Notes

1. Zarząd Kieruje Całokształtem Działalności AOT
I told my mother about it, she went in, but she didn’t understand what I was talking about. I’m ocen one of these composers obsessed with spatial things in music, I generally stay away from it, because I don’t feel like it’s a very strong parameter (for me anyway) and I really hate it when sound is manipulated extensively in terms of space using lots of loudspeakers. I don’t work from the inside, I work from the outside. Anna Gluc: How do you work with your music? A.G.: I am curious about the texture in your music. Do you think about texture in a spatial context? You feel either the distance, or closeness… Often the first thing that Także do when I write i piece is either take an existing sound (maybe it’s a CD recording of Brahms) or Dodatkowo go out and make a field recording of something (of the street, some bells, children’s playground, anything) and these bits of stuff, these sounds and often images from the outside world, they’re the beginning of the piece, and then, I try to make some kind of musical, compositional narrative, using this material from the outside.

I went in and then I saw on the screen that the world was upside down, and that was my first camera obscura experience, and again it was a completely sensory experience, I was overwhelmed by it. There’s a very interesting short story written in the early 20th century by an English science-fiction writer, Olaf Stapledon, The World of Sounds, where a man dreams that he is in a world made of sound and then all the sounds are given parameters of up and down, and sideways, and thin and thick, and it’s quite interesting to read that, because it was written long before anybody started doing that type of work. A.G.: You once said that you had been an electronic music composer long before you started to compose electronically. When and why did you start and what does it mean to be an electronic music composer? He liked slowing things down, he liked carillons, music boxes, and his favourite composer was Brahms. The piece is an homage to an Italian composer, Aldo Clementi, who always slowed things down, but in i rallentando kind of way, not in the electronic music sense of slowing down and lowering the pitch.


My teacher always told me that I compose my instrumental music electronically, rather than idiomatically, thinking about sounds changing, and masses of sound, and textures changing. It’s hard to say how it began exactly, probably I’ve always had a major desire to make visual work. J.B.: That’s hard. There is a kind of conceptual space, isn’t there? I can get a little bit closer to the source of sound, but I don’t use directional microphones when I’m recording, although maybe that’s something I would like to try… I wanted to change the character of the music and I used trial and error to find the best source material. I use trial and error a lot in my music. I like distant noises and transparent soundscapes. I like the idea of being put into the environment and put into another sound world… I like sounds where you’re in a place and you can hear things from far away. There is a park in Berlin for instance where you can hear all sorts of sound coming from quite a distance.

You can hear some cars, you can hear the S-Bahn, you can hear the birds a little bit closer up… Do you trust your inner conception of sound or do you try different samples beforehand? When I listen to fragments of your music, for example "Symphony-Street-Souvenir", I think of the changing of textural shapes and different harmonic planes there. How does it influence the process of your field recording? Joanna Bailie: Far more the last thing. zobacz used to be a very important thing for me, but in a way, in terms of timbre and texture, the electronic part has replaced instrumental music and nowadays often, but not always, the instrumental part is doing something relatively simple and the timbres and the textures are relatively simple. The housing of the Fezz Audio preamplifier has been designed so, that these chips fit easily inside. Somehow it must have gone into my mind, but it took me a while to have the opportunity to put together all the equipment that I needed to make electronic music, especially electronic music that went with live instruments, because I was poor. I went to the lectures that were on electronic music, where I absorbed some ideas to do with thinking about sound first, not quite scientifically, but bearing in mind the scientific qualities of the sound.


Read More: https://opisyopracowania.pl/artykul/2595/sprawdzian-godziny-po-angielsku