Newsgroup: it.arti.musica.rock
Titolo: free-noise manifesto

Di seguito ho riportato il manifesto del "free noise" ad opera di Bruse
Russell,Michael Morley,Max Russell degli A Handful Of Dust(2/3 del gruppo
sono parte dei ben più conosciuti Dead C).
Qualcuno può aiutarmi nella traduzione?Ci sono alcuni passaggi a me
incomprensibili.Per es:
-la citazione iniziale
-1.1-[.....]one can do anything one chooses
-2.1-[.....]for expanding now into infinity
-2.2-The is Stockhausen's "tendency to surmount finite time and death". It
is the Map of 49's Dream in action.
-2.3-[.....]These are prosecuted either by the co-option of non-European
traditions or by the rigorous application of post- Pythagorean
number-crunching to scored works.
-3.3-superset
Nel momento in cui scrivo mi trovo al punto quattro.Se nel frattempo
qualcuno vuole aiutarmi(Picchio?Wire?anglofoni vari?)
-----------------------
WHAT IS FREE???
"Now that this most excellent and perfect concord of life does remain
principally in the midst of a line drawn from Unity, or the fountain of
form, to
the Earth or duality, which is the fountain of matter, I prove it thus by
the
accords of Music..." Robert Fludd: Philosophia Moysaica: 1638.
1. That there is an area between other forms of music where all of the
"rules"
which hold them apart cease to apply. All musics bleed into this Empty
Quater,
some exist more within, and some more without, its bounds.
i) Being beyond "music," it is noise.
ii) Being beyond "rules," it is free.
1.1) In a universe of free choice, unrestrained by divine tutelage, received
dominant ideas, or unshakable norms of "civilised" behavior, one can do
anything
one chooses.
1.2) In such an ethically sceptical universe, a plurality of goods must
prevail.
1.3) The tough question is thus unavoidable in its unmediated immediacy,
"What
exactly are you going to choose to do?"
2. Free music is so much a part of traditional folk forms that it is
scarcely
recognized as such. By definition it does not exist at all within the corpus
of
academic classical music, since rules of that form do not admit of its
existence.
2.1) Therefore we find that LaMonte Young has not been admitted to the
pantheon
of classicism - for expanding now into infinity.
2.2) The is Stockhausen's "tendency to surmount finite time and death". It
is
the Map of 49's Dream in action.
2.3) This rebellion against "music" from within the classical tradition
takes
the form of attacks on the parameters of accepted tonality and harmonic
structure. These are prosecuted either by the co-option of non-European
traditions or by the rigorous application of post-Pythagorean
number-crunching
to scored works."
3. In this way classical music can imitate Free by the planned manipulation
of
noise. By contrast Free music uses noise purely because it is the basic unit
of
all musics.
3.1) Hence Cage, Stockhausen, Xenakis, Crumb, the "Minimalists" (to name an
arbitrary few). 3.2) "I believe that the use of noise to make music will
continue and increase until we reach a music produced through the aid of
electric instruments which will make available for musical purposes any and
all
sounds that can be heard." John Cage (1937).
3.3) Here still noise and music are conceived as a dichotomy. Rather, noise
is a
superset embracing music within itself.
4. Free music last came into the light through jazz, hence the widespread
illusion that the two are somehow necessarily related.
4.1) The sanctification of profane musics which was the goal of many of the
Free
Travellers of the sixties led many of them through jazz and out into a world
music. This path ultimately converges in the Empty Quater of "music" with
that
followed by the academicians in revolt.
4.2) Distinguished by an elevation of feeling to a pinnacle as the weather
vane
of experience; Free jazz, while chewing up and spitting out many through the
exigencies of its service, left enough marks behind to show others the way.
4.3) In this twin threat we see the actual peril of the traditinal academy.
Outflanked on the one side by the revolt of outraged sensibilities (feeling)
and
on the other side by the revolt of formalism into a florescence that
destroys
the very boundaries of the "work" itself (Repetition, Repetition,
Repetition -
the Three R's).
5. From the fringes of jazz, Free moved into rock music by a process of
osmosis.
Numerous zones of rupture can be identified in the period c.1965-73.
5.1) An obvious exchange of this type occurred in 1968, just after Lou Reed
uttered the words "...and then my mind split open...". Later he was to
acknowledge the priority of Cecil Taylor's influence over the squall of
amplified guitar noise that followed. The direct personal connections with
the
Theatre of Eternal Music are too well known to merit examination. They form
an
evident context for this aesthetic in evolution.
5.2) Throughout the catalogue of ESP (a label in many ways thouroughly
representative of this moment of convergence) this "meetins" between jazz,
rock,
classical, and folk musics is exemplified. The influence of Free music is
everywhere evident.
5.3) Market forces are the growing power of international music
production/publication cartel interests combined to stunt the mass effect of
this unique historical moment. Minds split open just in time to be crushed -
the
zone of discontinuity in "music" was, in the public eye at least, papered
over.
6. Free music is distinguished by the absense of exact premeditation, and
therefore by the abstention of the musicians from planned repetition of the
same
music on subsequent occassions. Hence the abolition of traditional notation.
Structured musics of whatever provenance by definitien follow set patters
and
parameters of rhythm and tone.
6.1) "We must let sounds be what they are." LaMonte Young (1960)
6.2) "Notes" do not matter, the playing and the elapsed time do.
6.3) Such spontaneous composition demands a particular process of recording
capable of coping with its rigors. Live stereo recording is ideal in this
context.
7. In this way Free mirrors reality, while structured musics reflect the
vain
attempts of human subjectivity to impose itself on the blind flood of
facticity.
7.1) The pinnacle and epitome of this mistaken understanding is represented
by
the life and work of Robert Fludd. As a late-Renaissance neo-Platonist he
took
as basic the conformity of the Real to the Ideal, and the clearest
expression of
this for him was the relation between the harmonic ratios of the whole tones
and
the structure of the cosmos itself. His model of the universe was a
monochord
marked with an octave of notes. No clearer expression of the "musical"
weltanschauung need be sought.
7.2) We stand this dialectic on its head.
7.3) Our noise grows out of confusion.
8. Noise from amplified electrical instruments, especially from defective
and/or
"low tech" equipment, opens immense areas of the audible frequency spectrum
to
exploitation by the Free musician.
8.1) The medium is (a part of) the message.
8.2) Broken machines distance the musician from the process of music. In
this
way random factors are introduced, analogous to those which arise from the
interplay of harmonic overtones in an acoustic environment (a factor in a
later
stage of the music process).
8.3) Form and content come together in an apparent vacuity. The mode of
recording is a part of the process, and an integral part of the outcome. The
artificial distinction between musician (Artist) and technician (Craftsman)
is
dissolved.
9. Free music which utilizes rock instrumentation and aesthetics as its
jumping-off point can harness a noise more purely random and less limited by
subjective considerations than that of any but the most determined acoustic
musicians.
9.1) Exceptions: The unamplified attack of the Borbetomagnus reeds,
Brotzmann,
or many North African trumpet musics. Many other honourable mentions must be
omitted.
9.2) Examples: Rudolph Grey, Donald Miller, Hundreds of others doing the
same
thing on a subconscious level.
9.3) If we can see it, we have here a chance to seize another Free Moment,
and
leap out. Let us not close our eyes and forget to jump.
10. Such is the authority of the academicians' synthetic classical tradition
that even those who do not embrace their premises and attendant prejudices
instinctively reject the Free as "not music." All the more reason to make
more
of it.
10.1) "My propositions serve as elucidations in the following way: Anyone
who
understands me eventually recognizes them as nonsensical when he has used
them -
as steps - to climb up beyond them. (He must, so to speak, throw away the
ladder
after he has climbed up it). He must transcend these propositions and then
he
will see the world aright." Ludwig Wittgenstein: Tractus
Logico-Philosophicus
(1921).

incomprensibili.Per es:
Mizzica, per chi mi hai preso, Pico De Paperis?  `Sta roba mi fa roteare gli
occhi....
" L`avanguardia e` molto dura, e per questo fa paura"............SKIANTOS

>"Alf" bozzell
Mi e` partito il post precedente senza volerlo....>
-1.1-[.....]one can do anything one chooses
qui e` semplice, uno puo` fare qualsiasi cosa voglia


number-crunching to scored wo
number crunching, beh vuol dire fare i conti, fare i calcoli.
ciao


 ha scritto nel messaggio
news:20010429183104...@ng-cm1.aol.com...
[......]

 -3.3-superset
un sopra-insieme, come cavolo si dice, insomma il contrario di sottoinsieme! 
dice "piuttosto, il rumore è un soprainsieme che comprende la musica stessa"
E adesso fuori almeno 100 carte!! :)
Senti una domanda se posso: ma che cazz di roba è ? è scritto in un inglese 
rigidissimo!! accidenti, e poi uno che rifiuta le tradizioni musicali non 
europee, simpatico :)
Insomma, chi sono questi psicopatici platonici del free noise? (senza offesa, 
de gustibus non disputandum ecc. ecc...) 

Molly 
E adesso fuori almeno 100 carte!! :)
Orco cane, Molly, impressionante veramente.  Arf, paga le 100 carte, va, che
hai fatto un affare.  


 de gustibus non disputandum ecc. ecc...)
Ho solo un disco dei suddetti psicopatici,magari qualcuno li conosce
meglio.Se non ricordo male Bruce Russell suona in un'altro gruppo con Moore
o Ranaldo dei SY.Sono stati proprio i sonici a portarli al "successo".
Ecco  un sito da cui partire:
Cmq grazie per le trad.Starò via un pò di giorni ,ma ho la vaga sensazione
che ci risentiremo! :-))

 Arf
questa te la passo va'......:-))
ma non farci l'abitudine.

 Ecco  un sito da cui partire:
Ops!
http://www.northcoast.com/~btiffee/deadc/

 hai fatto un affare.  
Ma và, solo ero curiosa, che strano manifesto...

 
Gracias muchas, ah sono neozelandesi, per questo so' così pazzi! Visto (per 
modo di dire) il video però la qualità audio è davvero tremenda non si sente 
niente... davvero un po' troppo 'noise'!!


Scusa, ho solo letto male, non c`e` sotto niente di arguto.......
