TEKSTMUSIK
TEXTMUSIC
ER VORES GRUNDL~GGENDE TIL AT FA OVERBLIK OVER VERDEN MED OG FORMULERE OPDAGEDE SAMMENH~NGE I. BLANDT ANDET SYNES SPROGET I NOTATIONSM~SSIG SAMMENH~NG AT V~RE VELEGNET TIL AT BESKRIVE FORESTILLINGER INDEN I PERSONER MED OG REAKTIONER MELLEM PERSONER. TEKSTMUSIK I OG MOD CENTRUM BESKRIVER HVER PA SIN MADE BILLEDLIGE FORESTILLINGER, JEG HAR FUNDET INTERESSANTE OG PRODUKTIVE, CDISSE KAN UDF0RES SOLO, HENS RESTEN FORUDS~TTER MEDSPILLERE), CTEKSTHUSIK 3 FRA 1975 HVOR ET SPIL KORT ANVENDES TIL AT GIVE DE SPILLENDE SKIFTENDE ROLLER I MUSIKKENS AFSNIT FINDES PA ET POSTKORT DER S~LGES GENNEM SAMFUNDET, KATEGORI E), HVIS-SA 1-3 FOKUSERER PA AT SKABE HENHOLDSVIS DIFFERENTIERING, P R ~ G N A N S 0 G TILF~LDIGHEDSVARIATION, (DER ER TALE OH SELVST~NDIGE STYKKER, IKKE SATSER), 4 HANDLER OH OPM~RKSOMHEDENS SKIFTENDE FOKUSERING PA HENHOLDSVIS DET AT LYTTE OG AT HANDLE, 5 HANDLER OH AT SKIFTE MELLEM HADER AT SPILLE PA UD FRA DEN SPILLENDES OPLEVELSE AF MUSIKKENS KOMPLEKSITET. 6 OG 7 HANDLER OM OPRM~RKSOMHEDSPLANERNE SANSNING, F0LELSE OG FORESTILLING (INSPIRERET AF GESTALTTERAPIENS GRUNDL~GGER, FRITZ PERLS), 8 OG 9 HANDLER OM ANSVARLIGHED FOR SPILLEPROCESSEN. TILBAGE TIL NULPUNKTET ER SKREVET TIL EN STOR GRUPPE, EN IDEEL ST0RRELSE FOR DE ANDRE STYKKER KUNNE V~RE 3 - 6 MEDVIRKENDE.
LANGUAGE IS OUR BASIC TOOL FOR OBTAINING A GENERAL VIEW OF THE WORLD AND CONCEIVE OF DISCOVERIES THAT HAVE BEEN MADE, IN A NOTATIONAL CONTEXT LANGUAGE SEEMS WELL-SUITED TO DESCRIBE NOTIONS WITHIN PERSONS AND REACTIONS BETWEEN PERSONS, TEXTMUSIC 1 AND TOWARDS A CENTRE DESCRIBE EACH IN THEIR WAY METAPHORICAL IDEAS I HAVE FOUND INTERESTING AND PRODUCTIVE, (THESE MAY BE PERFORMED SOLO, WHILE THE REST IMPLIES FELLOW PLAYERS) CTEXTMUSIC 3 FROM 1975 IN WHICH A DECK OF CARDS IS USED TO GI YE CHANGING ROLES TO THE PLAYERS THROUGH THE SECTIONS OF THE MUSIC IS AVAILABLE ON A POSTCARD BEING SOLD THROUGH THE SocIETY, CATEGORY E) IF-THEN 1-3 FOCUS ON CREATING DIFFERENTIATION, CONCISENESS AND RANDOM VARIATION RESPECTIVELY. CTHE NUMBERS REPRESENT INDIVIDUAL PIECES, NOT MOVEMENTS) 4 DEALS WITH SHIFTING OF THE AWARENESS BETWEEN LISTENING AND ACTION. 5 DEALS WITH SHIFTING FOCUS WITHIN ATTITUDES TOWARDS PLAYING TAKING ITS CUE FROM THE EXPERIENCED COMPLEXITY OF THE MUSIC. 6 AND 7 ARE ABOUT THE AWARENESS ZONES OF SENSING, EMOTION AND IMAGINATION (INSPIRED BY THE FOUNDER OF GESTALT THERAPY, FRITZ PERLS), 8 AND 9 DEAL WITH EXERCISING OF RESPONSIBILITY FOR THE PLAYING PROCESS. RETURN To ZERO WAS WRITTEN FOR A LARGE GROUP, AN IDEAL SIZE FOR THE OTHER PIECES COULD BE 3 - 6 PLAYERS.
SPROGET V~RKT0J
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CARL BERGSTRWM-NIELSEN, DECEMBER 1993. Carl Bergstr(Om-Nielsen: Tekstmusik / Textmusic
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