Bøger udgivet af Wolke Verlagsges. Mbh

Wie klingt der Jazz der Zukunft? Wen erreichen wir mit dieser Musik und wen wollen wir erreichen? Wie wichtig sind Räume, im wörtlichen genauso wie im metaphorischen Sinne, um musikalische Kreativität zu ermöglichen, und wie sichern wir diese? Wie sahen Musiker:innen der Vergangenheit die Zukunft ihrer Kunst und was lässt sich daraus für die Gegenwart ableiten? Macht es überhaupt noch Sinn von der Zukunft einer Musik zu sprechen, die als Genre Vergangenheit zu sein scheint? Und überhaupt: Was ist eigentlich "Jazz" in einer Welt des Post-Genre? Dieses Buch enthält einige Antworten, vor allem aber weitere Fragen, die zeigen, dass Jazz, improvisierte Musik, Black American Music oder wie immer man sie bezeichnen will, gerade deshalb eine Zukunft hat, weil sie Diskurse der Gegenwart aufgreift, dreht, wendet und dabei neue Perspektiven aufzeigt.

Ever since his first appearance in New York City in 1932, Art Tatum has been regarded as the most important pianist in the history of jazz. His technique took the breath away even from concert pianists of the calibre of Horowitz, his touch was of unparalleled lightness and elegance, and his improvisations across the entire harmonic spectrum put him decades ahead of his time. For the first time this book in detail reconstructs the often blurred traces of the life of the Afro American piano virtuoso from Toledo, Ohio. Based on the stories of many contemporaries and fellow musicians and on countless reports in the daily press and jazz journals, a fascinating portrait emerges of a unique artist and the pulsating world of jazz of his time."The late Fats Waller, no mean keyboard genius himself, halted a show at the Greenwich Village Inn in New York one night to announce dramatically in the presence of his friend: 'I play the piano, but God is in the house.'" (Pittsburgh Post-Gazette, 1947)"Art Tatum showed what it is like to live in a world where all doors are open." (Tom Piazza, 1996)

Rarely has a radio institution left such a mark on music history in such a short space of time. Founded in 1951, the WDR Studio for Electronic Music hit the headlines early on, at times transforming Cologne into the metropolis of new music, attracting not only composers.Radio Cologne Sound traces the eventful history of the studio in essays, recordings, pictures and personal memories: from the golden 50s and 60s through times of opening and stagnation to the late heyday. Three portraits are dedicated to the studio directors Herbert Eimert, Karlheinz Stockhausen and York Höller. Other texts shed light on the intense interplay between technology and aesthetics, the teamwork in the studio, its international appeal and the important question of performance practice: How can electronic music be brought to the stage when the technology has long been ready for the museum?The heart of the book is the sound of "Radio Cologne": 28 tracks on five CDs allow us to look back over half a century.

»'A natural gesture' is a philosophy of sound, for musicians, for conductors, and can be read in metaphor by anyone who delves deeply into that about which they are passionate. It is a beautiful exploration of a Way. Reading this book makes me eager to get back to the scores, to the practise studio, and to the podium, to strive to serve the music at a deeper and deeper level. And also, to realize that it is not just burying oneself in music but the authentic and healthy being one must nourish through philosophy, self-realization and rhetoric, to reach the silence which precedes the sound.«From the Preface by Barbara Hannigan

Some think Eric Dolphy was an otherworldly apparition. His stellar career lasted little more than 5 years. He was one of the most important pioneers of the jazz avant-garde of the 1960s. As a multi-instrumentalist, Dolphy played flute, bass clarinet, alto saxophone and clarinet. He also composed and arranged. His brilliant solos in performances with the Mingus Band, among others, are milestones in jazz and music history. Guillaume Belhomme traces his biography in sketches."For having been an innovator, Eric Dolphy became an original. The depth of his message then caught up with him. At the source he created, a lineage of individual musicians that has not yet faded out of sight has continuously drawn, searching, perhaps, for ways to cross to the other side, beyond the obvious and the easy." Guillaume Belhomme

Ein Katalogbuch über den Wuppertaler "Universalkünstler" Hans Reichel, dem dritten im Triumphirat mit Brötzmann und Kowald. Hans Reichel war Musiker, Komponist, Improvisator, Instrumentenerfinder und Instrumentenbauer, Tontechniker, Schriftenerfinder, Spielegestalter, Grafikdesigner, Fotograf und vieles mehr.Seine Musik, die sich in keine Genres eingrenzen lässt war von "komplexer Schönheit". Als Klangforscher hat er Instrumente entwickelt wie das Daxophon, das aus sich selbst heraus klingt. Seine Musik, ob improvisiert oder komponiert ist auf zahlreichen Tonträgern festgehalten und wird immer wieder von Ensembles aufgeführt. Sie hat nichts von ihrer Kraft und Wirkung verloren, mit der sie unsere Hörgewohnheiten auf die Probe gestellt und uns zugleich einen neuen Klangkosmos erschlossen hat.Der Katalog stellt in zahlreichen Beiträgen seine ganze Welt des künstlerischen Schaffens vor und ist eine Fundgrube für Musiker, Typographen und Designer gleichermaßen.A catalogue book about the Wuppertal "universal artist" Hans Reichel, the third in the triumphant marriage with Brötzmann and Kowald. Hans Reichel was a musician, composer, improviser, instrument inventor and builder, sound engineer, typeface inventor, game designer, graphic designer, photographer and much more.His music, which cannot be confined to any genre, was of "complex beauty". As a sound researcher, he developed instruments such as the Daxophone, which sounds out of itself. His music, whether improvised or composed, is recorded on numerous discs and performed again and again by ensembles. It has lost none of its power and effect, with which it has put our listening habits to the test and at the same time opened up a new cosmos of sound for us.The catalogue presents his entire world of artistic creation in numerous contributions and is a treasure trove for musicians, typographers and designers alike.

Composing While Black presents unique new perspectives on Afrodiasporic contemporary composers active between 1960 and the present, a period that academic inquiry, concert programming, and journalistic accounts have largely ignored up to now, particularly in Europe. This interdisciplinary essay collection engages with opera, orchestral, chamber, instrumental, and electroacoustic music, as well as sound art, conceptual art, and digital intermedia, revealing Afrodiasporic new music as an intercultural, multigenerational space of innovation that offers new subjects, histories, and identities."Composing While Black is a brilliant collection of essays on the black presence in contemporary Classical music. From the poignant and richly resonant title through the editors' authoritative historical introduction to the mix of reflection, anecdote, analysis, and study of the compositional process across nine essays, the book illuminates black creativity on terrain previously figured as white. Timely, informative, and challenging, this bilingual text is a must-read for anyone interested not only in the work of Afrodiasporic composers but in the reach of the very notion of the contemporary itself." KOFI AGAWU The Graduate Center, City University of New York"What an essential book this is: an invigorating corrective packed with bright sounds, big musical personalities and astute social context. The introduction alone is a terrific primer; the chapters are vivid case studies written with fresh and authoritative clarity. Above all, the music of this book demands to be heard. Its pages will send you down countless avenues of discovery and fill whole notebooks with names, ideas and intersections to pursue - the greatest thrill." KATE MOLLESON, author of Sound Within Sound: Opening Our Ears to the 20th Century.

sinusoidal run rhythm entsteht durch die Addition phasengleicher Cosinusfunktionen in ganzzahligen Verhältnissen. Sie sind in ihren Maxima gegenüber entsprechenden notierten Rhythmen zeitlich und dynamisch verschoben und weisen eine Körperlichkeit auf, die in diskret gesteuerten Rhythmen nicht vorhanden ist. sinusoidal run rhythm definiert Rhythmus also als Welle und hebt sich so deutlich von der herkömmlichen Rhythmustheorie einer europäischen Musiktradition ab. Es eröffnet sich eine unerschöpfliche Vielfalt an betörend körperlicher Musik.Der Band bildet diese ästhetische Diversität in zahlreichen Illustrationen der sinusoidal run rhythm ab. Er bietet zum einen die Möglichkeit, in die Ausformungen eines erweiterten Rhythmusbegriffs einzutauchen und sich in die Schönheit einzelner Exemplare zu verlieren - dem Vorbild von Büchern zur Bestimmung von Käfern oder Schmetterlingen folgend. Andererseits regt die Theorie dazu an, die Grenzen zwischen Vorstellung und Aufführung, Partitur und Interpretation, Mensch und Maschine zu aufzuweichen und nach Anwendungen im Musikmachen, in der Musikanalyse, der Psychoakustik oder der Philosophie zu suchen.

French popular songs from 1870 to 1940 dynamically epitomize anguished eras of upheaval. Boldly advancing views on societal, political, economic, racial, and gender issues, these charming, alluring tunes express an expectation of life as tragedy. "Parlez-moi d'amour: Themes in French Popular Song from the Commune to World War II" by Benjamin Ivry, a biographer and cultural reporter, focuses on the songs themselves in performance as preserved on recordings. They encapsulate the positive and negative elements of Gallic culture, as they communicate love and hatred, exultation and woe.

With Watching with my Ears, the Wuppertal artist Jorgo Schäfer presents the works he has made over 20 years during the Vision Festival in New York. The Vision Festival is an annual world festival of free jazz (free improvised music, avant-garde jazz, etc.), where other arts such as dance, poetry, spoken word and visual arts also play an important role."When the Wuppertal bassist Peter Kowald invited me to the Vision Festival in New York in the summer of 2000, I had no idea what cosmos I would be entering. That was to change over the next 20 years.I was given the opportunity to place my work table directly in front of the stage in order to translate my impressions directly into free sketches.Over the course of many years, the Vision Festival has had a lasting influence on all my visual art work." (Jorgo Schäfer)"Jorgo listens and sees with his eyes and ears and takes his own risks when making the sheets. As soon as the last sound has faded away, the light in the hall is switched on again, the picture is finished, nothing more is added or painted over. The element of the spontaneous is in the foreground - painting as improvisation." (Stefan Altevogt)Jorgo Schäfer's sketches and spontaneous graphics are collected in this volume.

In this book, the direction of readers' attention is naturally drawn into music; but more often it is drawn outwards. This is the metaphoric idea of 'autopsy': music can not only conduct investigations into extra-musical thoughts of discipline, but also into political and socio-cultural arenas. Admiration for Adorno and Bernstein does not inhibit sharp criticisms of their philosophical and political aporias. Interviews with George Crumb and Kevin Volans unveil surprisingly intimate portraits of the composers and their unique aesthetics. Essays on composers as diverse as Alban Berg, György Ligeti, Frank Corcoran and Barry Guy reveal Dwyer's multi-lensed and eclectic musicological methods. Focus on Guy and Mats Gustafsson prepares the reader for an intense exploration of free improvisation as a means of 'extending our reach into the polymorphous strata of consciousness.' Analysis of Dwyer's own works never falls into self-regarding autoethnography but serves to understand music as 'the supreme mystery of the science of man, a mystery that all the various disciplines come up against and which holds the key to their progress.' (Levi-Strauss)

Museum directors, scholars, journalists and editors explore the variety of relations between sound as an object of investigation. Issues of sound as a medium of art and culture and possibilities and conditions of exhibiting sound art will be discussed.Sound art has become an integral part of art and music festivals for several decades, and is shown in museums, experimental venues and public spaces. Sound art requires a special approach in the way it is curated, conceived, produced and reenacted. Exhibiting Sound Art brings together internationally renowned museum directors, curators and exhibition makers, scholars, journalists, editors and artists to discuss this question.The manifold relationships between sound as an object of investigation are explored and questions of sound as a medium of art and culture as well as possibilities and conditions of exhibiting sound art are presented.The different approaches are vividly illustrated with numerous images.

"During her creative career, Lauren Newton has explored multiple musical dimensions with a strong focus on improvisation, concomitantly searching out and developing myriad vocal techniques. In Vocal Adventures she takes the reader on a journey into her experience that is at once an introduction to deep listening, a series of master classes on voice (from consciousness of breath to the mysteries of multiphonics), and an account of both the social and spiritual dimensions that are engaged in a complete artistic practice. Remarkably, she also does this in a way that is inviting, lucid and eminently practical."Stuart Broomer, author of Time and Anthony Braxton "Vocal Adventures by the grand master of improvising with the voice is finally here! The significance of Lauren Newton's work as an artist, educator and author cannot be overstated: She is one of the creators and trailblazers of the art that moves in sound, space, spirit and song. Well worth the wait, this book offers everything and more to all those interested in vocal experimenting and exploring could wish for." Susanne Abbuehl, singer, composer, educator"These Vocal Adventures chart a decades-long exploration of soundscapes - ones produced by the outside world but most prominently those created through free improvisation in music. The expedition into this realm of musical experience and expression has taken the author across oceans and continents, with diverse musical encounters providing invaluable sources of inspiration and a wealth of learning and teaching opportunities while enriching her own ideas and approaches along the way. This book aspires to guide others (not only singers) interested in exploring the many facets of free musical improvisation in terms of technique, practice and (solo and group) performance as well as to offer up her own reflections on its essence, its affinity to the human imagination and the multitude of soundscapes it is capable of evoking." Susan Nurmi, literary scholar, educator, translator

Sounding Fragilities enacts a polyphony of writing on contemporary composition, music and performing arts in relation to music theatre. Co-edited by a theatre and performance scholar and by a composer and artistic researcher, this anthology considers its field of investigation through the lens of positionalities. Irene Lehmann and Pia Palme invite readers into intimate encounters with an artist's practice, feminist and queer perspectives, and personal explorations into aspects of musicology, theatre studies, technology and ecology. By presenting female* composers who write with/through/about their own practice, Sounding Fragilities is a remarkable contribution to an interdisciplinary debate around the agency of artistic research. With this synthesis, the editors evaluate how moving beyond the binary of art and science reveals the rich yet fragile territories of artistic knowledge-production and literacy in music theatre.Sounding Fragilities. An Anthology brings together essays, discussions and interventions on contemporary music, dance and music theatre to offer a polyphony of new approaches to listening, watching, composing and performing.Artistic and academic researchers present reflections and insights into the fragilities of artistic materials, collaborations and the communities that build around live performances. Challenging the idea of isolated composers, choreographers, audience members and academic researchers, they stress instead the interconnectedness of these positions as indispensable elements of thriving performance and research. This feature of all live performance is envisaged by several of the book's contributors as linked to political, democratic thought and ecological or feminist thinking.Sounding out the relationality, brittleness, fragility, transitoriness, and beauty of live performance, this anthology stresses the urgency of coming together and interacting as a foundation for human and political relations; an urgency intensified by the current overlapping crises in politics, health and ecology.

'The Music Mind Experience' is all about how we can transform our playing and listening into convincing performances and satisfying meditations every time.. No neuroscience here: this book is thoroughly practical, intuitive, chock-full of simple practices and deep, common-sense insights."A fantastic resource. Karl's purpose is to reach beyond all intellectual concepts and feel the magic of intuitive playing and listening that we are all born with. Very easy to read and follow" says the world-renown keyboardist John Medeski. The Italian composer Luciano Troja adds: "Karl's book is miraculous because it speaks in a simple but profound way to musicians and listeners of any background. It opens worlds" 'The Music Mind Experience' speaks for all kinds of music and styles, because it addresses the elements common to all the music in the world. The great guitarist John Scofield comments: "Karl's book reminds me of what I've learned from conversations with the great musicians I've known. These masters spoke the truth about getting in the 'flow' and the best mental attitude while playing. I've found that these techniques are universal." In this book we emphasize the extraordinary power of our intuitive minds. The masters' 'techniques' that John Scofield is referring to are all explored here in surprisingly simple practices and exercises. We learn to integrate them into our daily routines of musical practice and listening with astounding results: our satisfaction and confidence is growing strong and steadily. Pianist/composer Carla Bley refers not just to this book only, but to Karl Berger's life-long work at the now world-renowned Creative Music Studio when she says: "Karl has made it ok for hoards of musicians to explore their particular and personal identities without fear of censure". The German composer Markus Stockhausen says: "Karl shows us that we all have a hidden capacity of unexplored, infinite creative potential". And he concludes: "Listening is the key to all the music mind."

This book is a historical and interpretive study of the movement of jazz experimentalism in West and East Germany between the years 1950 and 1975. It complicates the narratives advanced by previous scholars by arguing that engagement with black musical methods, concepts, and practices remained significant for the emergence of the German jazz experimentalism movement. In a seemingly paradoxical fashion, this engagement with black musical knowledge enabled the formation of more self-reliant musical concepts and practices. Rather than viewing the German jazz experimentalism movement in terms of dissociation from their African American spiritual fathers, this book presents the movement as having decisively contributed to the decentering of still prevalent jazz historiographies in which the centrality of the US is usually presupposed. Going beyond both US-centric and Eurocentric perspectives, this study contributes to scholarship that accounts for jazz's global dimension and the transfer of ideas beyond nationally conceived spaces.

Ein reich illustriertes Buch, das zum 100. Geburtstag von Leonard Bernstein dessen Verhältnis zur Musikstadt Wien in den Fokus rückt, dabei den großen Dirigenten und Komponisten auch als politischen Menschen würdigt und gleichzeitig nach seinen jüdischen Wurzeln fragt.Musikalisch sozialisiert in der Synagoge seiner Kindheit in Boston, ausgebildet in Harvard und beruflich in New York zu Hause, verband Bernstein seit 1966 eine lebenslange Beziehung mit Wien: Er brachte den WienerInnen den verdrängten Gustav Mahler zurück, seine Zusammenarbeit mit den Wiener Philharmonikern wurde legendär und er vermittelte sogar in der österreichischen Innenpolitik."Ich genieße Wien unglaublich - so sehr man das als Jude überhaupt kann. Es ist hier voller trauriger Erinnerungen und man hat mit so vielen Ex-Nazis (und möglichweise immer noch Nazis) zu tun; und nie kannst Du Dir sicher sein, ob nicht einer unter denen, die bravo schreien, Dich vor 25 Jahren einfach erschossen hätte. Aber es ist besser zu vergeben, und wenn möglich, überhaupt zu vergessen. Euer Wiener Schnitzel. Lenny" (Leonard Bernstein an seine Eltern, Wien, 19. März 1966)Mit Beiträgen von Leon Botstein, Werner Hanak, Barbara Haws, Silvia Kargl, Friedemann Pestel, Simon Posch, Oliver Rathkolb und Danielle Spera.Der Katalog erscheint zur gleichnamigen Ausstellung im Jüdischen Museum Wien von 17. Oktober 2018 bis 28. April 2019.