"Experimental" violin music
I've been listening again to some old albums I have and re-discovered my love for the critical acclaimed Loveless (1991)
. While the album didn't sell well, "critics praised its sonic innovations and Shields's virtual reinvention of the guitar" and some people have pointed out that "It's rare in guitar-based music that somebody does something new [...] At the time, everybody was like, 'How the fuck are they doing this?' ".
There have been some pianists doing more "experimental" composing like Ligeti's "Musica Ricercata" or Gibson's "The Four Pillars Appearing From the Equal D Under Resonating Apparitions of the Eternal Process in the Midwinter Starfield".
Now I wonder if there is anything similar for the violin. Something that could account as a "reinvention" of the instrument. What are some uses of violin, either popular or highbrow music, that lead people to think "I didn't know you could do something like that with a violin"?
Lubelski sort of fits what I'm thinking of. This for example, but it isn't very good imho.
This is a nice piece:
Interesting, but I must draw the line at anything that could damage the violin, its strings or bow (which is why I don't do col legno unless I have a CF bow to hand). The other issue for me, a rather contentious one, is at what stage does "experimental" violin music cease to be musical?
There's some interesting compositions using loop and effects pedals that might count.
Those two clips Stefan referenced above are like sound effects to me, and I have a difficult time calling it « music ». I suppose in my mind music should have some form of melody.
Yeah but if melody is your only qualifier to music, then you'll be saying that percussion isn't music, or John Luther Adam's gorgeous creations also aren't music because it lacks melody...
Not all percussion rendition is music, and should vary in tone, rhythm, and harmony otherwise it is just noise, boom, boom, boom... ding... boom, boom, boom ... ding ... boom, boom, boom,... ding... boom, boom, boom ... ding ... boom, boom, boom... ding... boom, boom, boom ... ding ...boom, boom, boom... ding... boom, boom, boom ... I.e. rhythm alone doesn’t make music. A train rhythmical noise isn’t music (although at the origin of Bebop apparently). Webster defines music as « vocal, instrumental, or mechanical sounds having rhythm, melody, or harmony « . Therefore technically and by definition experimental music is of course music and an artistic expression one may like or dislike, but let just say that in general I like melodious music much better.
George Crumb's Black Angel is an interesting composition with some unusual techniques
>it gave me a feeling of utter despair
Brilliant! I could start it off with that cello piece followed by pretty much anything by Philip Glass....Someone once got me tickets to a concert of his and I shamefully, fell fast asleep, in the front row too. Any more offers for music to make you want hide under a duvet until it stops.... Maybe that's why it is of indeterminate length ,so that when you pop your head out after a couple of days it will still be going strong.....
Many years ago, on the BBC radio's "3rd Programme", now called Radio Three, and devoted mostly to music, there was a live studio first performance of a piece for percussion by one Piotr Zak.
But in the Piotr Zak case nobody liked what they heard, in fact
When in utter despair about a hoax the only thing that helps is to hum some contemporary music.
Demian, that's interesting, I wasn't aware the Piotr Zak hoax has been written up on Wikipedia, and was relying on my recollection of a radio broadcast and talking about it to one or two others later. So my recollection of events 57 years on was not entirely accurate!
Q: What is the definition of "percussionist?"
There's a lot of music with guided aleatoric elements, or sound installations that is activated by wind or other chance elements, many of which I find very beautiful and touching. At any rate we can debate on the meaning of music and what's beautiful or ugly, but that's really not what the OP is asking...
I've been thinking about this discussion and it has inspired me to make a composition using a paintbrush and a wine cork. It may sound ridiculous but what if I applied that thinking to my violin. It is an object of beauty and fragility but am I following all the 'rules' of playing too closely so it inhibits creation. Seriously, since thinking about the ideas raised here I am starting to understand what Simon Fischer means when he says every note has a beginning a middle and and end.
Trevor, when doing the Gadfly Suite recently, I used my pencil for the Col Legno.
Will that was funny.
I am not sure if this qualifies for experimental violin music, but my already very high regard for Yehudi Menuhin's collaboration with Stephane Grappelli was increased by this recording made with Ravi Shankar.
here's Frank Zappa playing a bicycle with a bow, on the Steve Allen show in 1963. was Frank ahead of his time?
Katt Hernandez. Got her start in improv music with the Michigan Youth Symphony Jazz (not really) Improv Workshop, a degree in music from the U of M in improv, now lives in Europe. Sweden I think. Was a high school friend of mine (actually invited her to join the improv workshop long ago) and plays some pretty out there stuff. Late starter, but quick to catch up. Always creative.
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