Centrifuge #15 is in the “doodle”: date selection phase. contact Frakture for the link.
Centrifuge nos #14
Thursday 17th November 2001
8.00pm £3.00
Kro Bar
325 Oxford Road,
Chorlton on Medlock,
Manchester M13 9PG
venue 0161 274 3100
http://www.frakture.org
the original doodle is/was here
http://www.doodle.com/rqhkfyra4cd4pmwr
Phil Morton is planning the next session, due August/September 2011. Vocal play is a creative voice workshop using free improvisation as its starting point.
The date is selected by the web application “doodle”.
If you are interested, and would like to affect the date selected to suit you, and your diary, send an email to swim@frakture.org
More info
http://www.frakture.org/vocal_play/index.htm
* we do not list the doodle link here due to spam and unwanted comments.
regards
Phil Morton
07999518582
Open Call Document: for Frakture Network
Open call for John Zorn’s Cobra: 1st performance Nov 23rd 2011
Plus two workshops / rehearsals
Session leader: Rodrigo Constanzo / Noise Upstairs (NUS), Manchester
Partners: collaboration between apatt, Frakture & NUS
Target 20 musicians: 8 from Frakture, 8 from apatt, 4 from NUS
Frakture therefore are looking to recruit 8 participants.
Skills required. It should be noted that this is not “free improvisation” in the narrow sense of the concept. There are rules, strategies, it’s a game, there are gestures, and there are gestures that need to be observed. For some “free improvisers” this “may not be for them”, if you are a fundamentalist “free improviser” please reflect upon what you are signing up for.
Interested? What do you do next
Send an email to concerts@frakture.org, registering your interest
Include your full name, and contact telephone numbers.
Phil Morton is available to chat on 07999518582
After that we will contact you and discuss what happens next.
or skype call fraktureoffice
“>
John Zorn’s Cobra: notes and thoughts
Rodrigo Constanzo writes
“John Zorn’s Cobra is either an often performed contemporary music composition, an improvisational game, a short attention span barrage of noise, a social experiment, or every piece of music you’ve (n)ever played or heard. I can’t be certain as to which it is or isn’t but I do know that it involves a group of performers, rules that should be read/understood before hand, a rather poorly made set of cue cards, and sometimes dirty headbands.
One thing that I know for certain, from years of involvement with the piece, is that no two performances are anything at all alike, even with the same performers, on the same day. It is not uncommon to find yourself laughing at the serendipity that happens during a performance, only to be still and solemn not three seconds later when a hand gesture made by a performer drives the performance into a completely new direction.
At it’s most basic, it is a piece by and for improvisers. A system, or structure, that allows performers to interact in a variety of ways, that can change at the drop of a hat. Beyond that, anyone’s guess is as good as mine.”
Web Links:
you tube link
NUS Link
Noise upsatirs link
Instructions link:
Intructions link in .pdf format
Following the successful Acoute # 2 session,
“Frakture Concerts an organisation that promotes free improvisation tonight engages the “The Composition”. Acoute #2 is an evening of contemporary composed music, including Karlheinz Stockhausen , Cornelious Cardew pieces, using acoustic sources with local and regional musicians”
acoute 2 web page and link
For acoute #4 Frakture are to repeat the same format, that is compositions, scores etc replace free -improvisation.
If you have a piece, a “score” a strategy, that may be suitable for the acoute #4 concert, let us know, send an email to concerts@frakture.org , text 07999518582, or skype call fraktureoffice
Time: Winter early 2012
venue: The Bluecoat
Finance: expenses will be considered, fees unlikely.
frank frakture
p.p.
Frakture Concerts Team
Frakture are planning another edition of their “Centrifuge” series, in Manchester in September.
If you know about the Centrifuge concept and delivery, but have missed previous messages for Centrifuge #13, send Frakture an email to conccerts@frakture.org
and we’ll update you regarding developments
If you are new to this format: Centrifuge here are some web links
Centrifuge FAQ’s
Centrifuge Homepage
Centrifuge Contact Form
best wishes
Phil Morton
07999518582
Open call: acoute 3
Frakture Concerts presents an evening of free improvised, contemporary music using acoustic sources with local and regional musicians’
Next Gig: Acoute: # 3, Tuesday Nov 8 th 2011
What happens next:
if you are interested email Frakture Concerts Team at concerts@frakture.org
call phil morton 07999518582
call us on skype for free
At the gig
* An evening of small groupings exploring the creative content present.
* Grouping randomly selected and chosen with a purpose.
* Solo acts and whole groups pieces may feature too.
phil morton
INTUITIVE MUSIC WORKSHOP
The Bluecoat
School lane
Liverpool L1 3bx
14th July: 7.30 – 10.00pm £3.00
SWIM: Sound workshops in music.
http://www.frakture.org/
Phil Morton 07999518582
Karlheinz Stockhausen Workshop INTUITIVE MUSIC:
an exploration of composition through improvisation
Session leader: Simon Jones.
NOTE: This workshop feeds into a concert, participants are invited to perform at the concert too, however it is not a condition of attending the workshop, you can just attend and participate in the workshop if you wish
To attend the workshop, attend on the night, arrive early and be ready to start @ 7.30pm.
It is good to know who is attending so maybe drop Simon Jones a line at simon@frakture.org
Introduction
Music is, on one level, intuitive. Anyone can listen to and enjoy music. It is so basic to all of us, it is part of the very core of the human mind.
Music notation, however, can be very precise. As music notation developed from its beginnings, it became more and more complex, more and more detailed and explicit, denoting every aspect of the music. The process of music became more and more governed by systems of logic.
Karlheinz Stockhausen’s Aus den Sieben Tage (From the Seven Days) of 1968 was an attempt by the composer to counteract this tendency, and return to intuitive music once again. By creating a score consisting only of text, he removed the precision of traditional notation. Elements as basic as pitch, duration and rhythm are no longer described, instead Stockhausen attempts to create a score that communicates its essence intuitively through a description of its emotional processes and states.
In this workshop, participants will play and discuss pieces from Aus den Sieben Tage, and its 1971 companion, Für kommende Zeiten (For Times to Come), as the basis to explore the notion and practice of INTUITIVE MUSIC.
Duration: 2.5 hours
Workshop leader: Simon Jones
Skills:
Attentive listening, musical intuition, ensemble playing, musical interpretation, musical decision-making, self-monitoring
Concepts: Composition, improvisation, musical parameters, sound, concept art, instrumentation, timbre Target audience: The workshop is targeted at players from a wide range of abilities, from beginners to professional musicians. The ability to read music is not required, neither is the ability to play a conventional musical instrument to a high standard.
The target audience/participants ranges from those interested in contemporary music, to those wanting to expand their normal range of musical experience, to musicians interested in exploring deeper musical concepts, to those looking for a fun way to spend their evening
Frakture’s Splash gigs invite musicians to meet and play free improvised music in a series of planned and random groupings as arranged on the night. Its not a turn up play jam night, musicians register and interest to play and then are invited to play.
For more information read FAQ’s here
Also, you need to join our musicians network newsletter list, so we can contact you when they are happening, the contact list is here, tick the box, musicians newsletter.
The details: i:Splash #34, 21st August 2011. venue Ship and Mitre, dale Street.
More info: contact Frakture concerts team: concerts@frakture.org
skype call:fraktureoffice
regards
phil morton
Open call for creative musicians
Title:Tryptych: By Eric Wilson
Curated & managed by Phil Morton
Dates: Open no fixed dates yet
Rehearsals: Open no fixed dates yet
Gig Date: Target to include a performance within an “acoute” concerts presented by Frakture Concerts prob at the Bluecoat
Finances: very limited: expenses considered.
Musicians: Aiming for between 6-12, initially the project maybe acoustic. To be confirm
Interested:
Contact: phil morton | email | philmorton@frakture.org
with your names, contact details, and if he does not know you, a short introduction.
Outline:
Triptych: Eric Wilson
Is a soundscape driven deposition by Eric Wilson.
Eric Wilson eschews the notion of composition, and so to acknowledge that this document has some common features it shares with the aforesaid notion, that is a composition, he refers to it as a “Deposition”.
The piece has three elements. The piece has three roles.
They are:
1) Backgrounds
2) Signals
3) Conversations.
This “deposition” is a result of an interview between Eric Wilson and the head of audio logy @ the Liverpool Royal Infirmary Hospital during the year 1998, this male stated as a fact that every “soundscape*” is made up of three elements, background, signals & conversations. The composition Triptych will therefore, direct and instruct the participating musicians to act, perform the roles of “background, signal and conversation” using sound and/or music.
The artists:
6 – 8 Musicians. However the “rehearsal” of the piece may develop a firmer view re numbers, therefore musicians count is to be confirmed after experience.
The piece could be opened up to include other art forms.
What happens next?
At least one rehearsal before a performance.
The piece is on the reserve list for Acoute 2: Frakture’s concerts format for new acoustic music. If it fails to make the set list for Acoute #2, it should appear in acoute #4. For the moment this rehearsal will be acoustic.
For more information: to put your name forward, contact Phil Morton,
project manager for Eric Wilson.
philmorton@frakture.org / 07999518582
Eric Wilson adds
· It is also noted by Eric Wilson that the term “Soundscape” has lost any value through its misuse and wanton abduction by people known as “Sound artists” who are usually just “rock” musicians seeking funding from the Arts Council of England. You may hear him turning in his metaphorical grave, slowly. In effect any sound-environment” could be described as a “Soundscape” says Eric, “but it seems a musician only needs to use a reverb unit, or play A minor ninth for 3 days “quietly” for the piece to become a soundscape. The ears boggle!”
phil morton
p.p. Eric Wilson
