MUGATXOAN 2011-2012

Friday, January 20th, 2012

mugatxoan

Cuando el cuerpo desaparece / Gorputza desagertzen denean

un proyecto MUGATXOAN 2011-2012-ren egitasmoa

Abierta la convocatoria para el programa de febrero:
Otsailarako deialdia irekita:

Ots 20-22 feb.
Taller Auto-reflexividad y auto-consciencia. Peio Aguirre.
Auto-erreflexibitatea eta auto-konszienzia tailerra, Peio Agirre.

Ots 24-26 feb.
Emisión 0, programa radiado con varios invitados que incluye performances,
conferencias, conversaciones, e intervenciones
0 Emisioa: Gonbidatu desberdinen performanceak, hitzaldiak, elkarrizketak eta eskuhartzeekin osatutako irratsaioa.

Otsailaren 20tik 26ra / Del 20 al 26 de febrero
Museo San Telmo, Donostia- San Sebastián

Inscripción / Izen-ematea: Otsailak 3a baino lehen / Antes del 3 de  Febrero

Más información / informazio gehiago: info@mugatxoan.org
blogs.audio-lab.org

PDF_programa_MUGATXOAN_CONV_ES
PDF_programa_MUGATXOAN_CONV_EU

TACET #1

Thursday, January 19th, 2012

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TACET aldizkariaren lehen aleak berriki ikusi du argia. Musika esperimentalaren azterketari, komentarioari eta kritikari eskainitako aldizkari-liburua, bi hizkuntzatan argitaratu da, frantseseraz eta ingeleseraz, eta lehen ale honetako John Cagen figura hartu du oinarri. Hortarako hainbat idazle gonbidatu ditu aldizkariak: Matthieu Saladin, Philip Gentry, Sarah Troche, Toshiya Tsunoda, Jean-Yves Bosseur, Xabier Erkizia, Seth Kim-Cohen, Michael Pisaro, Sophie Stevance, Mattin, Radu Malfatti, Jérôme Noetinger, Kenneth Silverman, Julia Robinson…
Hurrengo alerako deialdi irekia egin dute.

press kit web

TACET is a new research publication dedicated to experimental music.
Published annually and bilingually (French and English), its ambition is to create an interdisciplinary and international space of reflection for this music, in all its aesthetic diversity : from noise to improvisation, via electroacoustic, electronic, minimalist music,
silent, indeterminate, conceptual, sound poetry, free jazz, field recordings, sound art, etc. We should specify that the experimentation does not belong to a specific genre of music, but depends on the artistic approach that leads the practice.

TACET, as John Cage showed so well in 4’33’’, designates a moment of silence observed by an instrumentalist during the whole period of a movement. By extension, it becomes, as the title of this publication, a moment of introspection, of reflectivity and reflection, where music interrupts itself to give way to research and theoretical questioning.

TACET aims, in this way, on the side of experimental music, to contribute to the renewal of theoretical research by confronting and intersecting musicians’ speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography. In short, like the publication Source, edited by Larry Austin, at the end of the 1960s, it is there to form a space of scientific and heuristic experimentation on the different creative processes that nourish this music and its reception, and also, on larger sociocultural problems that affect it intimately. The publication does not have as its object to decrypt the supposed hidden meaning in works –such a hidden meaning does not exist, as Cornelius Cardew reminds us in a Wittgensteinian fashion–, but to interrogate modalities, the forms and how they relate to creativity in this music, its evolution, its transformation, and the relationships it maintains with the societies of which it is a part.

The publication will be developed according to four principal types of discursive movement: 1) Flux, bringing together an ensemble of in depth studies and articles responding to the principal question of each issue; 2) Influx, putting in tension the first flux by an ensemble of free reflection papers and of shorter format; 3) Afflux, inserts and points of discourse constituted by images, citations, archives and other documents, deploying themselves throughout the pages by association and resonating with the different texts; 4) Reflux, book critical reviews and work reports of recordings, performances and events relating to experimental music.For the details regarding each column, see our file instructions for authors.

http://revue-tacet.tumblr.com

ADEMEN

Wednesday, January 18th, 2012

Iruñea-Galicia-Hague

[ar058] ADEMEN | YOLANDA URIZ & ANGEL FARALDO

ADEMEN | Yolanda Uriz & Angel Faraldo
www.yolandauriz.info | www.angelfaraldo.info

Yolanda Uriz, Digital Flute Processing (DFP)
Ángel Faraldo, Computer-Based Synthesizer (MISS)

Recorded on September 23, 2010 in The Hague (The Netherlands).
Mixed and mastered by Ángel Faraldo. Design by Aniana Heras

VISIT RELEASE SHEET | DIRECT DOWNLOAD

AUDITION RECORDS

LARRASKITO AUDIO DISSECTION UNIT

Wednesday, January 18th, 2012

Disko berria Norbegiako Bilbotik / Nuevo disco de Bilbo, Noruega


R-3275365-1323502897

larraskito audio dissection unit . exiled in bilbao
limited edition digipack CD
coproduced by dim records [DIM023] gold soundz [GS#111] Tibprod [TIBCD127] series negras [SN008]

performed by cam deas (tracks: 5), carlos valverde (tracks: 3,5), jan m. iversen (tracks: 2,4,6), kakofunk (tracks: 7), miguel a. garcía (tracks: 1,4,6), oier ia (tracks: 2,3,6,7), sindre bjerga (tracks: 1,3,7), steffan de turck (tracks: 1,2,4,7)

played and recorded in larraskito, bilbao
edited by miguel a. garcia & jan m. iversen
mastered by miguel a. tolosa
special thanks to elena aitzkoa

sound sample: http://soundcloud.com/miguel-a-garc-a/larraskito-dissection-unit

A medio camino entre el antes y el después

Tuesday, January 17th, 2012

(…) El primero era un señor que había sido entrevistado por Gould en la radio, sobre no sé que tema, quizá algo geográfico, la belleza del Gran Norte, algo por el estilo. Da igual. Vuelven a entrevistar a ese señor y se pone a contar que aquel día en la radio Gould le había dejado hablar, sin casi interrumpirle, durante todo el tiempo, y que mientras él hablaba le había dirigido, quiero decir (él quería decir) que daba vueltas a su alrededor moviendo los brazos como un director de orquesta, dándole tiempo, dirigiéndole como si fuera música lo que oía y no palabras. Y de hecho es como para apostar que lo que él oía -él: Gould, Glenn Gould- era música y no palabras, cuyos significados no debían importarle lo mas mínimo, pues era su sonido, y sólo eso, lo que le embelesaba.

Y entonces pensé en que deber ser la vida para alguien que ve la música en todas partes: que especie de babélico concierto. A la larga, insostenible. Pensé en la voz que anuncia los trenes de la estación, en la cisterna del inodoro, en los truenos de verano, en los frenazos que oyes por la ventana y luego te asomas a mirar, en el gas que sale cuando desenroscas el tapón de una botella de agua: todo música, para él. ¿Qué haces? Es como si te dejaran perdido en una partituta mahleriana. Antes o después te mueres. A medio camino entre el antes y el después.

Alessandro Baricco
“Glenn Gould entre las estrellas”
BARNUM, crónicas del Gran Show Musical (Nortesur, 2011)

SOINUMAPA @ Art’s Birthday

Tuesday, January 17th, 2012

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Gaur bertan urtarrilaren 17an ospatzen da Art’s Birthday ospakizuna. Besta berezi hau Robert Filliou fluxus artistak proposatu zuen 1963an eta geroztik urtero ospatzen da han-hemenka, ez beharbada egunero kontatzen dizkiguten nazioarteko egun ofizialak bezala, baizik modu librean, ia anarkikoan. Vienako Kunstradiok bere aldetik ospakizunekin bat egitea erabaki zuen orain urte batzuk eta bidenabar Europako hainbat irrati ere lotu zituen. Hala, urtero Europako irrati nagusi aunitzek egiten dute bat artearen urteurrenarekin. Eta aurten, RNEren gonbidapenari erantzunez Soinumapa.net-eko grabaketak entzungo dira besta horretan (ikus beherago). Emanaldia GAUR URTARRILAREN 17an ARRATSALDEKO 20:10etan. irakurri RNEren prentsa oharra.

19:10 – 19:30 [gmt] RNE

Litoral (Seaboard)

(soundscapes-radio mix by José Manuel Costa and Ana Vega Toscano)
Spain is still a land with some unspoiled spaces and wild coasts. Maybe that’s the reason why a generation of field recorders has been extremely active in the last decade, generating complex sound maps of several regions or releasing a very appreciable corpus of soundscapes,. For this Art’s Birthday we propose a travel along the coasts of Spain, beginning in the north and along the shores of the Cantabrico, de Atlantic Ocean, the Gibraltar Strait and the Mediterranean Sea , in Valencia and Cataluña. This travel in 20 minutes has been realized through the Radio Clásica program Vía Límite, by José Manuel Costa, with material provided by Xabier Erkizia, Juanjo Palacios, Carlos Suárez, Chinowsky Garachana, Edu Comelles and José Manuel Berenguer.

Biographies:

Xabier Erkizia ( Golfo de Vizcaya)
The work of artist Xabier Erkizia is based on the search and in-depth exploration of different directions in music and sound. His installation formats, solo performances, group improvisations, and other projects combine different ideas, persons, sounds, materials and experiences. In addition to his work as an artist, he is a founding member of the ERTZ cultural association, director of the ERTZ international festival and director of the sound laboratory at the ARTELEKU contemporary art center in San Sebastian.

Juanjo Palacios (Asturias, Cantábrico)
Sound artist and phonograph recorder, Juanjo Palacios is a founding member of the Xizidium group and author of the blog “La escucha atenta”, dedicated to the phonography . In its sound projects, the digital precision merges with the acoustics of the sounds around us, creating imaginary soundscapes.

Carlos Suarez (Galicia, Atlántico)
Composer and ethnomusicologist. Master composer by the Conservatorio Superior de Música Simón Bolívar de Caracas. Ethnomusicologist  by FUNDEF. Ha has created more than 40 acoustic and electroacoustic Works. He has composed for dance, theatre, radio, video or installations.

Chinowsky Garachana (Andalucía, Estrecho)
Sound activist and audio-kinetic artist, co-founder of the collective El Sueño de Tesla, part of La Casa Invisible, whose central work is the archive, the production and the pedagogy around an Acoustic-Visual Culture, with special care for the social subjects through new forms of creation.

Edu Comelles (Valencia, Mediterráneo)
Graduated in Fine Arts, Edu Comelles works on sound composition since 2006. His works have been published by various netlabels. Comelles is also de curator of Audiotalaia Netlabel and he’s involved in different collective and individual projects involving sound composition and installations.

José Manuel Berenguer (Barcelona, Mediterráneo)
Director of the Chaos Orchestra and the Música 13 Festival, founder of Nau Côclea, member of the Bourges International Academy of Electroacoustic Music and Honorary President of the UNESCO International Music Council’s International Conference of Electroacoustic Music.

José Manuel Costa
Critic and curator in visual and acoustic arts. Founder and co-founder of several cultural magazines and of the Art Magazine of the daily ABC. National Price of the Critic. He is the director of the program Vía Límite in Radio Clásica.

[audiolab] SOINUMAPA update 2012-01

Monday, January 9th, 2012

soinumapa2011

Soinumapa.net egitasmoaren 2012ko lehenbiziko 20 grabaketen errepasoa. Ea ze soinu berri ekartzen dizkigun urte berriak. Milesker soinuak grabatu eta partekatu dituzuen guztiei!

Primer repaso de las primeras 20 grabaciones añadidas a Soinumapa.net durante el recién estrenado 2012. A ver que sonidos nos trae el nuevo año. Gracias a todos/as los/las personas que han grabado y compartido sus grabaciones!

- Letona: Eliz atarian / A la puerta de la iglesia 03:08
- Zerain: Garai bateko musikariak / Músicos de antaño 02:56
- Elduaien: Behi granja / Granja de vacas 02:47
- Elgorriaga: Urte Berri / tradición de año nuevo 03:20
- Bera: Dios te salve 03:44
- Bera: Glin-glan 08:11
- Eultz: Eguerdia / Mediodía 02:59
- Urdiain: Ur-goiena / Trad. Ur goiena 01:56
- Iruñea: Bideko Ama / Virgen del camino 02:34
- Bera: Agonia / Agonía 01:30
- Eraso: Pilotan / A pelota 01:41
- Orokieta: Oro quiet / Todo tranquilo 02:37
- Bera: Olentzero 2011 03:06
- Senpere: Ilunabarreko musika / Música al anochecer 04:20
- Asteasu: Herriko plaza / Plaza mayor 05:27
- Hernani: Larrialdi kimikoa / Emergencia química 04:58
- Portugalete: zorroztailea / Afilador 01:41
- Ezkio: Aizkol apustua / Apuesta de aizkolaris 03:29
- Zarautz: Estropadak / Campeonato de remos 07:02
- Pasai San Pedro: Eguerdia / Mediodía 04:50

[www.soinumapa.net]

MUSIKARI IZATEAREN ARAZOAK

Friday, January 6th, 2012

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Berria egunkariak 2012ko urtarrilaren 5ean BI AHOTSETARA iritzi atalean argitaratu bezala:

Ez dira oso maiz topatzen egun gutxiren bueltan hain modu berezi eta antagonikoan gurutzatzen diren bi berri. Batek Kataluniako piano jotzaile batek bizilagunari ordaindu beharreko isunaren istorioa kontatzen du. Lau urtez eta zortzi orduz egunero pianoaren musika (artikuluaren arabera pianoaren zarata) sufritu eta gero, aski dela pentsatu du bizilagunak, eta kalte-ordainak eskatu dizkio dagoeneko bizilagun ohi duen pianistari. Musikaren munduan karrera egin nahi duen bizilagunen bat dutenek dakite kontu hau zein serioa izatera irits daitekeen. Arazoa ez da soilik etengabe musika entzuteak suposatzen duen tormentua, etengabe errepikatzen den musika pieza (edo zati) berak sortzen duen nekea baizik. Epaileak arrazoi eman dio entzuleari, eta kalte-ordainak eskatu dizkio musikariari eta haren gurasoei. Musikariak bere lanbidea izugarri exijentea dela argudiatuz defendatu du bere burua.

Bigarren berriak egunero 24 urtez eta zortzi orduz musika egitea lanbide izan duen musikariaren eskari profesionala kontatzen du. Hainbertze orduz bere lanabes izan duen tronboiak eta lan egiten zuen orkestrak batez beste sortzen duten 80 dezibeleko bolumenak —metro gutxi batzuetara pasatzen den autoak edo ontzi garbitzaile batek sortzen duenaren parekoa— eragindako osasun kalteen ordainak eskatzen ditu. Musikaren munduan karrera egin nahi dutenek ongi dakite kontu hau zein serioa izatera irits daitekeen, arazoa ez baita etengabe musika jotzeak suposatzen duen tormentua, hainbertze ematen dizun horrek hainbertze kentzen dizula jakiteak suposatzen duen trantzea onartzea baizik. Aseguru etxea kexu da, gorreria ezin delako hain erraz probatu, baina epaileak gaixotasun profesionala onartu dio entzuleari, eta kalte-ordainak eskatu dizkio aseguruari. Musikariak ez du argudiatu bere lanbidea exijentea denik.

Bi kasuetan legeak entzulea onartu du biktima moduan, eta musika jo du erruduntzat. Musikariaren patua izango da orduan biktima eta borrero izatea aldi berean.

Xabier Erkizia