Apricots, cocoa, and dancing at the fountain. 21st century chill-out music made between 1971 and 2022.
In conversation with music therapist Prof. Dr. phil. Isabelle Frohne-Hagemann I want to find out how receptive music therapy works and whether there are similarities between my own approach to listening and the established technique. Could guided listening to music possibly be an appropriate form of therapy for misophonia?
Every now and then the world turns into a sound installation, only waiting to get noticed. When reel-to-reels became portable and affordable during the 1960s, field recordists, musicians and artists began to open up their ears – on the hunt for special sounds.
When composer Pauline Oliveros quoted Tibetan lama Sogyal Rinpoche on putting meditation in an equation with the wisdom of listening and the depth of insight in 1999, she had realized that her own listening skills were still continuing to evolve – forty six years after she started meditating on sound.
Originally employed as part of a bundle of means for mapping acoustic situations in locations around the world, soundwalks are a good method to understand and internalize the concept of soundscapes by experience. No one, who got initiated to the technique, ever got bored by them.
If you don’t like a sound, listen closely! For most people suffering from misophonia, that might come as a paradoxical advice. To be aware of the thoughts behind this idea, however, might change one’s perception of a situation when being triggered.
How we listen creates our life. Listening is the basis of all culture. An introduction to composer Pauline Oliveros’ ideas about sound. For her, listening is to be aware of one’s self – not just in the current moment.
Workshop based on conscious listening strategies as propagated by Pauline Oliveros and R. Murray Schafer. In order to cope with the disorder in constructive and active ways, it introduces new perspectives on listening and encourages practising.
When sound became portable with the Walkman in the early eighties, the subscription-only Tellus Audio Cassette Magazine begins to feature New York City’s expansive Downtown art scene on tape. 41-minute mix with Gretchen Bender, Jonathan Borofsky, Live Skull, Marjorie Van Halteren, and others.
Being one of the leading protagonists of 20th century experimental art, Henri Chopin was among the first to exploit the true potential of a tape recorder. Many of his audio works are based on radical approaches, such as swallowing microphones. 43-minute documentary with memories and expertise of poet and curator Enzo Minarelli.
As a boy in the 1930s, Soliman Gamil accompanied researchers into the pyramids to learn about Pharaonic music. After his musical education in Cairo and Paris, he recorded traditional rituals throughout Egypt with a tape recorder. Gamil developed his 20th century compositions together with village musicians playing instruments already in use millennia before.
War is eternal, its accompanying aspects, however, have changed in the 20th century. 45 minutes with artists reflecting war‘s presence in the media, traumatic experiences, the home front, and the utopia of world peace. With Ami Shavit, The Android Sisters, K Foundation, Sun Ra, and others.
Equally at home in the art world and the artists’ pub, Ata Tak‘s proprietors manage their label from a nice office in Düsseldorf; in the adjoining music studio, they pursue the idea of a world rebellion with sound – as Der Plan. 32 minutes with Holger Hiller, Minus Delta T, Picky Picnic, Wirtschaftswunder, and others.
Quiet ambient music may be rooted in cybernetic spirituality or get played in hospitals. It can be filmic or resemble a landscape; and its production process might utilize huge quantities of graph paper. 61 minutes with Anthony Manning, Henry Kawahara, Joanna Brouk, Laurie Spiegel, and others.
With his label Obscure, pop star Brian Eno starts a series with experimental listening music in 1975. The artists involved want to leave their previous approaches towards making music behind, work with new technologies or take inspiration from ancient traditions. 71 minutes with Gavin Bryars, Harold Budd, Max Eastley, Michael Nyman, and others.
Relics tell stories, take listeners on acoustic journeys, or document situations. They can be poems, studio productions, field recordings, or something completely different. 53-minute mix representing Paul Paulun’s series Fundstück on DLF-Kultur with pieces by Anne Waldman, Helga Goetze, Mark E. Smith, Timothy Leary, and 26 other artists.
The Jukebox gets expanded with improvised Baroque chamber music that’s rooted in rock, the inner voyage of a miserable soul, notions of the uncanny, and a forward thinking Jamaican collective. 42 minutes with tunes by Don Cherry, Gazelle Twin, Mariah, Sentimentale Jugend, and others – produced between 1969 and 2021.
“The ecological catastrophe begins rehearsing in the sixties”, writes Allen Ginsberg in 1970; and for more than half a century, political systems are unwilling to fight that development. 45 minutes with sounds of protest – uttered by Appleblim, Diane Di Prima, Leslie Winer, Piero Umiliani, and others.
The stoic, almost machine like drumming of so many West-German tunes from the early seventies becomes the trademark of a new sound – different from British pop or American rock, and in no way related to the country’s horrible nazi past. 45 minutes with Cluster, Faust, Harmonia 76, La Düsseldorf, and others.
Yellow Magic Orchestra’s concept of connecting pop, dance music, and Far Eastern folklore quickly becomes synonymous with technopop in Japan. The band’s members also occur in each others solo recordings and cooperate with other musicians. 49 minutes with Apogee & Perigee, Friends Of Earth, Miharu Koshi, Ryuichi Sakamoto & The Kakutougi Session, and others.
After years of increasing harshness on the dancefloor culminating in Gabber, round 1992 the time has come for more friendly grounds. 55 minutes from the advent of personal computers and internet for everyone – with tracks by Acid Jesus, The Black Dog, Cylob, Like A Tim, and others.
Fuelled by collaborations between producers, singers, and studio musicians in ever new constellations, the seventies mark the transition from ska and rocksteady into a multitude of styles in Jamaica. 46 minutes with Keith Hudson, Norma White & Brentford Disco Set, Sound Dimension, Susan Cadogan, and others.
The Jukebox series starts with European ideas about reggae, some stoic drumming, a reflection on alienation, and a track capturing the atmosphere in Tokyo during the early eighties. 54 minutes with works by Alec Empire, Jun Togawa Unit, Pink Industry, The Red Krayola, and others – made between 1968 and 2008.
Aware of musical traditions and eager to incorporate the latest technology in his productions, Haruomi Hosono is one of the most versatile and influential figures in Japanese popular culture. 44 minutes with various collaborations and solo works by the co-founder of Yellow Magic Orchestra.
Free of artificial ornamentation, well balanced, and designed with love for detail, some eighties Japanese ambient music resembles the concept of the countries’ traditional gardens. 51 minutes of music striving to enhance environments – with works by Haruomi Hosono, Inoyama Land, Masahiro Sugaya, Yasuaki Shimizu, and others.
Paying homage to flying machines and next generation’s minimalism, singing in an invented language that’s both mysterious and familiar, and a special kind of rain. 43-minute mix with pieces by Anna Homler and Steve Moshier, Ennio Morricone, Harold Budd, The Human League, and others – made between 1972 and 2011.
Re-configuring the past, drifting into a future, connecting different worlds, and shaping the profile of a fictitious ethnic group – 43 minutes with music by Bill Drummond, Dadang Dwi Septiyan, Jon Hassell, Malayeen, and others – recorded between 1971 and 2020.
Minimal melodies from Japan and Arctic Norway, music for ex army gymnasts bounding about in rubber costumes, and something from New York‘s Downtown. 55 minutes with works by Aqua Regia, The Caretaker, Midori Takada, The Residents, and others – realized between 1969 and 2019.
O’Tannenbaum, 13 X 20, 180 min.
O’Tannenbaum, 01 IX 20, 323 min.
O’Tannenbaum, 04 VIII 20, 300 min.
NNOI-Festival, 05 VII 20, 345 min.
O’Tannenbaum, 16 VI 20, 218 min.
Only the development of new technologies will mark the progress of sound poetry, states Enzo Minarelli in his manifesto on Polipoesia from 1987. On the basis of 11 sound poems, Minarelli talks about the concept of Polipoesia, and where it all started.
Whether conceptual or performance art, electronic music, counterculture, minimalism, drone sounds, or Fluxus – New York City is a hotbed for all sorts of experiments during the sixties. 62 minutes with Angus MacLise, Henry Flynt, La Monte Young & Marian Zazeela, Richard Maxfield, and others.
O’Tannenbaum, 25 II 20, 345 min.
O’Tannenbaum, 14 I 20, 357 min.
O’Tannenbaum, 10 XII 19, 274 min.
O’Tannenbaum, 29 X 19, 340 min.