#sonic exploration

[lydiaplain]

View this post on Instagram

A post shared by Lydia Plain (@lydiaplain)

The journey is long.. The sonic world never-ending..🎨🎧🖤

[docileeffects]

[ceisteanna]

A sonic exploration of cognitive/sensory overload, like when you have everything coming at you at once and it all drowns in noise.

[theblindmachine]

"**Exploring the Timeless Brilliance of Miles Davis's Kind of Blue** In the pantheon of jazz, few albums shine as brilliantly as Miles Davis's *Kind of Blue*. Celebrated as the most famous jazz album of all time, it stands as a beacon of musical innovation. But what is it about this masterpiece that has vaulted it to such heights, and does it truly deserve its storied reputation as the premier jazz recording? In a captivating new video, music historian Ted Gioia delves into these profound questions, peeling back the layers of *Kind of Blue* to explore its lasting influence and acclaim. This isn’t just another critique; Gioia crafts an unscripted journey through the rich tapestry of music and culture, dissecting why *Kind of Blue* resonates with countless listeners across generations. Released in 1959, *Kind of Blue* introduced a modal jazz approach that diverged from the hard-bop style prevalent at the time. Davis and his stellar ensemble—featuring luminaries such as John Coltrane, Bill Evans, and Cannonball Adderley—created an album that was as introspective as it was groundbreaking. The improvisational freedom allowed by modal scales gave musicians the room to explore sonic landscapes, resulting in a record that feels both timeless and endlessly refreshing. But accolades don’t come out of thin air. The album's tracks, like "So What" and "Blue in Green," are masterclasses in mood and emotion, illustrating why *Kind of Blue* is as revered today as it was upon its release. Gioia lays bare the underlying currents of creativity, showing how each note and silence contributes to what we collectively experience as jazz art. As we navigate through the decades, the question lingers: Can any album ever truly embody the spirit of jazz in the same way? Is *Kind of Blue* merely a product of its era, or does its genius transcend time? Ted Gioia’s insights offer a riveting perspective on this classic, suggesting that its transformative qualities and cultural significance continue to inspire artists and audiences alike. For those curious about the depths of music history and its ongoing impact, Gioia invites you to immerse yourself in this engaging discussion. His passion for music is palpable, and as he unpacks *Kind of Blue*, both aficionados and novices will find themselves reevaluating their understanding of jazz. To learn more about Ted Gioia and his explorations into the world of music, don’t forget to check out his website at [tedgioia.com](http://www.tedgioia.com) or follow his thoughts on Twitter at [twitter.com/tedgioia](http://www.twitter.com/tedgioia). And keep an eye out for his upcoming book, *Music: A Subversive History*, set to unveil in 2019—another chapter in his quest to illuminate the radical undercurrents of musical evolution. Whether you’re a lifelong jazz lover or a curious newcomer, *Kind of Blue* offers a listening experience that is nothing short of transcendent. Join Gioia as he argues why this standout album not only deserves its accolades but also remains an indispensable part of any serious music enthusiast’s collection. Dive in, and let the magic of jazz sweep you off your feet."

[expressingartwithvideos]

#UFOBinky #MusicInnovation #SonicExploration #YouTubeChannel UFO Binky also dives into visual artistry, with many tracks accompanied by captivating animations or otherworldly visuals. This blend of sound and imagery makes every upload a multi-sensory treat, transporting viewers to new dimensions.

[jgruda]

Colectivo Raras músicas: Gregorio Kazaroff, Javier Entonado, John García Rueda, Mariana Piñeiro.

POSIBLES TÍTULOS: “POSESIÓN TRANSITORIA IMPROVISADA EN UNA HABITACIÓN DE TELOH”. “IMPROVISACIONES ÍNTIMAS”. “POSESIÓN IMPROVISADA”.

ESQUEMA 11:30 – 12:00 HS Entrada al espacio. 12:00 – 12:20 HS Puertas Abiertas Vídeo RM. Montaje teatralizado con público. 12:20 – 12:30 HS Puertas Cerradas Presentación. Concierto Timple 5’ a 7’. 12:30 – 12:45 HS Puertas Cerradas Concierto de cama 10’ a 12’. 12:45 – 13:00 HS Puertas Cerradas? Video Interactivo AD. ¿C/C? 13:00 – 13:20 HS Puertas Cerradas Cortina cerrada. 13:20 – 13:35 HS Puertas Cerradas Concierto de habitación. 13:35 – 13:45 HS Puertas Cerradas Concierto (in)formal. Aplauso invertido 13:45 – 14:00 HS Puertas Abiertas Desmontaje teatralizado. 14:00 – 14:15 HS Entrevista con Miguel.

DESARROLLO 12:00 HS Puertas abiertas. Entrada de público. Simultáneamente montaje teatralizado integrando al público. Se prepara todo el espacio, incluido el baño. Presentación de Raras Músicas con un vídeo en TV u ordenador. 12:20 HS Entrada de público. Puertas Cerradas. Presentación bla bla por Gregorio (con corbata con brillos). Concierto de Tiple en el Water por John, duración 5 a 7 minutos. Javier y Mariana de público (“elegantes”). Todos en el baño. Cambio de público. 12:30 HS Entrada de público. Puertas Cerradas. Presentación por John? Concierto de cama, duración 10 a 12 minutos por Gregorio, Javier y Mariana en la cama. John de público? Cambio de público. 12:45 HS Entrada de público. Puertas cerradas o abiertas? Video de Arín Dodó. Interacción con público? Sale el público. Se cierran puertas. Se cierran cortinas. Oscuridad. 13:00 HS Entrada de público. Entran en la habitación uno a uno de la mano de Javier que es el acomodador desacomodado (parche en el ojo, … ). El acomodador ubica a la gente que inmediatamente es cambiada de lugar por Gregorio. Una vez que terminan de entrar, se cierran puertas. Susurros, roces con telas o agua (gotitas con rociador), aromas?, voces, sonidos… Cada X tiempo, alternándose, uno de los tres (o cuatro?) se mete por la cortina y va al balcón mientras los otros abren la cortina dejando ver una imagen, fija o móvil, creada por el que esté fuera. Puede finalizar abriendo las cortinas de par en par… ¿? Cambio de público. 13:20 HS Entrada de público. Puertas Cerradas. Concierto de habitación con participación de público. Consiste en hacer música utilizando todo lo que haya en la habitación, incluida TV, sonidos externos, baño, etc… Cambio de público. 13:35 HS Entrada de público. Puertas Cerradas. Concierto formal des-formalizado, duración 10 minutos. Alrededor de un sillón, colocados como en foto antigua, con gesto serio y pose fija. Al terminar aplauso invertido. 13:45 HS Puertas abiertas. Desmontaje teatralizado integrando público.

Ideas:  IMPROVISACIÓN. POÉTICO. PERMANENCIA IMPERMANENTE (encontré el email). ITINERANTE. PASAJERO

Cositas: Podríamos pensar un tema, una imagen, algo sencillo para el montaje y desmontaje con público ya que entre uno y otro suman media hora, quizás relacionando principio y fin.

Material: Telas varias. Rociador. Perfumes/Aromas.

[coupdeglottemusic-blog]

Volume 1 Brooklyn talks ‘sonic exploration’ with Roarke Menzies:

“This is music that asks listeners to consider how and where they place their focus and attention. I think there’s something to be said for observing how you observe.”

Read More...