WHO'S NEXT ?
welcome to XX CENTURY CONTEMPORARY COMPOSERS RE:COMPOSED PROJECT official web page
CALLS
FOR
original Re:compositions of XX century experimental MUSIC
_no
dead line_
_no
censorship_*
- Re:composed? Take the same ingredients to make an other music.
- The opposite of copy-paste composition technique.
- The project of XX Century Contemporary Composer Re:composed started in 1995, when we felt the XX century contemporary music's death after more than fifteen years of agony.
- [we try a way to build what XX century contemporary music destroyed : the futur of our avant-garde music sense]
- But what was XX century contemporary music?
- At the beginning, a free music outside frozen rules by convention
- At the beginning, a free music trying to escape the conventions,
- But with too much of seriousness and stereotyped unbearable attitudes.
- That became an abstract and erudite music for an international elite that even couldn't understand what was going on.
- We never knew why most of contemporary music performance was so serious?
- To loose their audience?
- These composers was trapped in the paradox: they have to show their certainty to get the funding at the same time composing music with uncertainty or an excessive amount of doubts.
- Our workshop of XX century contemporary composers re:composed is an arbitrary test of what could be the restart of a free music to be re-performed and re-appreciated
- But with the sense of humours of course.
- Too much seriousness kills art.
- Here, we build the XXI century Infinite Collection of Free Re:composed Music made by Free Unexpected Composers from all over the world.
- It is time to create music for Public Domain that everybody can access for free.
- This original project started online in 1996.
« C'est dans les re:compositions que l'on peut constater vraiment comment les nouvelles générations de compositeurs ont digéré les précédentes. »
« Re:composer la musique d'un compositeur révèle comment d'autres compositeurs composent. »
« L'aspect didactique de la re:composition est indéniable. »« La re:composition est un exercice didactique bien efficace pour apprendre le métier de compositeur. Elle permet de rentrer dans le coeur et l'esprit de la composition re:composée en la réadaptant à ses propres penchants compositionnels. La re:composition permet de se situer historiquement par rapport aux compositeurs re:composé et d'en retirer l'avantage de comprendre à la fois sa propre filiation et ses différences par rapport aux compositeurs re:composés. Nous recommandons vivement à toutes les écoles de musique et aux aspirants compositeurs de pratiquer la re:composition libre afin de former sa propre personnalité musicale. »
WHO'S NEXT ?
We know since 1995 that:
Copyright has a sense for dealers, not for artists. Soon it will become obsolete.
Copryright works against knowledge. Copryright works against original creation. We proclaim in this project: music against copyright, to preserve the freedom of music creation against ownership business generating the desolation
against composers and original music,
against every human
like it happens today.*
non exhaustive list of re:composed XX century composers proposed by re:composing composers [_ = links to composers pages, + = recomposition received]:
... dead
(1896-1948) antonin artaud
(1900-1959) george antheil
(1883-1965) edgar varèse - the re:compositions vol3.01 ++++++
(1918-1970) bernd alois zimmermann
(1901-1974) harry partch
(1893-1979) ivan wyschnegradsky
(1945-1979) demetrio stratos
(1949-1983) cathy berberian
(1901-1985) jean dubuffet
(1905-1988) giacinto scelsi (comte d'Ayala Valva)
(1911-1990) vladimir ussachevsky
(1924-1990) luigi nono
(1912-1992) john cage
(1913-1992) maurice ohana
(1908-1992) olivier messian
(1921-1994) anestis logothetis
(1910-1995) pierre shaeffer
(1930-1996) toru takemitsu
(1912-1997) conlon nancarrow
(1946-1998) gérard grisey
(1926-1998) david tudor - the re:compositions vol5.01
(1922-2001) iannis xenakis - the re:compositions vol4.01 ++++
(1925-2003) luciano berio - the re:compositions vol7.01
(1924-2004) claude ballif
(1929-2005) luc ferrari
(1923-2006) gyorgy ligeti - the re:compositions vol8.01 +
(1925-2007) isidore isou
(1928-2007) karlheinz stockhausen - the re:compositions vol1.01 +++++++++++ is completed [2003] | the re:compositions vol1.02 +++
(1922-2008) henry chopin
(1931-2008) mauricio kagel - the re:compositions vol6.01
(1942-2008) horaţiu rădulescu
(1929-2009) henri pousseur
(1926-2012) ilhan mimaroglu
(1930-2014) robert ashley
(1940-2015) nguyen-thien dao
(1925-2016) pierre boulez
(1929-2016) josef anton riedl +
(1927-2017) pierre henry - the re:compositions vol2.01 +++
(1930-2018) dieter schnebel +
(1938-2016) jean-claude risset
(1929-2019) boguslaw schaeffer
(1925-2019) ivo malec
(1933-2020) krzysztof penderecki
(1931-2021) alvin lucier
(1931-2021) sylvano bussotti
... alive
(1932) éliane radigue
(1933) murray schafer
(1934) vinko globokar
(1935) la monte young
(1935) terry riley
(1935) françois-bernard mache
(1936) steve reich
(1937) philip glass -
(1938) jean-claude eloy
(1939) leo brouwer
(1939) heinz holliger
(1943) gavin bryars
(1944) michael nyman
(1945) georges aperghis
(1949) michael lévinas
(1949) david toop
...
... + = received re:compositionWHO'S NEXT ?
the new generation of composers, re:composers who sent a re:composition:
19
acapulco laps
alain de filippis (1950 - 2010) www.granuvox.free.fr inaccessible
alexis bosch
alfred harth
andrea martignoni
androvirus (1972)
david fenech
dick acidsoxx
falter bramnk
fedaden [sc ms]
hagop gehlhaar-matossian
igor stevanovic [ms]
jim jandt
laurent dailleau (1959-2013)
lefteris papadimitriou
le vieux thorax
mario aloe
mathius shadow-sky (1961)
matthew ostrowski
nikola kodjabashia [ms]
pvh
richard riewer
rolf gelhaar (1943)
shauly denneboom
techtel mechtel
toy bizarre
...
*
The limit of censorship
is the right to refuse to be abused:
when the recomposed music sounds slapdash
it is a Refused Re:composition
It happened once in 16 years in 2011!
And it is published in the garbage page!
we are waiting for others, the new composers' generation to continue this courageous adventure.
20 CENTURY CONTEMPORARY COMPOSERS
RE:COMPOSITION RECIPE:
1. Choose a contemporary composer' works you want to re:compose, from one piece to several pieces, your choice,
2. Recompose 6 minutes of music, through sounds, score, text, picture or movie with the composer's material you choose,
3. Send your creation (audio DAT or CD-R or CD ROM or floppy disk [pc or mac] format) to: centrebombe
[since 2001 an audio file in mp3 format through email. Know that the sound quality of the recomposition reflects how you want to be listened]
4. Your original REcreation will be listen for free with others here at the centrebombe.org website,
no more: on published disk (when it will be complete), due to copyright fight.
Remember, a re:composition can be:
• .|. a recorded music (AIFF or WAV or mp3 or FLAC file),
• .|. a score (.pdf andor a MIDI file)
• .|. a music theory text (.txt or .doc or .rtf or .pdf)
• .|. a picture (jpeg)
• .|. a movie (Xvid/mp4)
• .|. an animation (Xvid/Flash/mp4)
Music beyond copyright by the born-French composer Myster Mathius Shadow-Sky.
"The idea of re:composing contemporary composers' music from the 20th century, grew up when I was sampling [1] for fun the LP Momente. My wish was to make a piece with K. Stockhausen's music in total opposite of his musical approach: to sound Momente like a folkloric music from Slavic countries! And this is the piece: Momente_shacked:_Hurry-up! First I was planning to make an album with just my re:compositions of emphasis composers. But Gyorgy Kurtag jr asked me: "why not to share my project with other composers?" It was in 1996. I liked the idea and I made lots of announcements in music magazines, newsletters, etc. in Europe and the US. After waiting 7 years to receive re:compositions on DAT or CD, I am quite surprised that we are today very few composers who are sticking with the idea to re:evolve the knowledge of original music!
re: is a response.
I thank you all re:composers to make this project possible."
(1) a sampler is an audio machine that use any sound to create a musical instrument,
sampling is the action to record a sound and to use it as a musical instrument.
SIMPLY SAID:
centrebombe re:composition project is:Using other's music as a material to create an original music
Putting together all the 20th century re:composed original compositions
To give to listen for free a huge and infinite collection of re:compositions from 20th century experimental music by 21th century composers
Free music re:composition by alive composers who will be re:composed by other composers, and so on indefinitely.
Remember, there is no copyright for a re:composition.
This project is also an healthy re:action against the nonsense of today's copyright, royalties and "droits d'auteurs". Why copyright and royalties is a nonsense today? Because most of original artists have zero chance to get her/his entire royalties. Most unknown professional alive composers today compose for free! Because their royalties are not paid. So why, we, composers have to continue to feed these greedy companies with our free work? Le centre de la bombe is disagree with this monopoly of national royalties institutions. And each composer should have its own mailbox to get her/his payments. But nobody pays. The better solution is an independent pension to be able to compose. Through the re:composition project, this is what I am rebalancing. *
All music in this project are under the copyleft protection. It means that they cannot be used by any company to make business of it. We composers proclaim and support this law against abusive business. We, unknown composers, voluntary offer our re:composition to public domain protected against business exploitation. All alive composers decide by participating in this project to "give" her/his re:composition to public domain protected against business exploitation. **
Notes
* All music called "re:composition" are not businessable and protected by non-commercial international rights.
Toutes ces musiques sous la dénommination : "re:composition" sont non commercialisables par accord international.
** 10 years after the centrebombe free re:composion project, Deutsche Grammophon publishes recomposed albums with one techno musician. [2006 news]
Le centre de la bombe's workshop: the 20th century contemporary composers re:composed doesn't seek to emphasize any contemporary re:composed composers. Contemporary music was in second half of 20th century, an open door for free creation (like ever it happens in Western musical history) that the end of 20th century closed. This, for several reasons. These compilations of "re:compositions" of 20th century contemporary composers music by today's alive composers creates a link. A link between what was the freedom of creation of the second half of 20th century, bringing back in our 21th century, excited more by money than by the freedom for original music creations. Our re:composition project has no obliged rules or instructions (just 6mn of duration per re:composition, this to fit 12 different re:composers per CD, knowing there is no more CDs, does it matter? And no censored submission: everybody is free to create its own original music with a 20th century contemporary composers' music as material. The limit of that tolerance is scorn. A scorned music: a superficial composition is audible. I will not let be insulted. In addition, there is no price to excite the mercantile sense of glory, a profit who kills free original musical creation by inflating egos. We compose by pleasure, and to be together in the same collective project. We are not supporting any commercial companies or advertising with free participation of composers. All re:compositions are copylefted even for the subjective identified parts of composers re:composed pieces. (No, Karlheinz Stockhausen was not paid by me). We make free music for free minded people.* Don't think that we are nostalgic of rigorous 20 century composition techniques (like serialism, collage, spectralism, or other stochastic and algorithmic forms, etc.) that hopefully today's some young composers make it evolves in complexity or simplicity, but does it matter? we are attached to an uncompromising way of original creation to share with enthusiastic audience that could appreciate our "crazy" music. Since that time, it never happened.
mathius shadow-sky, January 2003
L'atelier du centrebombe : "XXth century contemporary composers re:composed" ne cherche pas à établir un culte des personnalités re:composées, comme certains compositeurs re:composants ou re:composables pourraient se l'imaginer. La musique contemporaine a été pendant la seconde moitié du XXe siècle, une franche ouverture à la liberté de création comme jamais ça s'est présenté dans l'histoire de la musique occidentale. Que la fin du siècle a refermé, avec ses causes multiples. Ces compilations de « re:compositions » de pièces de compositeurs de musiques contemporaines du XXe siècle par de jeunes musiciens du XXIe siècle créent un lien. Un lien entre ce que fut la liberté de création de la seconde moitié du XXe siècle, état de fait ramené dans notre XXIe siècle toujours exacerbé par le profit destructeur au détriment de la liberté de création qui a généré une médiocratie généralisée. Notre initiative de re:compositions n'a aucune règle ou instruction obligatoire, seulement 6 minutes pour qu'au moins 12 re:compositions puissent rentrer dans le CD, mais depuis 2003, il n'y a plus de CD, reste la publication Internet. Une bataille de droit d'auteur m'y a forcé. Ni aucune condamnation sous contrôle : chacun est libre de créer sa propre musique avec les matériaux musicaux des compositeurs contemporains du XXe siècle. Il n'y a pas non plus de 1er prix qui excite le sens de la gloriole du profit qui annihile la création libre. Seulement le plaisir d'être ensemble dans le même projet. Nous ne soutenons aucune compagnie commerciale ou publicitaire ou institutionnelle avec les participations libres d'artistes ! Toutes les re:compositions sont sous la protection du copyleft international ainsi que les parties de musiques subjectivement reconnaissables des compositeurs re:composés. Nous créons une musique libre pour celles et ceux qui désirent vivre cette liberté. * Nous ne sommes pas non plus nostalgiques des techniques de composition musicales passées, comme le sérialisme, le collage, le spectralisme, les techniques stochastiques ou algorithmiques, etc., ça n'a pas de sens, puisque nos compositions font évoluer ce que les anciennes ont posé. Avec cette initiative, nous sommes très attachés à l'esprit de création d'originalités sans compromis et à générer des osmoses avec des mélomanes enthousiastes qui peuvent apprécier nos musiques de « fou ». Mais depuis ce temps-là, rien ne s'est passé. À part quelques concerts épars et clandestins.
mathius shadow-sky, janvier 2003
-_• Ne pas confondre emprunt ou citation avec centrebombe-re:composition [txt] : |+++|
It is difficult for us, in the center of the bomb, to sacrifice intelligence in music composition
for compromised sold easy music, made with 19th century tonal composition technique
just to believe that stupid music will sell more CDs or bring more people in concert hall!
That means that most today's music producers think that music customers are stupid...
Since a half of a century.
Are we?
DIFFERENCE : REMIX / RE:COMPOSITION
Nous disons bien RE:COMPOSITION et non pas REMIX. Le remix est un mixage (un [re]dosage) refait à partir des pistes originales enregistrées pour donner à une chanson la couleur propre au goût majoritaire du pays visé à vendre l'objet massivement : c’est le fait d’introduire dans un groupe ethnique une musique étrangère mais avec la sonorité du groupe ethnique. Par exemple, un remix techno du Beau Danube Bleu de Richard Strauss va permettre au groupe ethnique techno d’entendre le Beau Danube Bleu avec leur son techno. Ou de la soul music remixée au son asiatique. Le but du remix de l'industrie du disque est une recherche de profit : une invasion des cultures autochtones par la culture dominante américaine par l'industrie musicale.
La re:composition n’est pas un remix car elle n’a pas l’ambition de prendre l’apparence d’une « chapelle » ou d’un groupe ethnique. La re:composition prend les mêmes ingrédients que la musique à re:composer mais les agence de façons différentes pour donner une autre musique unique. Parfois l’ingrédient peut se reconnaître, parfois non, et peu importe. Mais là n’est pas le propos. Le propos est la création d’une musique originale avec une musique existante. Dans le processus de la re:composition, le mixage est le dosage des parties entre elles pour être entendues de telle ou telle manière selon l'esprit de la musique du compositeur. Le mixage est une part importante de la composition. La finalisation de la sonorité globale de la musique enregistrée aussi, nommée « mastering ». (Mathius Shadow-Sky, 2003)
Recompositions by Schoenberg, Stravinsky, and Webern
by Joseph N. Straus
Many twentieth-century works absorb and modify compositions from earlier periods. The resulting "recompositions" are often works of surprising originality. They paradoxically reflect the characteristic elements of twentieth-century musical structure even as they appear most immersed in the past. The most interesting recompositions involve the imposition of a new, idiomatically post-tonal musical structure onto an intact tonal model. In pieces such as Stravinsky's Pulcinella, Schoenberg's Concerto for String Quartet and Orchestra, and Webern's orchestration of the Ricercare from Bach's The Musical Offering, composers create new works by recomposing older ones.
Recomposition is a genre with a long history. In the fifteenth century, the Renaissance concept of irnitatio found musical expression in various kinds of pieces: arrangements of songs for instruments, the adding of voices to a preexistent piece, the revision of an earlier work, and the structural modeling of one piece upon another [1]. In the later Renaissance, this concept gave rise to the widespread use of parody, most obviously in Masses based upon preexistent polyphonic compositions [2]. More recent examples include, among many others, Bach's arrangements of Vivaldi, Liszt's settings of Beethoven, and Mahler's orchestrations of Schumann's Symphonies [3]. The desire to recompose the works of one's predecessors seems to be almost as old as Western music itself.
Notes
[1] Howard M. Brown, "Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance," Journal of the American Musicological Society (JAMS), XXXV/1 (1982), 1-48.
[2] For a discussion of the evolution of the term "parody" and the range of its application, see Lewis Lockwood, "On 'Parody' as Term and Concept in 16th-century Music," in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, cd. Jan LaRue (New York, 1966), PI, 560-75.
[3] The Mahler works are the least well known of these. See Mosco Carney, "Sfahler's Re-scoring of the Schumann Symphonies:. in Major and Minor (New York, 1980).
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le centre de la bombe contact: mathius shadow-sky
.
dOwnlOad for free in One click the re:cOmpOsed cOmpilated albums
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the centre bombe collective projects page
the centre bombe front door
the centrebombe free netlabel
who is the mysterious myster shadow-sky?
le livre de mathius shadow-sky
