| $12.01
new to stock as of
february 16th, 2008
threads:
free-improvisation
guitar-themed
sound-poetry
minimalism-drones
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| | w.m.o/r (germany) #h.m.o/r 3 cd
hibari (japan) #h.m.o/r 3 cdmattin / taku unami “attention” compact disc | | concept release by the twisted pair of mattin & taku unami, with unami’s ocassional chordal jabs cut with mattin’s deadpan exclamations (listen to the end of the sound-clip) ... |
| | mattin / taku unami
attention
h.m.o/r 3 (co-released with hibari music) cd
when you listen to a cd of improvised music, where is really the improvisation taking place? many would say that improvisation happens only among the musicians while recording the cd. the musicians spontaneously create a musical piece in the moment of playing, that the audience is supposed to then simply enjoy and appreciate through the recording- especially if they have paid for the cd. this way of thinking favors clearcut boundaries between producers and consumers.
''attention'' questions the fictitious divisions that exist in hearing recorded improvisation: isn't the listening experience also an act of improvisation?
there is no outside to improvisation.
while hearing the cd that you have put in your cd player, you cannot isolate the sounds coming from the cd from those coming out of the cd player, or the computer, or the washing machine or the street. the improvisation is happening in the head of the listener, it is impossible to take a cd as a finite statement that can be constantly replicated through a perfect listening experience.
something as simple and important as choosing the volume of how to listen to the recording is a very strong decision that determines the sound and the meaning of the work. other aspects determined by your economic possibilities also affect your listening experience, such as the quality of your stereo, or whether you have download the piece or bought it.
you are constantly improvising with your immediate surroundings!
''attention'' is an attempt at addressing the listener directly, making him/her engage in a process of self-reflection. it suggests that any listening experience is mediated both by the context and the choices made by the listener, which alter the meaning of the work and become part of the creative process, even if people at the top of the music production chain – musicians and producers - might say it is not. |
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