The essay is about the thought behind the musical instrument preparation. In the western world history, a series of the development of musical instruments and all instruments have developed sonically and shape (instrument body) assigned to the image that is currently available. However, there are also various items that already have fixed to the musical instrument pedal piano and mute for string and blow instruments.
When I started playing the cello, I had a broken cello and in that time in my home country. There were no instruments in a good condition; it affected me as the sound flavor that I had a different taste of the sound that had the relationship with the harmonic fixing the sound.
Classical music is mostly about technology and a fixed harmony atmosphere. Here I started to ask a question to myself; What is the contrast that I experience between the harmony of the music that I played in and the concrete sound of my everyday life and the instrument comes out how it works? For example, when I played with national symphony orchestra we had rehearsal daily. It was the beginning of the war when we heard the explosion of a bomb and screams of people and the second explosion that heard far from our local rep; I wonder now, how we have been able to create such an atmosphere between the "nice" sound and the "noise"?
On the other hand, that everything we play it would be an order of the music and carry out everything that stands in the notation, which was a bit pointless not to have the "freedom" as a musician and what is the role of the musician? Moreover, all that musicians do is play the composer's language to listeners. However, thinking has transformed that were more aware of "my" role as a musician in the music. When looking for all the time how to take no "orders" from composer and was more himself as a musician the tank Spirit gave me the curiosity to seek more opportunities to explore other sounds through improvisation, contemporary music and preparation of music instruments.
Therefore, it made me look for the "unusual" noises I have not played the cello before, and then try to find new sounds that are close to what I have experienced within me to reflect on my experiences. One of the most composers I listened and still listen to Xenakis's musical language is like my interpretation that I make is looking for musicians. Way to listen to him was that I tried to use my Cello "different." In time, I came to prepare the cello; install the various items on the cello with the purpose to have more tonal options. Those materials that I use are the everyday objects that have a different function. However, how I use them? Change function on them, you will find various places in my cello I think the sound can change on the cello. Therefore, I have to practice different preparations and find this sound that I am looking for it. However, one thing I do not have thought is the very objects that can have different interpretations through the visual arts. Now came another question, how interpreted my instrument when preparing the visual aspect also affect the sounding results?
One of my preparations I have done sonically worked as I wanted but publicly reflected visually. Because, I've preparations my cello with a safety pin, it looked like a metallic dress on the cello, it was interpreted from the feminist aspect, especially when I am a woman, but I do not know how the audience could reflect on whether it would have been a man. Furthermore, the visual interpretation made me aware of the visual aspect of the instrument preparation, which can also affect sound performance. I asked myself why I have chosen the objects; it was the object function provides new sound or visual interest also has the role of which I am unaware of having chosen it, as it can have a deep relationship with my experiences.
I spent a day or so conscientiously trying to find an African twelve-tone row. I had no luck. I decided that what was wrong was not me but the piano. I decided to change it. (johncage.org)
Composer Cage changes the picture we have with the piano. He argued that it changed listeners' association to the instruments. In this way it will affect the listening seat, least the composer gets a new challenge to create other sounds with the instrument.
I, therefore, sought to find out if there was any experience as a musician and composer in the same way that Cage viewed. If I start from my point how I inspired to prepare the instruments.
In carrying out the research, I decided not to look at the gender and age of the interviewers. Secondly when I refer to preparation, I meant the material that has a different function in our life, and we give the material objects to another place in music life. I only sought to find out the pitch sound and the instrument.
Previous studies had been done on this and due to this I did not manage to find any specific research topic in this area. However, there are certain discussions on the topic done by great musical composers such as John Cage, an American composer. I decided to use them. But, based on some composers and musicians who practice the process preparation today and some literature, it allows the discussion to be alive so that I can create a better understanding of the subject.
John Cage in his article Music of Changes was the second work John Cage composed to be fully indeterminate in some sense. He used magic square like charts to introduce chance into the composition. , Christian Wolffe presented to Cage a copy of the I Ching. This classic Chinese text was a symbol system that used to identify the order in chance events. For Cage, it became one perfect tool to create chance-controlled compositions. He would ask the book questions about the various aspects of the composition at hand, and then used the answers given to composing. In effect, the vast majority of pieces that Cage completed after 1951 were created using the Chinese text, Ching. Cage again composed several "spin-offs" of Music of Changes, shorter pieces using the same methods and even the same charts. These included two pastorales. The process that Cage was using at the time of creating music proved to be rather slow. The composer would then create a faster method in his music for piano series.
The instruments that were for preparation was that we had the relationship in history but when we change the will, it becomes an eerie (uncanny) but in the sense of taking the attention in a negative or positive way. The limitations I had been in the culture that I lived in, in that, how it worked my way to play.
Another composer who put much consideration into sound pitch and noise was Luigi Russolo. Luigi Russolo was the first noise artist in history. His 1913 manifesto the Art of Noise stated that the industrial revolution had given modern men a greater capacity to appreciate more and more complex sounds. Russolo found the traditional melodic music confining. He envisioned the noise music as its future replacement.
Russolo designed and constructed some noise-generating devices called Intonarumori, and assembled a noise to perform with them. None of his intoning devices have ever survived. Although Russolo's works bear very little resemblance to the modern noise music, his important pioneering creations cannot be overlooked by any chance as an essential stage in the evolution of the several genres in this category. Many artists are familiar with Russolo's manifesto and work.
Purpose and Issues:
The purpose of this paper is to show the different views and perspectives on music instrument preparation. The question of whether good music was all about sound is what I majorly wanted to address. As it could be noted by John Cage, most people confused between good music sound and noise was generated from screaming.
However, how the form (instrument body) has been influencing the aural, we produce it from the form we receive voices or sounds decides to get a definite shape? When preparing an instrument that means that the preparation brings new issues to the instrument, but the instrument fixed to their questions completed. Instrument preparation has to do with individual backgrounds, in the sense of what is the relationship between the objects, and it has to do with the psychology issues. When preparing the instruments do you think of the instruments' history.Method
I get to interview four people, two composers, and two musicians through their perspective and practice, and I use a range of literary source that few composers have prepared instruments, and I get using them as a base to my discussions. Among the questions I interviewed were; the effect of the instrument on sound, the distinction between pitch and noise and whether culture had an influence on the type of sound that is produced. The question of what makes a good sound was a crucial one. Most people produce noise in musical instrument rather than sound. I, therefore, sought to find out what the respondents ( composers and musicians) will have to say as they had the experience in their practices.
Furthermore, the effect that the instrument had on the-the sound produce was a question of interest. In many instances, it would be noticed that certain musicians play a certain instrument better than others. But again the question of how one should know the correct instrument to fit his voice and produce the correct sound could not be left out. Do you just pick on any instrument and decide to sing using it? Is there any effect on the type of the music played and the type of the instrument to be selected? Well, the findings on this would greatly help in the choosing the desired type of instrument of a given type of music.
The culture was also an issue that emerged in the research study? What had culture had to do with the type of voice and sound produced?
The response rate was impressive. Because the respondents were music composers and musicians, they were fully aware of the issue at hand. Apart from what I was seeking about sound in music and preparation, I also noted some important factors that affected sound musical preparation. To mention them, the type of the music to be played had an effect on the sound and the type of instrument to be used. Many instruments are versatile, but some are more suited to certain types of music. Although there is some classical repertoire for the saxophone, for example, people that are associated with more of jazz music will use softer instruments, and this will affect their sound and voice. The voice will be softer compared to those who play hip-hop music.
The limiting the sound has changed by using different sounds and noises to the music. Moreover, they define your music system that has developed and has much potential to manage the noises in a music system. There is a variety of tone that came into the new sound system like spring ear that can discern the tone height and the musical frequency. To add on that the classic instrument that produces sound (pitch) and already there was a relationship in Western music as sonically and shape-rate too. Also, all of them have their tonal language, but it has a limiting audio option and any instruments that have come into the Western music drum, and it has a noisy sound. It is a small selection of sounds and where the restrictions made you move to another device that has much potential to produce natural sounds (concrete) sounds and overtones that could not instrument produced. (Twentieth Century Music, pag.48-49)
Scherchen, in the book, Twentieth Century...
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