Artistic research: FROM THREEFOLDNESS TO MULTI-FOLDNESS
Auditory and Visual Improvisation in the intallation „sans plus“ (2010)
- 宮 - 君主 Monarch
- 商 - 臣下 Vassals
- 角 - 民 people
- 徴 - 事 matter
- 羽 - 物 object
- Gōng (宮; annähernd: c d e g a)
- Shāng (商; annähernd: d e g a c')
- Jué (角; annähernd: e g a c' d')
- Zhǐ (徴; annähernd: g a c' d' e')
- Yǔ (羽; annähernd: a c' d' e' g')
In my project, B.O.D.Y. - trace (Performance) and B.O.D.Y. - tsuki o shita(f)u 月を慕ふ (Installation)
Creativity in a compostion by Toru Takemitsu and transculturality from the western contemporary music.
Cage's research „Ryoanji“ is very profound, his research tells me about phenomenology in his research.
The wuxing (Chinese: 五行; pinyin: wǔxíng), also known as the Five Elements, Five Agents, Five Movements, Five Phases, Five Planets,[1] Five Processes, Five Stages, Five Steps, or Five Ways, is the short form of "wǔ zhǒng liúxíng zhī qì" (五種流行之氣) or "the five types of chi dominating at different times".[2]It is a fivefold conceptual scheme that many traditional Chinese fields used to explain a wide array of phenomena, from cosmic cycles to the interaction between internal organs, and from the succession of political regimes to the properties of medicinal drugs. The "Five Phases" are Fire (火 huǒ), Water (水 shuǐ), Wood (木 mù), Metal (金 jīn), and Earth (土 tǔ). This order of presentation is known as the "Days of the Week" sequence. In the order of "mutual generation" (相生 xiāngshēng), they are Wood, Fire, Earth, Metal, and Water. In the order of "mutual overcoming" (相剋/相克 xiāngkè), they are Wood, Earth, Water, Fire, and Metal.[3][4][5]
The system of five phases was used for describing interactions and relationships between phenomena. After it came to maturity in the second or first century BCE during the Han dynasty, this device was employed in many fields of early Chinese thought, including seemingly disparate fields such as geomancy or feng shui, astrology, traditional Chinese medicine, music, military strategy, and martial arts. The system is still used as a reference in some forms of complementary and alternative medicine and martial arts.
Csound for Cage's Ryoanji
A possible solution for the Sound System
francioni61021 AT libero.it
With this article, I would like to continue the discussion begun in Issue 13 [Spring] of the Csound Journal, examining another piece for acoustic instrument sounds and supporting sound system. This piece is a version of John Cage's Ryoanji for contrabass with percussion obbligato (vocalise ad libitum), published originally by Edition Peters. I hope to please not only the double bass players, but also all of the musicians that use Csound everyday.
Toru Takemitsu is an avant-garde composer in western classic music from the Japanese perspective, whose composition is a contrast to the Takemitsu piece that is a GAGAKU (雅楽) piece by Karlheintz Stockhausen, in the western (European) contemporary music, Germany.
„Ryoanj“ by John Cage, in the western (American) contemporary music, Avant-garde American contemporary music.
Score Ryoanji
for trombone (für Posaune)
with percussion or orchestral obbligato
ad´nd ad lib. with other pieces of the same title
Another type of musical semi-formalist composition in GAGAKU was by Stockhausen. His elements were rather literary (metaphorical).
Deconstruction:
This research and exploring „Roanji“ by Cage is on the way of minimalism.
Another compositional idea is serialism that was explored by Schönberg. It is a compositional technique in which a fixed series of notes, especially the twelve notes of the chromatic scale, are used to generate the harmonic and melodic basis of a piece (musical Variation and musical Imitation) and are subject to change only in specific ways. The first fully serial movements appeared in 1923 in works by Schoenberg. It's genres including electronic and computer music in the western contemporary music.
Page: Artistic research From Twofoldness to Multi-foldness ->
A piece „TOKI“ with tonal of the GAGAKU instruments by Erika Matsunami and Niklas Schmincke in the project „still/silent" is 'nothing/nichts (無)' (in German 'weilen'.) in this system of GAGAKU scale, accordingly, this piece was conceptualized for the performance by OIO in the installation.
時 (Toki) is a time duration on earth, at the same time, 時 (Toki) is in our 'Empfindung' (sensation) that is our 'existence'.
-> DVD “still/silent" (Revolver publishing, GEMA, Germany)
<- Many Artists such as composer, visual artist and media artist in the post-war generation have dealed with this Five Agents and Taoism.
On a score (Partitur) „Corona for pianist(s)/pour clavier/s“ (1962) by Toru Takemitsu
- Why this title in English is for pianist(s) and in French is for piano(s)?
<-> Iannis Xenakis, in the western (European) contemporary music, France
This score is a form of a circle, but without the center. In the center is empty space, due to his thinking on time and space in this score is from the outside of space, which is not from the center.
Zeitgenössischer Medienkunst Heute:
Skulpturale Aspekte in der Lautsprechermusik, ZKM, Germany, 2019
Aurale Skulpturalität – Spatiotemporale Phänomene auditiver Medientechniken, Gerriet K. Sharma
Konzert-Programm:
- John Chowning »Stria«
- György Ligeti »Artikulation«
- Gottfried Michael Koenig »Klangfiguren II«
- Pauline Oliveros »Three Pieces«
- Iannis Xenakis »Diamorphoses«
- Karlheinz Stockhausen »STRAHLEN«
-> I think that Takemitsu wrote (conceptualized) this Patitur both for further computer(s) music (as well as John Cage) and for pianist(s).
-> Extra page: further research on a score (Partitur) „Corona for pianist(s)/pour clavier/s“ (1962) by Toru Takemitsu.
At that time, the data medium was floppy.
This artistic research goal is for the development of a new score from „Corona“ by Takemitsu in the subject of transculturality in terms of the artistic researches GRAPHY and from multi-foldness to manifoldness.
As 'Skulpturalität' on the subject of cube in Lautsprechermusik, this idea is monumental and it's based on the classic idea of sculpture in Germany (Middle Europe) such as German idealism. i.e. Speaker itself is multi-speaker, thereby the question is in the music composition. Such as why the out-put must be multiple and in a position of the space? It might be the center of a space. Each sound might be mono-discret. (I think that I've listened to it in Berlin, there was the lecture, but I have not much remembered the sound...)
As an interpretation of his score, I think that there is no starting point and also no ending point in the circle form. In my compositional work B.O.D.Y. also, there is no starting point, and ditto no ending point, but in the chaos mathematically.
What is a new technology in this subject today? It is 'Digital' (Digital data) as material, a new technology 'Big Data' and its system in this subject, and its (tele-) communication is via Satellite.