Fri, Jun 15, 2018
A live event “Rokushou” which I , Masuda Yoshiki and Oka Chiho organized in the end of 2017, will be held in 6⁄22 and 7⁄27.
This time of Rokushou is not a just live perfomance event but a live streaming talk. In 6⁄22, we listen our own music by each other, and talk about that. In 7⁄27, we bring each own “song” (with lyrics), listen them, then we do a live performance of the songs.
It’s very difficult to talk why we organize this kind of event, to be honest, none of us can’t explain it in words. However we know that our desitination is common in a certain range. This is a current state.
Thus the purpose of the event is also clarifying our purpose(what a meta porpose,,).
Talking about more concrete things, a starting point of Rokushou was continue to think about crossing-point between erectronic/experimental music and popular music. This has not changed. Then, thinking how we organize the event CONTINUOUSLY, what the best form of the event, is the problem. Organizing live event repeatedly will make us tired, but nothing left after finished the event,,, is it really suitable to us?
We are considering, also for now.
In 6⁄22 “Relisten”, we will focus on “listening” from creater’s side, before playing and creating. We wrote an articles about music we made before. In the talk, we listen to the music, and read the articles and talk about them.
I wrote an article about a piece 「つゆ」made in a year ago.
Christmas Tree and Sagrada Familia
I start from a broad topic, why we create music.
Someone make it to tell messages, the other one want to try a new technique into their music and the other one want to create what they wanna listen by myself.
I didn’t know that about myself. If I make some music, I could not be satisfied from that.
Gradually I got that music I listen usually are what called popular music and I have almost no interest to experimental music or electronic music(sorry I know its the blurred framing). On the other hand, I as a player/performer am interested in only technical experiment like a creating musical instrument as a musical piece, without any consideration whether it is pops. And I knew that its not so weird thing, particularly for experimental musicians.
After getting that, I gradually became to be able to switch between “Player mode” and “Listener mode” in my mind. Further, I could listen music with keeping “Player mode” the I could enjoy a kind of experimental music.
BTW, When I perform or create musical instruments, I like a kind that I can’t control a sound from it completely or can’t predict the behavior, even though we know an internal structure of the instrument. This happens in what have a feedback structure thus I frequently use an audio feedback.
Musical instrument is one of the tools. Tools is usually said that extends/expands human body. If it becomes to work independently in a range or uncontrollable, it is not an extension but rather a communication to the other body. For example, voice controlling interface like a Siri is apparent. Including uncontrollability, mail client Postpet was made to send an e-mail to sometimes wrong destination.
To simplify my “Player mode”, it is what faces to such a (dis)communication.
BTW,again, If I can listen with “Player mode”, also can I play/create music with “Listener mode”? Then , a years ago I started to something like music. To explain my “Listener mode”, I think it can be separated into 2 element, “Something personal about creator” and “Somthing structual about music”.
I leave the former for now. The latter means that pop music is similar to architecture. There is big structure in a center, and small structures cover it. This metaphor is not my own but by Brian Eno when he mentioned about generative music. He says generative music is more like to a gardening. https://wired.jp/2018/03/01/brian-eno-ar-installation/
However If I apply to this structual element into my player mode, this not go well. The system I use is generates sound arbitrarily. What I can do is cut and tidy up leaves which grows one to one from the main tree. I see this is actually likely to the gardening or the Bonsai?
So what I did was record one long sound sample from the system which generates sound semi-autonomously. Once I fixed the outcome from the system, I can use it as a main structure of music. Then I add the some small samples. So to call it, Christmas Tree which is cut and decorated.
Or, even in architectures, it by Antoni Gaudi is not so far. Gaudi’s architectures sometimes, don’t have any straight lines, integrates the shape from nature. Or He rarely drew schematics but made physical models in many times. This wa is quite different from the usual architecture. Then if we take Sagrada Familia which has not finished building into music, it is something fascinating between pop and experimental.