september basses / magazine
le son du grisli
self-defining a scene
edition: wolke
ISBN 978-3-936000-82-5
Shaped by the perspectives of participants and various observers, the book Echtzeitmusik Berlin –
Self-Defining a Scene investigates, documents, and reflects on a multilayered phenomenon within Berlin’s musical culture, a phenomenon whose influence and meaning has effects that extend far beyond Berlin itself. Having emerged in the open spaces of the city’s east side after the fall of the Berlin Wall, and rooted in a cultural coordinate system made up of squats and free improvisation, punk and New Music, social experimentation and performance art, the Echtzeitmusik scene has passed through an eventful history of musical and social development and matured into a wide spectrum of predominantly experimental forms of music, bordering on fields as varied as noise, electronica, trash pop, free jazz, and contemporary composed music, not to mention performance and sound art.
This book is a theoretical approach to a scene that constituates itself through practice, that describes itself with every single contribution here, that invents, defines, and positions itself through writing. It is a verbal act of uncovering. There is not the history, but a myriad of histories, not the theory, but the widest range of somewhat discordant conceptions and approaches. Echtzeitmusik – Self-Defining a Scene mirrors this multiperspectivity. It is more than a mere documentation of the history of Echtzeitmusik, it might be considered a part of this history.
Theoretical texts, memories, statements and artwork by Thomas Ankersmit, Harald Ansorge, Serge Baghdassarians, Boris Baltschun, Jürg Bariletti, Johannes Bauer, Burkhard Beins, Marta Blažanović, Nicholas Bussmann, Lucio Capece, Diego Chamy, Clare Cooper, Werner Dafeldecker, Rhodri Davies, Bertrand Denzler, Bill Dietz, Axel Dörner, Phil Durrant, Ekkehard Ehlers, Sabine Ercklentz, Andrea Ermke, Kai Fagaschinski, Fernanda Farah, Kerstin Fuchs, Björn Gottstein, Matthias Haenisch, Hanna Hartman, Franz Hautzinger, Robin Hayward, Teresa Iten, Sven-Åke Johansson, Margareth Kammerer, Christian Kesten, Annette Krebs, Christof Kurzmann, Greg Malcolm, Thomas Meadowcroft, Chico Mello, Thomas Millroth, Toshimaru Nakamura, Gisela Nauck, Vered Nethe, Andrea Neumann, Nina Polaschegg, Michael Renkel, Ana Maria Rodriguez, Adeline Rosenstein, Arthur Rother, Olaf Rupp, Ignaz Schick, Ulf Sievers, Stefan Streich, T. Turner, Michael Vorfeld, Antje Vowinckel und Steffi Weismann
buch mit cd / 2003
edition zeitschrift für neue musik
verlag: schott music
ISBN: 978-3-7957-0477-3
Peter Niklas Wilson kreist in seiner Studie das komplexe Phänomen der musikalischen Reduktion ein: In konzisen Essays
zu Themen wie „Monochromie und Modularität“, „Minimal Art und Minimal Music“, „Maßstab, Fokus und Klangraum“,
in brennpunktartigen Betrachtungen musikalischer „Nullstellen“ bei Feldman oder Wolff, aber auch bei Aufnahmen
des Kollektivs Polwechsel oder im Minimal-Techno Thomas Brinkmanns.
Und „Fenster“ öffnen immer wieder den Raum
für die Stimmen anderer, u. a. Jo Kondo, Ernstalbrecht Stiebler, Peter Michael Hamel.
Die CD enthält historische und aktuelle Schlüsselwerke reduktiver Musik. Die Studie richtet sich an Wissenschaftler sowie an alle, die sich für Musik der Reduktion in allen modernen Musikrichtungen interessieren.