The just intonation differs clearly from the usual equal temperament in its sound but also in its practicability. On this accordion a third C-E sounds clear and free from beating, while the third B-D, for example, sounds totally sloped and crooked. This offers not only the possibility of playing particularly pure sounds, but also, in a particularly charming way, to play wonderfully iridescently "wrong". This "wrong sounding" is not the result of a randomly detuned accordion, but is determined in an audibly conscious and concrete way.
Most of my current blogging is happening here at the moment: https://MLure.art is a new central blog covering artistic research projects related to Machine Learning (= Artificial Intelligence) in theatre and music.
Justified criticism of the regents mixes with dangerous trivialisation of the virus, existential fear can no longer be separated from the fear of the health risk, highly interesting ethical questions come to a radical head and are buried under a wave of opinions and assertions. Out of this serious confusion - once again - a good book has helped me. I took the crisis as an opportunity to re-read one of the books that is most important to me, "The Modern Death" by Carl-Henning Wijkmark, under the light of the Corona pandemia. Reading it has brought me peace with the restriction of freedom. Read in my personally colored book review why:
How I managed to get an audience for an independent experimental music-theatre piece and enjoyed applying creative entrepreneurial strategies to a publicly funded art project. I hope this report to be inspiring and motivating to fellow theatre makers. An adventure report.
Ambiophonics is a less obscure matter than I thought. At first I thought it was just one of the usual phasiness causing improvements for the worse in the sense of pseudo-stereo, but the technique has real potential. Especially for installations, for example.
As a student I had made it my habit not to turn off the music when I left the apartment but the album I was listening to had not yet come to an end. To me it seemed disrespectful towards the music to just turn it off. What was brought into oscillation should be allowed to finish. On the creation of "Small Places", a sound installation for ECM Records‘ 50th anniversary as part of the RE:ECM exhibition at Storage by Hyundai Card in Seoul, Korea, 2019.
Romantisation and dissection of our reality: "...at the same time we are made aware of the fact that we all too often do not want to see the other side of prosperity, poverty, loneliness, social inequality, especially in Munich, we surround ourselves with bulletproof glass 'in order not to break', as a passer-by remarked."
The sound impression for the musician in the orchestra is clearly different from the sound impression of the audience. Not only the instruments, but the entire body of sound is designed to resonate with the concert hall and enter into a symbiotic connection with the room. As a listener in the hall, one hears the result of this complex connection. Is it possible to let a listener hear the sound of the musician within the orchestra through media? Report on a 360° Virtual Reality research project with the Munich Symphony Orchestra