Organized Sound and Experiments in Slovak Music - Revision history

Diogooutra: /* The Experimental Studio */

2021-01-28T11:28:54Z

‎The Experimental Studio

Diogooutra: /* The Smolenice Seminars */

2020-02-27T15:15:27Z

‎The Smolenice Seminars

Diogo at 13:20, 11 April 2019

2019-04-11T13:20:01Z

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Diogo: Text replacement - "Slovakian" to "Slovak"

2019-04-11T10:29:39Z

Text replacement - "Slovakian" to "Slovak"

Diogo at 15:29, 4 April 2019

2019-04-04T15:29:52Z

Diogo at 15:47, 27 March 2018

2018-03-27T15:47:29Z

Diogo: Created page with "Milan Adamčiak Sound Off, Piano Hotel, 1997 Photo: M. Murin Organized Sound and Experiments in Slovak Music - An essay..."

2018-03-05T18:53:46Z

Created page with "thumb|right|Milan Adamčiak Sound Off, Piano Hotel, 1997 Photo: M. Murin Organized Sound and Experiments in Slovak Music - An essay..."

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 == The Experimental Studio ==
-The idea of having an independent electroacoustic music studio detached from television or film production within Czechoslovak Radio appeared in 1964. The studio Triková réžia (Special Effects Studio) was eventually established, and in June 1965 it became the Experimental Studio of Czechoslovak Radio (Experimentálne štúdio Československého rozhlasu). The studio was managed by Peter Kolman, who remained with it until his emigration in 1977.
+The idea of having an independent electroacoustic music studio detached from television or film production within Czechoslovak Radio appeared in 1964. The studio Triková réžia (Special Effects Studio) was eventually established, and in June 1965 it became the Experimental Studio of Czechoslovak Radio (Experimentálne štúdio Československého rozhlasu). The studio was managed by [[Peter Kolman]], who remained with it until his emigration in 1977.
 The typical feature of the workplace was an emphasis on teamwork, combining the skills of sound engineers with the ideas of composers. The studio, with strong creative involvement by sound engineer [[Peter Janík]], (as well as [[Ján Backstuber]] since 1968) could also focus on the production of independent electroacoustic music, and offer composers professional input for the implementation of their ideas. Composers who were interested in electronics moved from the television Sound Workroom, which ceased to exist in 1966, to the Experimental Studio.
-The first independent electroacoustic composition in Slovakia goes back to autumn 1966. Jozef Malovec produced the composition »Orthogenesis« using genuine synthetic sounds with assistance from sound engineer [[Peter Janík]], using the foundations of his earlier scenic music. »The material seized my attention so much that I decided to make it into an independent composition. There was no stereo equipment in Bratislava Radio so we had to record the first mix using a commercial (non-studio) tape recorder.« <em><strong>[4]</strong></em> Two years later the stereo version of this composition won an award at the First International Electronic Music Competition at Dartmouth College in the USA. In 1968 the author produced a quadrophonic mix of the composition, which was immediately awarded a prize at the International Congress of Electroacoustic Music in Florence, and attracted much international attention.
+The first independent electroacoustic composition in Slovakia goes back to autumn 1966. [[Jozef Malovec]] produced the composition »Orthogenesis« using genuine synthetic sounds with assistance from sound engineer [[Peter Janík]], using the foundations of his earlier scenic music. »The material seized my attention so much that I decided to make it into an independent composition. There was no stereo equipment in Bratislava Radio so we had to record the first mix using a commercial (non-studio) tape recorder.« <em><strong>[4]</strong></em> Two years later the stereo version of this composition won an award at the First International Electronic Music Competition at Dartmouth College in the USA. In 1968 the author produced a quadrophonic mix of the composition, which was immediately awarded a prize at the International Congress of Electroacoustic Music in Florence, and attracted much international attention.
 == The Avant-garde Pioneers ==

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 One of the benefits of détente during the 1960s, and also proof of the involvement of the young generation of Slovak composers and theoreticians in active exchange with the international community, were three editions of the Smolenice Seminars for contemporary music. The idea to organize a contemporary music festival goes back to 1965, but it eventually ended up in the form of seminars with papers and concerts for the professional community, held at a castle in the village Smolenice near Bratislava. The first two years were held upon the initiative of [[Peter Faltin]], an active musicologist, as well as [[Ladislav Kupkovič]], with internationally-acclaimed guests. Karlheinz Stockhausen and [[Józef Patkowski]], the founder of the Warsaw Experimental Studio, [[Ulrich Dibelius]], [[Eduard Herzog]], and domestic composers, specifically Kupkovič and Peter Kolman, made presentations at the 1968 seminars. Stockhausen’s »Hymnen« and »Prozession« for electronics and instrumental players with the Cologne interpreters, and the collective composition »Profily« (Profiles) for the Hudba dneška ensemble (Kolman, Malovec, Parík and Kupkovič), were performed in a non-traditional spatial context.
-A year later, [[György Ligeti]], [[Vinko Globokar]], [[Henryk Mikolaj Górecki]], [[Boleslaw Szabelski]] and the Czech theoretician [[Vladimír Lébl]] accepted the invitation to give presentations in Smolenice. The Hudba dneška ensemble performed Ligeti’s »Poème Symphonique for 100 Metronomes« and a happening, »Ad libitum«, which consisted of a concert taking place in several halls of the castle in which the audience had an opportunity to play over a hundred instruments under the supervision of the musicians. At that time the musical community was becoming aware not only of the European avant-garde, but also witnessed the influence of Anglo-American experimental music, with its moments of indeterminism, improvisation and performance, which were represented by a semi-improvised performance by [[Peter Kotík]] with the quax ensemble, interpreting the graphical score »Treatise« by [[Cornelius Cardew]].
+A year later, [[György Ligeti]], [[Vinko Globokar]], [[Henryk Górecki|Henryk Mikołaj Górecki]], [[Boleslaw Szabelski]] and the Czech theoretician [[Vladimír Lébl]] accepted the invitation to give presentations in Smolenice. The Hudba dneška ensemble performed Ligeti’s »Poème Symphonique for 100 Metronomes« and a happening, »Ad libitum«, which consisted of a concert taking place in several halls of the castle in which the audience had an opportunity to play over a hundred instruments under the supervision of the musicians. At that time the musical community was becoming aware not only of the European avant-garde, but also witnessed the influence of Anglo-American experimental music, with its moments of indeterminism, improvisation and performance, which were represented by a semi-improvised performance by [[Peter Kotík]] with the quax ensemble, interpreting the graphical score »Treatise« by [[Cornelius Cardew]].
 The third year of the event was held in 1970 under the clouds of political change that followed the occupation of Czechoslovakia by armies of the Warsaw Pact. The chief organizers, Faltin and Kupkovič, decided to stay abroad in the long term, and what was to be the last event was prepared by Ivan Parík and his wife. The participation of Mauricio Kagel with the Cologne ensemble for new music, as well as the opening concert including a spatial composition called »Dislokácia II« by musicology student [[Milan Adamčiak]] (the event looked like a chess game which was controlling the music being played in another room), made it a memorable event, however.

← Older revision		Revision as of 10:29, 11 April 2019
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	[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.		[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.

−	[[Category:~~Slovakian~~ Content]] [[Category: Sound Exchange]] [[Category: Essays]]	+	[[Category:Slovak Content]] [[Category: Sound Exchange]] [[Category: Essays]]

← Older revision		Revision as of 15:29, 4 April 2019
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	[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.		[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.

−	[[Category:Slovakian ~~Contributions~~]] [[Category: Sound Exchange]] [[Category: Essays]]	+	[[Category:Slovakian Content]] [[Category: Sound Exchange]] [[Category: Essays]]

← Older revision		Revision as of 15:47, 27 March 2018
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	[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.		[7] Milan Adamčiak, »Transmusic Comp.«, in: Avalanches 1990–95, »Zborník Spoločnosti pre nekonvenčnú hudbu«, Michal Murin (ed.), SNEH, Bratislava 1995, p. 35.

−	[[Category:Slovakian Contributions]] [[Category: Sound Exchange]]	+	[[Category:Slovakian Contributions]] [[Category: Sound Exchange]] [[Category: Essays]]