{"title":"Terek - Instrumentumok -宿醉•空间-仪器-声音","authors":"Péter Mátrai","doi":"10.1556/2065.184.2023.6.2","DOIUrl":null,"url":null,"abstract":"At the beginning of the nineties, I became intensely interested in sounds and electronic music. I performed vocal music experiments, participated in domestic and international music cours-es and workshops. I created the recording studio of the Hungarian University of Applied Arts, where I taught creative voice for 11 years. In my writing, I present four of my musical performanc-es (Reservoir Concert , dieffenBACHia , Invisible Cities , Apotheosis of the Brick), in which—in addition to my musical ideas—the spatial and material conditions given and created by me played an important role. I explore their artistic motives, spatial, material, sound-musical considerations, and technological components.","PeriodicalId":86120,"journal":{"name":"Magyar tudomany : [a Magyar Tudomanyos Akademia Ertesitoje]","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Terek – Instrumentumok – Hangok • Spaces—Instruments—Sounds\",\"authors\":\"Péter Mátrai\",\"doi\":\"10.1556/2065.184.2023.6.2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"At the beginning of the nineties, I became intensely interested in sounds and electronic music. I performed vocal music experiments, participated in domestic and international music cours-es and workshops. I created the recording studio of the Hungarian University of Applied Arts, where I taught creative voice for 11 years. In my writing, I present four of my musical performanc-es (Reservoir Concert , dieffenBACHia , Invisible Cities , Apotheosis of the Brick), in which—in addition to my musical ideas—the spatial and material conditions given and created by me played an important role. I explore their artistic motives, spatial, material, sound-musical considerations, and technological components.\",\"PeriodicalId\":86120,\"journal\":{\"name\":\"Magyar tudomany : [a Magyar Tudomanyos Akademia Ertesitoje]\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Magyar tudomany : [a Magyar Tudomanyos Akademia Ertesitoje]\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1556/2065.184.2023.6.2\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Magyar tudomany : [a Magyar Tudomanyos Akademia Ertesitoje]","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1556/2065.184.2023.6.2","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
九十年代初,我对声音和电子音乐产生了浓厚的兴趣。进行声乐实验,参加国内外音乐课程和工作坊。我创建了匈牙利应用艺术大学的录音室,在那里我教了11年的创意声音。在我的写作中,我展示了我的四场音乐表演(水库音乐会,dieffenBACHia, Invisible Cities, Apotheosis of the Brick),其中除了我的音乐理念之外,我所给予和创造的空间和物质条件也发挥了重要作用。我探索他们的艺术动机,空间,材料,声音-音乐的考虑,和技术成分。
At the beginning of the nineties, I became intensely interested in sounds and electronic music. I performed vocal music experiments, participated in domestic and international music cours-es and workshops. I created the recording studio of the Hungarian University of Applied Arts, where I taught creative voice for 11 years. In my writing, I present four of my musical performanc-es (Reservoir Concert , dieffenBACHia , Invisible Cities , Apotheosis of the Brick), in which—in addition to my musical ideas—the spatial and material conditions given and created by me played an important role. I explore their artistic motives, spatial, material, sound-musical considerations, and technological components.