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Konzertabend elektronischer Musik
ORDER AND THE OTHER HALF OF LIFE What is treated in music, at the same time always reflects social conditions. The composition in the Baroque period depicted relatively self-assuredly the social structure, with all the tension which were inherent to it (J.S.Bach). The end of the feudal system made possible freelance composers (Beethoven) and the sound-created vision. And still the artist continued to react to found circumstances of life which have changed radically in our century: Claim and practise of social order have pushed towards each other and several order systems exist simultaneously side by side.
The technical development not only fundamentally changed industrial manufacturing and questioned social structures, it involved the private life of every individual. And of course, it changed the artistic production terms and changes them daily at a speed which almost excludes creative stocktaking of oneself. The technical availability made possible and the reproducability of all conceivable and not to be thought out sound material have not only exceeded every limit of sound production, by means of this the organization of sounds in time and space of reflexive footing have also be indirectly removed. As a result, the need for an order system makes itself obviously even more valid and the interest for unsecured correspondences which exist between the differing order system. The concern is on the road to this. James Tenneys' oscillation-glissandi as a countermodel to the occidental concept of harmony, the natural legitimacy of the overtone microchaos of Johannes Fritsch, the pluralistic difference of different superimposed rhythm structures of frequence modulated sound synthesis which against this dissolves such structures into flowing spacial sounds, the interactive order concept of Duncan Youngerman and the mythological and at the same time concerted sound world of Simon Stockhausen which derives from the chaos research and the signpost marking the way.
Bernd Leukert
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