6. Understood by Music

6. Understood by Music

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?

5. Sound Tells

5. Sound Tells

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 their ears – on the hunt for special sounds.

4. Reflecting Sound

4. Reflecting Sound

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.

3. Activating the Ear

3. Activating the Ear

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.

2. Delving Into Sound

2. Delving Into Sound

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.

Listening with Misophonia

Listening with Misophonia

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.

Ata Tak – Die neuen Herrn (1980-84)

Ata Tak – Die neuen Herrn (1980-84)

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.

Proper Krauts (1971-78)

Proper Krauts (1971-78)

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.

Future Japan – Technopop (1979-86)

Future Japan – Technopop (1979-86)

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.

Ambient Japan (1981-2004)

Ambient Japan (1981-2004)

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.

Fluxus Is… (1959-2014)

Fluxus Is… (1959-2014)

Forming a loose community of interdisciplinary collaborators, Fluxus artists are rethinking the role of art in society during the sixties. 47 minutes with Carolee Schneemann, Henning Christiansen, Terry Riley, Yoko Ono, and others.