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Residencia: Maximiliam Marcoll [Alemania]

Del 12 de febrero al 25 de marzo del 2013



Como parte de su residencia el compositor Maximilian Marcoll dará una conferencia el jueves, 21 de marzo, a las 19:30 hrs. en el Goethe-Institut Mexiko. Ubicado en el auditorio altana, tonalá 43, col. roma (entre durango y colima) D.F.. Entrada gratis. Se contará con traducción simultánea

 

En los últimos años, en la música culta contemporánea (al menos en la región germanoparlante) ha tomado impulso un desarrollo que cuestiona muchos paradigmas que se daban por hecho y señala una salida del estancamiento resultante del final de la lógica de diferenciación de material de la Nueva Música.

Con base en la ampliación radical del término de material, Maximilian Marcoll intenta transmitir una idea de esta nueva estética en la música culta así como una impresión sobre su relación personal y su forma de abordar las nuevas preguntas.

 

Proyecto de residencia:

The pieces of the COMPOUND series evolve from recordings of my everyday environment. The recordings are mostly made of sounds I come across, rather than seek out, which grab my attention because of their structure. In principal, almost every acoustic time frame can become a part of my material pool. The whole concept of the compound series is based on two paradigms: • Transcription as the main technique of operation and • The Slip-Box, in my case a network of relations between acoustic material A technique that is vital for my work is transcription - the translation of recorded acoustic flow into musical notation, playable by instrumentalists. Firstly, I understand the transcription process itself as a compositional intervention, which involves certain filtrations of the source material as well as an accentuation of particular attributes over others. (This already comes with some serious ramifications of both technological and aesthetical nature.)

 

Secondly, I am more interested in processing the transcriptions into derivatives and in putting various materials from different contexts into a confrontational situation, causing them to comment on one another. All my acoustic materials are fed into a material network. The network structure displays connections between materials which result from phenomenological similarities. All objects of the network belong to "identities", rough classifications of acoustic material, mostly determined by their origin (which also build the titles of the pieces). The role of the network can be described as: a material pool, as a tool for administration purposes (editing relations between objects and creating connections between materials), as a generator (the combination of several materials into derivatives is not possible without an overview over existing compatibilities), as a base for formal organisation. The network is growing independently from the work on particular pieces. New materials are being added to the network all the time, creating new possibilities of connection and changing the inner order and the form of the network constantly.

 

Maximilian Marcoll (*1981) studied percussion, instrumental and electronic composition in Lübeck and Essen, Germany. He lives in Berlin. In his series "Compounds" (since 2008) he focusses on the transcription of concrete sounds, mostly recorded in everyday life situations, and the creation of a material network, on which the pieces of the series are based. The development of software also is a part of his compositional activities. In 2010, the software quince  was released.M.Marcoll is a member of the artist group stock11. He teaches in Berlin and Düsseldorf.

 



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