Experimental music counts as music by relating musical with non-musical.  In such cases, the musician wills a relation of the non-musical to a formalism that governs the musical.  Such musical compositions reflexively reform music for the benefit of music itself.  This practice re-activates musical traditions.  Through such reflexivity, experimental music is already meta-musical.  An experimental musicological composition is circular in that it already presupposes itself in whatever phenomenon or set of phenomenon it articulates.  This loop guarantees that everything is potentially musical, and ensures the world remains music's mirror that breeds infinite musicological interpretation.  Experimental musicology's reflexive self-sufficiency means that the musical practice of experimental music is not really a theoretical practice but rather an empirical activity whose claim to theoretical legitimacy is only ever assured through its performance.  Thus, experimental music is a game, the rules of which are always effectively guaranteed by virtue of the operation through which their stipulation is enacted.

Experimental non-musicology abstracts musicological compositions in order to foster the non-relations of the musical with the non-musical.  Such musically disinterested heresy acts as a refusal of any definition of music rooted in an appeal to the authority of musical tradition.  This heretical practice doesn't negate, but suspends tradition via indifference and establishes a musically disinterested description of music's identity.  This disinterested identification of music results in a non-musical use of music: a use of music that remains constitutively foreign to the norms and aims of governing the properly musical practice of music.  Non-music is a theoretical practice of music proceeding by way of transcendental axioms and producing theorems which are musicologically uninterpretable.  'Uninterpretable' because non-music is constitutively unintelligible to musicians.

By positing rhythm as already-performed, as performed-without-performance, the non-musicologist operationalizes the non-musical contingency of performativity.  The non-musicologist releases the identity (without synthesis or unity) of theory and practice by converting their compositional co-constitution into non-relation whereby the subject performatively unilateralizes the dyadic synthesis of saying and doing.  Thus, the non-musicologist unleashes the radically nondualistic performative character of theory as well as the rigorously cognitive character of practice.  Non-music is at once a theoretical practice and a performative theory.

There is nothing necessary about non-music.  There is no obligation for the experimental musician to switch from the musical to the non-musical posture.  Non-musical preoccupations cannot be used to lend music an aura of necessity.  Thus, from a musical perspective, the non-musical practice of music is neither necessary nor inevitable.  Non-music frees listening from every end.  By curtailing musicology's specular narcissism, non-musicology un-tethers listening from every musicological telos.


Kieran Daly - BGM MNAR



投稿日:  

futow 009
Kieran Daly - BGM MNAR (disc / mp3)
total time: 01°41'16"
Release on October, 2014
if you may, please let me know the concept of this work. MNAR is "missing data analysis" terms?
KD: Yes, MNAR (missing not at random) is one of several terms identifying types of mechanisms involved with missing data. In short, for data to be missing not at random is for the 'missingness mechanism' (its cause for disappearance) to be unsystematic in occurrence and dependent upon unseen observations. This makes it very hard to model for imputation of those missing values, in my understanding. cf. Hedeker and Gibbons (2006).
For BGM MNAR, the impossibility of playback, or incapacity of playback to start, was investigated in lieu of the essential musical necessity of both 'playing' (production) and reproduction. Recordings were made under conditions where sustained playback was impossible: low battery power, no power, and also an inoperable playback system. During recording, playback would disappear often without external control -- i.e. 'not at random', rather than randomly (systematically) determined. Since disappearances (blackouts) were uncontrolled, it was difficult to know by which mechanism playback disappeared. BGM MNAR might be considered a documentation of troubleshooting, in this sense.
There is a common understanding of music as merely sounds, silences, and no thing else. 'No thing else', i.e. finitude, is precisely the focus here. How to present only the end of a recording, its finiteness? Even though BGM MNAR presents sounds and silences, 'no thing' was (attempted to be) emphasized by cutting recordings together, sampling the beginning or end of recordings, pausing/stopping, and of course the preemption of complete playback via incapacitation -- hence the many ostensible 'do-overs', in the latter case. This was an attempt to present only 'cut', rather than what is between cut. Silence is still appearance! Thus, the musical injunction to always have some thing to hear or experience -- where appearances are *for* some thing (us, the musician, the environment, etc.) -- no longer needs affirmation, but while still following the injunction and presenting things to hear.
Additionally, the use of various genres that might function as "background music" (BGM) -- jazz, field recordings (sound therapy), ambient, audiobook -- is to follow that function's principle of not necessarily using/evaluating such genres on musical terms (analysis), but rather on terms of their environmental function (synthesis) (which isn't to negate the possibility of taking the 'environment' as analytic). The use of such genres in BGM MNAR is done according to a subtraction or dampening of (the bias towards) quality/resolution i.e. genre, style, discrete identity, etc. -- most, but not all, samples are at 3.91 kHz -- which compels one to think merely from quantity (adiaphora): frequency, duration, etc. Such "low-resolution" might infer a continuity of irresolution between samples and compel skepticism towards their determination as qualitatively different or even 'musically' bounded.
Acknowledging JF, IM, TU, SS.
Kieran Daly
http://qwone.info/



Rhythm cycles, flows, and rests
Rhythm neither cycles, flows, nor rests
Rhythm no more cycles than flows or rests
Maybe Rhythm cycles, flows, and rests
Maybe Rhythm neither cycles, flows, nor rests
Maybe Rhythm cycles, flows, and rests and Rhythm neither cycles, flows, nor rests
Maybe Rhythm cycles, flows, and rests and Rhythm is indescribable
Maybe Rhythm neither cycles, flows, nor rests and Rhythm is indescribable
Maybe Rhythm cycles, flows, and rests, Rhythm neither cycles, flows, nor rests, and Rhythm is indescribable
Maybe Rhythm is indescribable
The soundscape produced by Temple and Bocast is a compressed version of the chorus described by Leopold, taking 30 minutes of notes and compressing them into five minutes of recording. Bird songs and calls were obtained from the extensive collection housed at the Cornell Lab of Ornithology’s Macaulay Library.

GPDF142/GPDFE008 : Kieran Daly : 7 CLOSET DRAMAS

Kieran Daly
7 CLOSET DRAMAS
2014
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