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@ -30,7 +30,6 @@ Generation Z: Experiments in Sound and Electronic Music in Early 20th Century Ru
>![[Pasted image 20230317114006.png]] >![[Pasted image 20230317114006.png]]
Pic. 4 - Solomon Nikritin. Draft manuscript. 1922. The manuscript illustrates an attempt to develop a typology and classification system for human movements according to the principles and terms of biomechanics and acoustics. RGALI. Pic. 4 - Solomon Nikritin. Draft manuscript. 1922. The manuscript illustrates an attempt to develop a typology and classification system for human movements according to the principles and terms of biomechanics and acoustics. RGALI.
> «In 1924 he went so far as to attempt to chart the process of the evolution of consciousness and the creative energy of society from simple, primitive states to the perfection of a future classless society. Based on a creative human network, this projected society would function without any central authority» > «In 1924 he went so far as to attempt to chart the process of the evolution of consciousness and the creative energy of society from simple, primitive states to the perfection of a future classless society. Based on a creative human network, this projected society would function without any central authority»
> «One of the paradoxes within the early history of Russian sound art is that only a few professional, academically educated composers were involved in it. To discover its roots researchers have to explore the activities of avantgarde artists, actors, painters, poets, scholars and inventors» > «One of the paradoxes within the early history of Russian sound art is that only a few professional, academically educated composers were involved in it. To discover its roots researchers have to explore the activities of avantgarde artists, actors, painters, poets, scholars and inventors»
@ -43,7 +42,6 @@ Pic. 4 - Solomon Nikritin. Draft manuscript. 1922. The manuscript illustrates an
> «The same year during the summer vacation he began his first experiments with sound, which he called the Laboratory of Hearing: .’On vacation, near Lake Ilmen. There was a lumber-mill which belonged to a landowner called Slavjaninov. At this lumber-mill I arranged a rendezvous with my girlfriend… I had to wait hours for her. These hours were devoted to listening to the lumber-mill. I tried to describe the audio impression of the lumber-mill in the way a blind person would perceive it.’» > «The same year during the summer vacation he began his first experiments with sound, which he called the Laboratory of Hearing: .’On vacation, near Lake Ilmen. There was a lumber-mill which belonged to a landowner called Slavjaninov. At this lumber-mill I arranged a rendezvous with my girlfriend… I had to wait hours for her. These hours were devoted to listening to the lumber-mill. I tried to describe the audio impression of the lumber-mill in the way a blind person would perceive it.’»
> «As Sholpo noted: We were sure that by knowing this data we could get an analytical insight into the secrets of creativity (at least in performance) and, armed with mathematical formulae, break mystical and idealistic tendencies with an explanation of the phenomena of music creation» > «As Sholpo noted: We were sure that by knowing this data we could get an analytical insight into the secrets of creativity (at least in performance) and, armed with mathematical formulae, break mystical and idealistic tendencies with an explanation of the phenomena of music creation»
#### Cyborganization #### Cyborganization
@ -140,14 +138,13 @@ Arterial pumps, activate.
### Music, class and party in 1920s Russia • International Socialism ### Music, class and party in 1920s Russia • International Socialism
- http://isj.org.uk/music-class-and-party - http://isj.org.uk/music-class-and-party
> On May Day 1918 in Moscow, both the “Marseillaise” and the “Internationale” were played and sung.1 But there was also a need to remember the dead of the ­revolution. The revolutionary funeral dirge “You Fell Victim”, sung by mass choirs, was a staple at these events, having already replaced “God Save the Tsar” as the tune played by the bells of the Kremlin. Meanwhile set-piece performances such as the one in Petrograd on May Day 1918 often included Mozart’s Requiem. > On May Day 1918 in Moscow, both the “Marseillaise” and the “Internationale” were played and sung.1 But there was also a need to remember the dead of the ­revolution. The revolutionary funeral dirge “You Fell Victim”, sung by mass choirs, was a staple at these events, having already replaced “God Save the Tsar” as the tune played by the bells of the Kremlin. Meanwhile set-piece performances such as the one in Petrograd on May Day 1918 often included Mozart’s Requiem.
> The music for these performances was chosen for its stock connotations but set a precedent for attitudes towards different kinds of music in subsequent years. It was common for the privileged and exploiting classes to be accompanied by commercial “gypsy music”, the Can-Can or Viennese waltzes. On one occasion the “Marseillaise” was gradually drowned out by the “Internationale” to symbolise the displacement of the provisional government by the soviets. > The music for these performances was chosen for its stock connotations but set a precedent for attitudes towards different kinds of music in subsequent years. It was common for the privileged and exploiting classes to be accompanied by commercial “gypsy music”, the Can-Can or Viennese waltzes. On one occasion the “Marseillaise” was gradually drowned out by the “Internationale” to symbolise the displacement of the provisional government by the soviets.
> Proletkult’s musical goal was to involve workers in musical activity, setting up studios across the country where workers could practise a range of art forms. The movement comprised a spectrum of different perspectives. At one end were those who primarily wanted to allow Russian workers the access to art and culture they had been denied under Tsarism. A Proletkult document of 1918 explains that in the Moscow music studios, of which there were 17,5 workers studied musical literacy and attended courses on music appreciation as well as learning folk and revolutionary songs and engaging in choral singing and composition.6 This work of “cultural enlightenment” overlapped with the efforts of the new government’s Commissariat of Enlightenment (Narkompros) headed by Anatoly Lunacharsky.7 > Proletkult’s musical goal was to involve workers in musical activity, setting up studios across the country where workers could practise a range of art forms. The movement comprised a spectrum of different perspectives. At one end were those who primarily wanted to allow Russian workers the access to art and culture they had been denied under Tsarism. A Proletkult document of 1918 explains that in the Moscow music studios, of which there were 17,5 workers studied musical literacy and attended courses on music appreciation as well as learning folk and revolutionary songs and engaging in choral singing and composition.6 This work of “cultural enlightenment” overlapped with the efforts of the new government’s Commissariat of Enlightenment (Narkompros) headed by Anatoly Lunacharsky.7
> Music should be an expression of the highly collective and cooperative labour of modern society. One result was the creation of “noise orchestras” which used industrial engines, turbines, dynamos, sirens, hooters and bells to generate performances within factories, sometimes accompanied by a gymnastic “ballet” on the shopfloor. > Music should be an expression of the highly collective and cooperative labour of modern society. One result was the creation of “noise orchestras” which used industrial engines, turbines, dynamos, sirens, hooters and bells to generate performances within factories, sometimes accompanied by a gymnastic “ballet” on the shopfloor.
@ -157,7 +154,9 @@ The cultural problem cannot be settled as swiftly as political and military prob
### How the Russian Avant-Garde came to serve the Revolution ### How the Russian Avant-Garde came to serve the Revolution
- https://www.rbth.com/arts/2017/06/23/how-the-russian-avant-garde-came-to-serve-the-revolution_788467 - https://www.rbth.com/arts/2017/06/23/how-the-russian-avant-garde-came-to-serve-the-revolution_788467
>Many avant-garde artists embraced the revolution. It suddenly turned out that their artistic ideas were resonant with political slogans, such as Kazimir Malevich's proposal to burn all paintings and exhibit their ashes in museums, because - he asserted - there would be no art after Suprematism. Tragically, this idea was implemented in the first months of the 1917 revolution. >Many avant-garde artists embraced the revolution. It suddenly turned out that their artistic ideas were resonant with political slogans, such as Kazimir Malevich's proposal to burn all paintings and exhibit their ashes in museums, because - he asserted - there would be no art after Suprematism. Tragically, this idea was implemented in the first months of the 1917 revolution.
>On the first anniversary of the revolution, artist Nathan Altman wrapped the wings the Hermitage museum in Petrograd in scarlet fabric (nearly 80 years later, the artist Christo would wrap the Reichstag building in a similar way, producing an international sensation). >On the first anniversary of the revolution, artist Nathan Altman wrapped the wings the Hermitage museum in Petrograd in scarlet fabric (nearly 80 years later, the artist Christo would wrap the Reichstag building in a similar way, producing an international sensation).