sábado, 29 de julio de 2017
jueves, 27 de julio de 2017
martes, 25 de julio de 2017
domingo, 23 de julio de 2017
sábado, 22 de julio de 2017
viernes, 21 de julio de 2017
jueves, 20 de julio de 2017
miércoles, 19 de julio de 2017
martes, 18 de julio de 2017
lunes, 17 de julio de 2017
domingo, 16 de julio de 2017
sábado, 15 de julio de 2017
viernes, 14 de julio de 2017
Morton Feldman: For John Cage (1982), with film, "One11," by John Cage
Morton Feldman:
“I prefer to think my work as between categories: between Time and Space. Between painting and music. Between the music’s construction, and its surface.”
“We do not hear what we hear… only what we remember.”
“A modular construction could be a basic device for organic development. I use it to see that patterns are ‘complete’ in themselves, and in no need for development—only of extension. My concern is: what is its scale when prolonged, and what is the best method to arrive at it.”
“I’m involved in stasis. It’s frozen, at the same time it’s vibrating.”
“He’s [Cage’s] always on my mind.”
“The composer makes plans, music laughs.”
“If you don’t have a friend who’s a painter, you’re in trouble.”
“[For John Cage is] a little piece for violin and piano that doesn’t quit.”
“To me pitch is direction.”
John Cage:
“I have nothing to say
and I am saying it
and that is poetry
as I need it.”
“There is no such thing as an empty space or an empty time. There is always something to see, something to hear.”
“Every day it seems some close friend dies.”
---
Duo 404
Alexander "Sasha" Yakub, violin
Forrest Eimold, piano
Holden Chapel @ Harvard University
December 17, 2016
“I prefer to think my work as between categories: between Time and Space. Between painting and music. Between the music’s construction, and its surface.”
“We do not hear what we hear… only what we remember.”
“A modular construction could be a basic device for organic development. I use it to see that patterns are ‘complete’ in themselves, and in no need for development—only of extension. My concern is: what is its scale when prolonged, and what is the best method to arrive at it.”
“I’m involved in stasis. It’s frozen, at the same time it’s vibrating.”
“He’s [Cage’s] always on my mind.”
“The composer makes plans, music laughs.”
“If you don’t have a friend who’s a painter, you’re in trouble.”
“[For John Cage is] a little piece for violin and piano that doesn’t quit.”
“To me pitch is direction.”
John Cage:
“I have nothing to say
and I am saying it
and that is poetry
as I need it.”
“There is no such thing as an empty space or an empty time. There is always something to see, something to hear.”
“Every day it seems some close friend dies.”
---
Duo 404
Alexander "Sasha" Yakub, violin
Forrest Eimold, piano
Holden Chapel @ Harvard University
December 17, 2016
jueves, 13 de julio de 2017
miércoles, 12 de julio de 2017
martes, 11 de julio de 2017
lunes, 10 de julio de 2017
domingo, 9 de julio de 2017
El Juego filarmónico
Los “Musikalisches Würfelspiel” o “Juegos de dados musicales” fueron muy populares a mediados del siglo XVIII en Europa Occidental. El llamado “Juego filarmónico” es un ejemplo de este sistema para crear música de manera aleatoria, datado en 1780 y atribuido según fuentes de la época al compositor Franz Joseph Haydn (1732-1809); aunque todo parece indicar que su verdadero autor fue otro compositor austriaco llamado Maximilian Stadler (1748-1833). El Juego fue concebido como un entretenimiento destinado a las reuniones sociales, pero también como un estudio teórico de composición musical.
Mediante un sencillo juego de dados, cualquier persona sin conocimientos musicales podía componer infinidad de pequeñas piezas en forma de “minué”, el baile de salón más popular de la época.
sábado, 8 de julio de 2017
viernes, 7 de julio de 2017
jueves, 6 de julio de 2017
miércoles, 5 de julio de 2017
martes, 4 de julio de 2017
lunes, 3 de julio de 2017
domingo, 2 de julio de 2017
sábado, 1 de julio de 2017
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