Place Time (Sounds)

Hearing Manfred Werder's 2005 (1)

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Academic Audio Paper

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Abstract 

John Cage’s incorporation of all sound into music with his work 4’33” (1952) has come frequently to be heard as an ‘end of history’. Although many writings on experimental music and sonic art hinge on Cage’s contribution and resounding influence, it is nonetheless considered as some kind of crisis.

Addressing this, the Wandelweiser collective of composers, improvisers and musicians has been pivotal in expanding on Cage’s work. Manfred Werder, in particular, stands out as a composer who has carried on from Cage. Especially with his piece 2005 (1), which calls only for place, time and (sounds) – ort, zeit, (klänge).

Place Time (Sounds): Hearing Manfred Werder’s 2005 (1) discusses the significance of this piece. In the paper Byrne addresses the work, its score and notable actualizations as well as its place in Werder’s oeuvre and relationship to Cage’s work, demonstrating that 2005 (1) is a piece of expanded music that hears sound as multiplicity, collapses established distinctions between listener and performer and places particular importance on context. Byrne therefore argues that the piece has significant implications for how sound is heard, the role of music and how it is possible for music to engage directly with place.



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Bibliography

Cage, J. (1973). Silence. Middletown, CT: Wesleyan University Press.

Kahn, J. (2012). Manfred Werder - 2005(1), Winds Measure.

Migone, C. (2012). Sonic Somatic: Performances of the Unsound Body. Berlin: Errant Bodies Press.

Reynell, S. (2015).  Interview with Manfred Werder. Another Timbre. Available at: http://www.anothertimbre.com/werderinterview.html [Accessed August 27, 2015].

Interviews:
Werder, M., (2015). Interviewed by Ben Byrne, June 16.
Kahn, J. (2015). Interviewed by Ben Byrne, June 15.

Keywords

Audio PaperWerderSoundPlaceMusicExperimental

About the author(s)

Ben Byrne is a scholar, musician and curator who explores sonic art, media and culture through technology - engaging the complexities of identity, media and environment. He is a Lecturer in Digital Media at RMIT University in Melbourne, Australia. He is also the founder and director of Avantwhatever, a contemporary experimental music label.

Seismograf Peer Review

Seismograf/peer is a peer-reviewed online platform devoted to practical and theoretical issues in relation to contemporary music and sound art hosted by the online journal Seismograf/DMT (seismograf.org).

Seismograf/peer covers a broad range of topics including sonic materialities, modes of listening, philosophy of sound and music, aesthetics, technology, audio visuality and performative, curatorial and archival matters related to the sonic arts.

Seismograf/peer encourages a wide spread of methodologies and theoretical discourses from more established academic approaches such as sound studies, musicology, cultural studies and performance studies, to artistic research, practice-based research, artist writing and media archaeology.

Format

Seismograf/peer is hosted by the journal Seismograf/DMT (seismograf.org) - the oldest music journal among the Nordic countries. Seismograf/DMT has a long and strong tradition of publishing Danish articles, interviews, debates and reviews by both academics and composers, and has within various times, been the most inspiring and important platform within this field. Embedding Seismograf/peer is a natural development of this tradition, which acknowledges the demands of publication within higher Art Schools and Universities.

The journal is supported by the Danish Arts Council and The Danish Composers’ Society.