed as new experiences. This process was fundamental to the action of "listening" to the works.
In recent years, the insights he gained from the Turbridge (1999-2000) installation at the Daad Gallery in Berlin have opened up new avenues of development for his future work. By recording and creating sound sources himself, and by using electric amplification with Suzuki's own self-designed output devices, he was able to reconstruct sounds and experiment with listening to the "factors of place". These experiments were followed up by the sound-drawing Mowe (Seagull, 2002) for the Berlin radio station SFB, and Nagekake & Tadori (Throwing and Following, 2002) which included some suggestions towards the construction of place. Visitors to the latter were able to experience a "place established by the artist as a wholly different space and time axis." To run simultaneously with these experiments, Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki's family. Using these ancient instruments Suzuki sculpts time and place, and through their music he searches for his own end.
The acoustical Society of America
A Survey of The acoustical Society of America
http://www.acoustics.org
http://www.acoustics.org
Harry Partch
A documentary about the composer Harry Partch who invented his own compositional method using a 43-tone scale and many instruments that he built by hand.
(documental de la BBC en 6 parts)
Per escoltar a Spotify:
Harry Partch – Revelation In The Courthouse Park
Harry Partch – 17 Lyrics Of Li Po
The great American composer and maverick iconoclast Harry Partch is better known for making musical instruments in ancient tuning systems than for rose petal jam, yet here he is in 1969 doing just that. Find out more on the www.innova.mu series Enclosures: Harry Partch
(documental de la BBC en 6 parts)
Per escoltar a Spotify:
Harry Partch – Revelation In The Courthouse Park
Harry Partch – 17 Lyrics Of Li Po
The great American composer and maverick iconoclast Harry Partch is better known for making musical instruments in ancient tuning systems than for rose petal jam, yet here he is in 1969 doing just that. Find out more on the www.innova.mu series Enclosures: Harry Partch
intonarumori
Mike Patton jugant amb reconstruccions!
http://www.acoustics.org/press/149th/serafin.html
The Intonarumori (noise intoners) were a family of musical instruments invented around 1913 by the Italian Futurist composer and painter Luigi Russolo. Each instrument was made of a parallelepiped sound box with a speaker on its front. Inside the box, a gut or metal string was excited by a rotating wheel. The speed of the wheel was changed by the player by using a crank, while the tension of the string was varied by using a lever. Such instruments were acoustic noise generators which allowed to simulate different everyday noisy sonorities. According to Russolo, the Intonarumori created different kinds of everyday sounds, from rumbles to screeches. The Intonarumori were a consequence of Russolo's theories regarding the structure of the futuristic orchestra. With the belief that the traditional orchestra needed some new sonorites, in his book ``The Art of Noises'' he proposed a taxonomy of noise sounds having six families of noises. Noises were divided in rumbles, whistles, whispers, screeches, percussion noises and human and animal voices. The 27 varieties of Intonarumori built by Russolo and his colleagues aimed at simulating such variety of noises. The different names of the instruments were created according to the sound produced: howling, thunder, crackling, crumpling, exploding, gurgling, buzzing, hissing and so on.
During World War II, all the original Intonarumori got destroyed. Several attempts to rebuild such instruments were made. Among them, the ones shown in Figure 1 are some reproductions recently shown at the exposition Sounds and Lights at the Pompidou Center in Paris.
Figure 1: Reproductions of Russolo's Intonarumori as shown at the exposition "Light and Sound" in Paris, December 2004.
As seen in Figure 1, the external appearance of each Intonarumori is similar. Each instrument is made of a sound box with a radiating horn attached at one extremity. The different timbres of the instruments are mainly do to the different excitation mechanisms, and are the origin of the names of the instruments. As an example, in the Gracidatore (the Croaker), whose excitation mechanism is shown in Figure 2, the shape of the rotating wheel allows to obtain plucked string sonorities. The wheel, rotating at a speed controlled by an external crank, excites a vibrating string attached at two extremities of the wooden soundbox. The player, as in the other instruments, is able to control the tension of the string by using an external lever.
Figure 2: The excitation mechanism of the Gracidatore.
In the Crepitatore (the Cracker), shown in Figure 3, the excitation mechanism is a metal wheel, and two levers are present, as well as two vibrating strings. This allowed the string attached to the drumskin to be different from the one excited by the rotating wheel.
Figure 3: A reproduction of the Crepidatore.
The same idea was also adopted in the Stroppicciatore (the Rubber). Documents and patents did not succeed in explaining the role of the two strings in the resulting sonorities produced by the instruments.
In the Ululatore (Howler), described by Russolo as "soft, velvety and delicate", shown in Figure 4, the excitation mechanism was a metal wheel.
Figure 4: The excitation mechanism of the Ululatore.
Russolo and his assistant Ugo Piatti researched all the physical aspects that could be varied in order to obtain different timbres and sonorities, in order to achieve a satisfactory simulation of the different families of noises.
As an example, the string was either steel or gut, the wheel either metal or wood, with its rim notched with small teeth or smoother, and the skins were soaked in a variety of special chemical preparations. Furthermore, the pressure of the wheel against the string, stronger than is necessary with a violin bow, created a louder and noisier sound quality.
Russolo also experimented with more radical Intonarumori, based on electrical rather than mechanical control, such as the one used in the Hummer (Ronzatore), which was more a percussion than a string instrument. It has been suggested that the electrical control might have been due to the need for a speed that was too rapid to have been achieved manually. As a supplementary enhancement, a second lever was added in the Burster (Scoppiatore), the Whistler (Sibilatore) and the Gurgler (Gorgogliatore). In his writings, Russolo does not explain the need for such second lever.
The understanding of the sound production mechanism of the instruments from the Intonarumori family is a fundamental step for the development of computer simulations of such instruments, as well as physical reconstructions of them. Such computer simulations are important for preservation of the instruments and development of new extended musical instruments.
per ordenar
Sculture Sonore - scultura sonora - Stormo Sonoro di Lucia Balzano -Olbia-
www.luciabalzano.com
Symphony for 54 Shoes (Distant Echoes) - Ingrid Bachmann
| November 12, 2007
Ingrid Bachmann's kinetic art installation was first presented in Regina, Saskatchewan, Canada. For Bachmann the piece is an exploration of tender or pathetic technology, for ends that are not necessarily considered productive.
Latest version was shown November 13 to December 14, 2008, at La Galerie des arts visuels, Université Laval, Quebec City.
Video: Wojtek Gwiazda
Websites:
http://www.arv.ulaval.ca/galerie/ingr...
http://www.molior.ca
http://www.ingridbachmann.com
From the Galerie des arts visuels website:
"L'œuvre habite ainsi l'espace tant par sa présence physique que sonore et évoque certes une présence humaine, personnages évoqués, anonymes qui nous proposent leur chorégraphie étrange et antispectaculaire."
Direction de la Galerie - Lisanne Nadeau
From Bachmann's website:
"This project continues my exploration of non-screen based computer technology to create works that interact with, confront and/or incorporate the physical world. I try to bring the complexity of the real world and experience into the digital experience, to complicate the relations between the virtual and material realms, to create works that situate themselves in the world in rich sensory, tactile and sonic ways."
Andrea Carson "View on Canadian Art" October 30, 2007:
http://viewoncanadianart.com/2007/10/...
"Symphony for 54 Shoes (Distant Echoes) ... echoes a tradition of 'ghost' works by artists including sculptor Rachel Whiteread, Christian Boltanski and Polish theatre & installation artist Jozef Szajna."
Other websites:
Bachmann's hermit website: http://www.digitalhermit.ca/
Turbulence project - New Radio and Performing Arts, Inc. website: http://transition.turbulence.org/netw...
Centre for Contemporary Canadian Art website:
http://www.ccca.ca/artists/artist_inf...
Latest version was shown November 13 to December 14, 2008, at La Galerie des arts visuels, Université Laval, Quebec City.
Video: Wojtek Gwiazda
Websites:
http://www.arv.ulaval.ca/galerie/ingr...
http://www.molior.ca
http://www.ingridbachmann.com
From the Galerie des arts visuels website:
"L'œuvre habite ainsi l'espace tant par sa présence physique que sonore et évoque certes une présence humaine, personnages évoqués, anonymes qui nous proposent leur chorégraphie étrange et antispectaculaire."
Direction de la Galerie - Lisanne Nadeau
From Bachmann's website:
"This project continues my exploration of non-screen based computer technology to create works that interact with, confront and/or incorporate the physical world. I try to bring the complexity of the real world and experience into the digital experience, to complicate the relations between the virtual and material realms, to create works that situate themselves in the world in rich sensory, tactile and sonic ways."
Andrea Carson "View on Canadian Art" October 30, 2007:
http://viewoncanadianart.com/2007/10/...
"Symphony for 54 Shoes (Distant Echoes) ... echoes a tradition of 'ghost' works by artists including sculptor Rachel Whiteread, Christian Boltanski and Polish theatre & installation artist Jozef Szajna."
Other websites:
Bachmann's hermit website: http://www.digitalhermit.ca/
Turbulence project - New Radio and Performing Arts, Inc. website: http://transition.turbulence.org/netw...
Centre for Contemporary Canadian Art website:
http://www.ccca.ca/artists/artist_inf...
Ellen Fullman
http://www.ellenfullman.com
Ellen Fullman performance at Berkeley Art Museum, December 4, 2009. With Ther...
Ellen Fullman performance at Berkeley Art Museum, December 4, 2009. With Ther...
vegetals
nap de bara
ocarines de poma
flautes de pa("pa" de pastanaga)
amb sordina
clarinet
ocarina de pebrots (sí, està molt cardat....)
violí!!!!
ocarines de poma
flautes de pa("pa" de pastanaga)
amb sordina
clarinet
ocarina de pebrots (sí, està molt cardat....)
violí!!!!
tom kaufmann
Tom kaufmann, un ficki de la fricció, menor...
vinculem-ho a l'arpa japonesa straingraphy i els invents de Baschet
llàstima que toqui aquest bunyol sobre una base de plàstic...
diu
http://www.tinkertunes.com/tom-kaufmann
Tom Kaufmann is an entertainer, wire sculptor, instrument builder and music educator.
aquest és el més original
vinculem-ho a l'arpa japonesa straingraphy i els invents de Baschet
llàstima que toqui aquest bunyol sobre una base de plàstic...
diu
http://www.tinkertunes.com/tom-kaufmann
Tom Kaufmann is an entertainer, wire sculptor, instrument builder and music educator.
He began his career as a professional musician over thirty years ago at a night club in Osaka, Japan. Since that time he has entertained audiences as a soloist and with a number of groups in the San Francisco area, on Florida’s Gulf Coast, and throughout the midwest. Tom’s Bio
He’s currently appearing in the Beacon Lounge at the top of the Historic Park Place Hotel in Traverse City, Michigan.
Performance ScheduleRecently, his creative efforts have focused on the construction of a series of unusual outdoor musical instruments like his lithophones and friction harp. His sound sculptures are featured at the Children’s Garden at the Charlevoix Michigan Public Library, and at the Garoon Gateway to Science in Lake Zurich, Illinois.
In 2009 he completed the Earth Tones Musical Garden at Raven Hill Discovery Center in East Jordan, Michigan. This video demonstrates some of the instruments:
In 2001 Tom began a new career as a sculptor, when he designed a musical wire sculpture called Your Name Rings a Bell. Since then he has created an ever expanding collection of whimsical wire figures, three dimensional doodles, and customized mobiles. You can see his work, and hear an original composition, in this video:aquest és el més original
Suscribirse a:
Entradas (Atom)