La cocina de Ce - English site

Bikram yoga

Wed, 7 Jan 2009 22:44:38 +0100

1. Transitions are almost as important as postures or more. Kagel and “Ludwig van…”

Sound physics

Tue, 23 Dec 2008 13:16:15 +0100

The score is an extremelly detailed manual of instructions, it is based mainly on establishing physics laws which at the same time it is itself breaking. A sound, let’s say A4, can be 440 hertz per second, but “dolce”.

Argentinean people

Tue, 23 Dec 2008 13:12:13 +0100

I think that Mauricio Kagel is a typical Argentinean: multifaceted, humorist and irreverent. He takes the tradition as a starting point but at the same time he is laughing at it. Borges did the same thing in literature mixing up enormous knowledge with fake quotations.

Europa Europa

Sat, 20 Dec 2008 01:01:09 +0100

For Argentineans laughter is a tool which accounts for the European influence but at the same time pushes it away.
That is something we can do very well. I think about Borges, Xul Solar, Kagel and thousands of everyday characters drinking coffee in bars in Buenos Aires.

Building the house from outside

Mon, 17 Nov 2008 05:45:23 +0100

I find that in my country, Argentina, “everything is there to be done”. That is an extremely powerful energy, but many times it is necessary to build the house from outside to gain some perspective.

Scores

Mon, 17 Nov 2008 05:40:17 +0100

A score explains the unexplainable. The process is unfinished and fascinating.

Air in movement

Mon, 17 Nov 2008 05:38:40 +0100

Music is the most concrete and abstract art at the same time. The basic material, which is air on the move, resembles to me an invisible moving sculpture.

Alice in Holland

Mon, 17 Nov 2008 05:36:47 +0100

I like to think of my music language as my own house, my own tree and my own land. I love my country and I respect the place where I live, but I need something that fits me better.
I found my hole in the grass. Sometimes I feel lonelier than number one. But I think that this is part of the fun.

Extended trumpet

Mon, 17 Nov 2008 05:34:30 +0100

When a trumpet gathers in “extended techniques”, it is certainly expanding its repertoire of possibilities. In this way the trumpet becomes more trumpet than ever.

Sound theatre

Mon, 17 Nov 2008 05:33:20 +0100

The theatre of sound is the theatre where music eats the theatre and digests it into its system. It reminds me of the movie “Invasion of the Body Snatchers” where the aliens take over humans who look the same as before on the outside but who have become aliens inside.

Expansion

Mon, 17 Nov 2008 05:32:14 +0100

I like to incorporate the world of objects, light and movements into a chamber music situation, in a sort of “expanded musical language”. But always in a language spoken from the music perspective.

Gap

Mon, 17 Nov 2008 05:30:32 +0100

Music notation is incomplete and fragile. That incompleteness is a gap that allows the comment of the performer and, in a broader scale, the comment of the time being. Through that crack many situations out of the composer’s control are coming out. So, the fragility of the score becomes its strength.

Double movement

Mon, 17 Nov 2008 05:29:27 +0100

Musical notation refers to events that already exist but in a double movement it is creating them at the same time.

The written world

Mon, 17 Nov 2008 05:26:45 +0100

I like to stamp on a music paper the enormous and complex outside music world, for example writing down on a score water dropping. Music is not only about sound organization. Music is a point of view from which when we can see the world.

Little jokes

Mon, 17 Nov 2008 05:23:51 +0100

I’ve learned from my parents that whatever happens in life, challenges should be faced with happiness. That is the fuel to climb the mountain – together with little jokes in the worst moments. The enormity of the task gives the dimension of the enthusiasm. Otherwise it is impossible.

Chess

Mon, 17 Nov 2008 05:19:00 +0100

My father, who is an accountant, taught me how to play chess when I was 5. I still remember the first time we played the game. I won. He still swears he didn’t let me win. Of course he did. He was not only teaching me the rules of the game but also to love it.

Graphic score 6 - New complexity

Mon, 8 Oct 2007 03:19:54 +0200

Graphic score 5

Thu, 4 Oct 2007 03:19:19 +0200

Graphic score 4

Thu, 4 Oct 2007 03:18:11 +0200

Graphic score 3

Thu, 4 Oct 2007 03:17:40 +0200

Graphic score 2

Thu, 4 Oct 2007 03:16:56 +0200

Graphic score 1

Thu, 4 Oct 2007 03:14:19 +0200

Ida Lohman

Sun, 30 Sep 2007 03:02:09 +0200

Ida Lohman died last Tuesday, at 46. She was (is) a visual artist devoted to magic lanterns. Her special sensibility could transform simple quotidian materials into very magic images. She used to collect little papers, transparencies, little plastic toys: all these little things were transformed into incredible images in a super example of low tech multimedia.
It was nice to go for a walk with her, because she was constantly finding lot of things in the street for her magic lanterns. You could see how packages of cookies, eggs, straws, crystals, were becoming something extremely abstract and beautiful through the machines.
For the last projects she loved to work with live musicians- that is the way I met her. I will miss her.

http://www.musiscoop.nl/

About notation

Mon, 20 Aug 2007 02:58:38 +0200

I like to think about music (I am talking about written music) as an object which regenerates itself every time it is evocated. Different from other arts where the physical object previously exists, in music the work of art “pops up” every single time music is performed, following the recipes of a score.
Music chooses a foreign language to express itself that is not sound waves but rather graphical signs. This synesthesia, that is when one type of stimulation evokes the sensation of another, prints to musical thought an ambiguous feature, ambiguity understood as fragility and strength at the same time.
We know that the history of western music was always dancing together with the history of musical notation: one generating the other in an indivisible dialectical relationship. Musical notation is not only a tool to preserve "the right sound waves in the correct order" but a way of thinking and creating music from a different perspective, being both a "registration and generation machine at the same time". Notation is in this way a kind of “arena” which allows music to be thought constantly in diverse and flexible ways, being this imperfect-perfect, defined-undefined, precise-imprecise double sided coin, the right scenario for the abstract condition of music.