{"id":4893,"date":"2020-05-01T10:41:36","date_gmt":"2020-05-01T05:11:36","guid":{"rendered":"https:\/\/globalmusicinstitute.in\/?p=4893"},"modified":"2020-05-15T10:21:55","modified_gmt":"2020-05-15T04:51:55","slug":"qtine-feed-curated-by-suvani-suri-2","status":"publish","type":"post","link":"https:\/\/globalmusicinstitute.in\/v1\/qtine-feed-curated-by-suvani-suri-2\/","title":{"rendered":"Q’tine Feed: Curated by Suvani Suri (Week 2)"},"content":{"rendered":"

Weekly Round Up: 1st May 2020<\/em><\/strong><\/p>\n

Week 2 of the Q\u2019tine feed had an eclectic collection of stories \u2013 talking about a website that archives sounds from yesteryears such as those of the Nokia phone, cassette tape, typewriter and the likes, to a robot designed to sing (with emotions!!) chart-topping ballads from the 1990s by the likes of Whitney Houston, Bryan Adams, and Toni Braxton,
\namongst others.<\/p>\n

Here is a roundup of the stories upto 1st May 2020-<\/p>\n

 <\/p>\n

27\/04<\/b><\/span><\/p>\n

Museum of Endangered Sounds\/ Brendan Chilcutt\"\"<\/a><\/b><\/span><\/p>\n

When is the last time that you heard the buzz of the TV static<\/strong><\/em> when switching channels? Or the whirring of the cassette tape<\/strong><\/em> that made up the world of our growing up (well at least for some of us!). Or even the funky 8-bit game tones that have been stuck in our heads ever since we first encountered them.<\/p>\n

The Museum of Endangered Sounds<\/a> is a website created by Brendan Chilcutt, with the intention of archiving the sonic worlds of technology, electronic appliances, everyday devices, gizmos and machines that are long-lost yet not forgotten.<\/p>\n

As technologies become obsolete faster than one can blink, what they leave behind is their auditory footprint, a glimpse of which pulls one back into yester years. The project not only preserves but also enables speculation into the perpetual present and possible future of listening to technology and time.<\/p>\n

\u2013\u2013\u2013\u2013\u2013<\/p>\n

28\/04<\/b><\/span><\/p>\n

Share your Quiet\/ Pallavi Paul<\/b><\/span><\/p>\n

The ongoing moment has modulated the sonic textures, tones and levels of our world, and in doing so, reveals a potency and collective agency in the sea of quiet that we\u2019re immersed in.<\/p>\n

Is there a measure for quietude? Can silence be calibrated and composed, arranged and syncopated, produced and archived?\u00a0<\/i><\/b><\/p>\n

\"\"<\/a>As an attempt to think through these questions and create an alternative archive of this time, Pallavi Paul, a Delhi based artist, has launched a project \u2018Share your Quiet<\/a>\u2019 that invites people to capture audio bytes of their moments of quiet. This forms a part of the Surviving Self-Quarantine series by Sunaparanta, Goa Centre for the Arts.<\/a><\/p>\n

The polyphony of \u2019quiets\u2019 can be heard in the curated stream of recordings<\/a> shared every Monday on the gallery\u2019s Instagram page.<\/p>\n

\u201cOver time, the collective hearings will turn into a symphony of silence. When heard together, it will heal and soothe even as we find ourselves physically isolated from one another.<\/em>\u201d<\/p>\n

~(from the open call)<\/p>\n

To know more\/ participate in the ongoing open call \u2018Share your Quiet\u2019, visit\u00a0 here<\/a>.<\/p>\n

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29\/04<\/b><\/span><\/p>\n

The man who carved sound\/ Halim El-Dabh<\/b><\/span><\/p>\n

The histories of experimental music, largely written and rewritten from Eurocentric perspectives, when teased apart, are seen to contain abundant nodes and pathways that developed in direct response to monumental work by artists and scholars from the non-Western contexts and traditions. \"\"<\/a><\/p>\n

One such name in the vanguard of electronic composition is Halim el-Dabh, an Egyptian composer, ethnomusicologist and educator who fronted and shaped the movement of electronic sound to reveal its many possibilities.<\/p>\n

In Cairo, as early as 1944, Halim was experimenting with sound manipulation using a wire recorder, an ancestor of the tape recorder. This resulted in his breakthrough electronic work,<\/p>\n

\u2018The Expression of Zaar\u2019, or the \u2018Wire Recorder Piece\u2019,<\/a> composed of his recordings of women chanting at a \u2018zaar\u2019, an Egyptian healing ceremony. He processed the recordings in his studio to yield a lush and sublime sonic field, layered with complex textures and resonances. This was years before Pierre Schaeffer\u2019s electro-acoustic experiments with recorded sound, that came to be known to the world as \u2018Musique concr\u00e8te\u2019.\u00a0\u00a0<\/a><\/p>\n

Recalling the Wire Recorder Piece in an interview<\/a> to the Egyptian newspaper Mada Masr, he said: \u201cI eliminated the fundamental tones of the harmony by changing the voltage \u2013 it changes the quality of the music, it seeks another quality in the voice, the hidden material, the inner part of the voice. That\u2019s what the whole idea of electronic music is. You have a recording and you go inside the recording to find the hidden meaning.\u201d<\/p>\n

Often collaborating with notable artists such as John Cage, Edgar Varese and Martha Graham, Halim El-Dabh continued to create and perform till his late 90s (he died in 2017). He taught widely and conducted extensive research and fieldwork in sonic traditions, wielding an influence that extends far beyond music.<\/p>\n

\u201cI was carving sound,\u201d he has often been known to say about his practice. \u201cI used noise like I would a piece of stone.\u201d<\/p>\n

To read more about the work and legacy of Halim El-Dabh, visit here\u00a0<\/a><\/p>\n

\u2013\u2013\u2013\u2013\u2013<\/p>\n

30\/04<\/b><\/span><\/p>\n

What do machines sing of?\/ Martin Backes<\/b><\/span><\/p>\n

The collision of music with the field of Artificial Intelligence has led to the design of several \u2019creative assistants\u2019 to write music, compose bespoke tracks and perform. At the same time, it raises a host of questions<\/a> to do with the artistic process and the messy brew of emotions and experiences that go into making art, a uniquely \u2018human\u2019 form of expression.<\/p>\n