Jessie Marino » Fluidity of Musical Materials « Öffentlicher Vortrag im Rahmen der Reihe »The Short Now«
Mittwoch, 11.11.2020 | 18:00 – 19:00 Uhr | Orchesterprobenraum
“Feeing the music thus involved feeling a lot of things not containable in sound, and things I could not literally feel… I was to be awake to the place where I am.”
Let’s speak about a fluid music.
This is a music that finds itself in-between. Permeating spaces of music, sound, light, visuality, dance, gesture, theater, narrative and choosing from this plethora of material anything which the work finds necessary.
This is a music obsessed with time and time’s organization. There are numerous structures: historically musical (rondo, sonata, fugue), historically theatrical (narrative), random and chance based, minimal/repetitive, to name a few….
In a performance, an audience will be present and a mutual understanding is formed between audience and performer that you are here to witness/present something.
But what kinds of baggage do these materials present, and how, as a time based art, is music
prepared to deal with the cultural understandings of the material itself?
Praktischer Workshop im Rahmen der Reihe »The Short Now«
10. , 12. , 13. , 14., November | jeweils von 14 – 18 Uhr mit Abschlusspräsentation im Rahmen des werk_statt_festivals am Abend des 14. November | Ort wird hier bekannt gegeben
In this workshop, students will be asked to compose and perform works of “music” using atypical sound producing techniques or extra-musical materials. Extra-musical materials are defined as elements not specifically related to sound, which can be organized and manipulated in time, such as physical gesture, lighting, video, props, toys, everyday objects, etc. We will analyze historical examples of works which use these extra-musical materials in conjunction with tactics of temporal structuring to create bodies of work which are hard to pin down as purely “music”.
Students will learn techniques of traditional music composition and structured improvisation related to the development and manipulation of time and time-based structures and invites the use of software and hardware for live performance. Students will be asked to compose and perform original works in different configurations of solo and collaborative formats, culminating in a final live-performance, curated and designed by the entire class. This workshop will include studio time for cultivating, building, rehearsing and receiving feedback on their work. Previous technological or musical knowledge is not required. Willingness to make performativity a priority, to ask musical instruments to work harder and smarter than convention and to be thoughtful and communicative experimenters is a must!
Jessie Marino (Berlin) ist Komponistin, Performerin und Medienkünstlerin. In ihren Projekten arbeitet sie mit Sound, Video, Gesten, Licht und Inszenierung und setzt alle diese Elemente als musikalisches Material ein. » https://www.jessiemarino.com
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